• Journal of the Korean Home Economics Association
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• v.11 no.2
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• pp.147-165
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• 1973

One of the characteristics of feudal society is the control of the dress and ornamentation which stand for various social classes and personal relationships. Throughout the Yi-Dynasty, certain forms of dress and ornamentation were controlled or prohibited by the government. For instance, there was a Ban on the use of gold and silver for ornaments and silks or satins for dresses, and the violator was subject to severe punishment according to the penal laws. This seems to have been done more for symbolism and the dignity of the various social ranks and powers than as an economic measure against foreign products. The use of yellow cloth, for instance, was once banned out of blind submission to the traditional practices in China, then the most powerful nation in Asia. The working classes were prohibited to use any silks of foreign production. This was done to discourage a spirit of wasteful luxury and the tendency to prefer the often higher quality foreign product. The government regulated the class of the traditional wedding ceremony, again as a means of both encouraging economy and reestablishing the distinctions between the classes. In spite of these attempts at control by the government a large trade in smuggled goods was still carried out. This had the effect of impeding the development of the clothing industry in the country.

• Journal of the Korean Home Economics Association
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• v.50 no.5
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• pp.39-49
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• 2012

This study looked into the trend of expression of animal motifs that appears in modern fashion, and the values embedded in them. As to the research method, empirical analysis was performed on the works presented at the four global collections of Paris, Milan, New York and London from 2001S/S to 2010F/W, as well as a literature review. As a result, animal motifs applied in modern fashion appeared in material groups, such as leather or feather. The first group shows a realistic material feel, with artificial leather or fur, expressed in a transformed complex animal motif, with process skill or various methods of expression. The second group is the case of a single motif or reality, mode, and ion pattern. Printing is a generic expression, but patchwork, collage or bead ornament are also used, and expressed in the various forms of pattern: pattern in a single animal, pattern in different animals, and pattern combining both animal and other shape. The third group is a small decorative ornament, including headset or accessory and makeup, which is transformed in an animal-characterized motif into part of clothing components for expression, or to set the real animal to the stage for a performance. The embedded values were also categorized as natural beauty, sensual female beauty, pleasure, and ornamentation, which could be an endless spiritual source, and a breakthrough that enables us to show a creative and new aesthetic for the modern fashion field.

• ALGAE
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• v.19 no.2
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• pp.91-105
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• 2004

Ten taxa of the genus Spirogyra (Zygnemataceae, Chlorophyta) in Korea were examined for morphology and taxonomic category with field as well as cultured materials: S. africana (Fritsch) Czurda, S. decimina (Muller) Kutzing, S. distenta Transeau, S. dubia Kutzing, S. ellipsospora Transeau, S. ellipsospora var. crassoidea Transeau, S. gracilis (Hassall) Kutzing, S. submajuscula Kutzing, S. peipingensis Jao and S. variformis Transeau. Features of vegetative cell and female gametangium, shape of septum, chloroplast number, sexuality, size and shape of zygospore, and ornamentation of spore wall were major characteristics used for determination of the species. All of them were described for the first time in Korea.

• Proceedings of the Korea Concrete Institute Conference
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• 2002.05a
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• pp.985-990
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• 2002

Contemporary architecture calls for a wide range of surface textures and treatments. A surface compatible with the architect's design may vary from a glass-smooth finish to one requiring special sculptured ornamentation. These surfaces require many different types of form sheathing and lining. The purpose of study development new design form and made elaborateness shape. Easy to used in field that architecture finish material not used expect effective reduce of working hours, personnel expenses, architecture finish material, cost. After this, building wall apply a variety shape in concrete surface.

• Animal Systematics, Evolution and Diversity
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• v.26 no.3
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• pp.261-278
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• 2010

Nine zoeal stages of Lysmata vittata (Stimpson, 1860) are described from laboratory-reared material. The ornamentation of the carapace and the fifth abdominal somite readily distinguish the first zoeas of L. vittata from the two previously known first larvae of Lysmata (L. anchisteus and L. seticaudata). Larval characters of the genus Lysmata are summarized. The setation of 1,2,3(6) on the basis of the second maxilliped indicates that Lysmata is closely related to Exhippolysmata.

• Proceedings of the Korea Concrete Institute Conference
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• 2003.05a
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• pp.573-578
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• 2003

Contemporary architecture calls for a wide range of surface textures and treatments. A surface compatible with the architect's design may vary from a glass-smooth finish to one requiring special sculptured ornamentation. These surfaces require many different types of form sheathing and lining. The purpose of study development new design form and made elaborateness shape. Easy to used in field that architecture finish material not used expect effective reduce of working hours, personnel expenses, architecture finish material, cost. After this, building wall apply a variety shape in concrete surface

• The Korean Journal of Mycology
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• v.50 no.2
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• pp.115-123
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• 2022

Two new records of Scleroderma species from South Korea are described here. Comprehensive taxonomic studies of Scleroderma specimens were conducted at the Korea National Arboretum. Based on morphological and molecular data (fungal barcode sequences), two new records (S. laeve and S. nastii) were confirmed. Herein, morphological descriptions, including Scanning Electron Microscope (SEM) images of basidiospore ornamentation, and a taxonomic key of Korean Scleroderma species are provided.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.141-157
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• 2004

The purpose of this study is to clarify the style of romanticism in fashion. Romanticism is advocating the conception called the respect of diversity and individuality in the modern society dominated by postmodernism trying to accept the various values.. In this study, the characteristics of romanticism are examined through the bibliographies on philosophy, aesthetics, architecture and art. In fashion. 19C is based on the costume history books and pictures. The characteristics of romanticism in literature and art which are applied to fashion are sensuality, ornament, exoticism and complexity. On the basis of these characteristics, the 19C fashion of romanticism are analyzed as follows. ㆍ Sensuality to emphasize sexual region of woman's body and to make ‘X’ silhouette is through exaggeration and exposure. This is the characteristic to relieve femininity. ㆍ Ornamentation is expressed in the gorgeous color and the varied material. details and trimming to add the fantastic mood, and the accessory to express the aristocratic elegance. This is a very important characteristic that produces the fantastic and romantic mood. ㆍExoticism to express aspiration for East is expressed either in items or accessories imported from the East. or in exotic material and pattern. This is the characteristic of fashion to express the desire to escape from the reality in the mysterious mood. ㆍMingler is expressed, contrasting or harmonizing the various patterns, color, material in a fashion by the textile with the rich color and print of the various feeling and many trimming. This is the external characteristic of the romanticism fashion combined the experimental mind of the technical progress with the romantic trend in those days. These characteristics of romanticism fashion in the 19th century presented with the various phenomena by working complexly rather than independently.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.94-108
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• 2011

The goal of this dissertation is to analyze various Romantic styles appearing in modem fashion based upon the 'Difference' theory developed by Michel Foucault. The characteristics that represent 'difference' in change of dress style are absence and resemblance. They are derived from the Foucault's interpretations of 'difference' represented in the paintings by Vel$\acute{a}$zquez and Magritte. The formative characteristics of the Romantic style dress in the 19th century are suppression of body, fixed form, volume, and ornamentation. And the aesthetic values of that are subordination, sensuality, and maternity. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to absence and resemblance. The results are as follows: first, absence in fashion means that body is more emphasized than dress represented by omitting part or the entire of dress or using the transparent materials. In modem fashion, absence also frees the body from dress and creates ambiguity of boundaries between body and dress. Another characteristic of the absence is lessening the volume, which means the size of dress remains still big but the weight is lightened. Second, resemblance means the formative similarities between the Romantic style of the $19^{th}$ century's and that of modem fashion created through using modem technology and materials. The characteristics of the resemblance are the fixed form, lessening of volume of the dress and ornamentation. Feminine beauty inherent in the original, such as subordination, sensuality, and maternity, looses its symbolic meaning and what is created is a new combination of images and signifiant that contain no or uncertain meanings. Thus totally new and different Romantic style is created. The Romantic style in modem fashion changed into the appropriate style to the modem society under various conditions such as designer's will, postmodernism, changes of femininity and technology.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.