• Journal of Family Resource Management and Policy Review
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• v.11 no.3
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• pp.1-21
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• 2007

The purpose of this study is to investigate the gender division of housework in the Choson period. The gender division in the Choson period has been considered as discriminative because women had to remain indoors and were excluded in social works. But in fact the Confucian idea, which regulated the relation between women and men, emphasized the gender difference and not gender discrimination. Actually it can be seen in genre painting of Choson period that women and men worked complimentarily indoors. So this article intends to explore the possibilities of the new analysis of the traditional gender division of housework by reviewing the paintings. As the results indicate, men in the Choson period were involved in some housework, in contrast to the common idea that they maintained their authority by not participating housework. There is also some evidence that gender division benefited women to protect their own productive territory or to satisfy their needs. So it is suggested that gender division in the Choson period should be considered as a source of power as well as a disadvantage to women. Forth, the employed mens' reemployment decision was affected from their household income, expected income after retirement, pension ownership, and attitude toward retirement. From the findings, it can be concluded that the employed mens' age, economic status, and attitude toward retirement played a important role in the process of retirement and reemployment decision making.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.54-63
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• 2009

The present study is a basic research for promoting the globalization of Korean food, aiming to analyze Japanese restaurants in Hong Kong, an international city successful in globalization, focused on their spatial characteristics and food related characteristics and to use the results as basic materials. The results of this study are as follows. As to the characteristics of indoor spaces and food of Japanese restaurants in Hong Kong, first, the locations of Japanese restaurants were mostly easily accessible luxury hotels, office buildings or shopping malls. They displayed Japanese styles well and used conspicuous signs. Their trade names were given after traditional place names, food names, greetings, etc. Second, the spaces of Japanese restaurants expressed contemporary and, at the same time, traditional styles moderately and elegantly by applying emphatic articles such as traditional furniture, tools and folk paintings to contemporary spaces with traditional air, and by doing so, they showed various possibilities. Third, as to the characteristics of food culture, menus were diversified from traditional menus such as kaiseki to everyday menus such as vinegared rice, ramen, skewered roast meat and fusion dish, and at the same time, differentiated by concept. In addition, some restaurants succeeded in globalization and modernization with chains throughout the world. Furthermore, while table setting, food dishing and tableware image were harmonized with the concept of the restaurant space, if tradition needed to be displayed it was used at a minimum, showing the Japanese aesthetic sense through the restaurant space and food. In globalizing Korean restaurants based on the results of this study, we need to link trade name, facade, sign, menu and space with served food, and to plan a consistent story so that Korean culture and images are expressed. In addition, if a manual is made by benchmarking the Japanese government's support policies and relevant businesses' efforts and ideas and provided to Korean restaurants, it will be helpful for Korean restaurants, which spread Korean food culture, to be more competitive and graceful.

• Proceedings of the Korean Institute of Surface Engineering Conference
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• 2015.05a
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• pp.32-32
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• 2015

Electrophoretic paint (E-paint) was investigated on four different magnesium substrates: as-extruded AZ61 (AZ61), heat-treated AZ61 (AZ61-H), as-extruded TZ61 (TZ61) and heat-treated TZ61 (TZ61-H), to elucidate the effect of heat treatment and alloying elements on the deposition and corrosion resistance of E-paint. It was found that, a rapid increase of voltage, indicating that the deposition of E-paint had started, was observed after an induction time of 0.39 min for AZ61-H, 0.43 min for AZ61, 0.51 min for TZ61-H and 0.58 min for TZ61. The amount of E-paint deposited on the four samples was approximately similar, but the electrical charge used for the deposition process on the heat-treated samples was smaller than that on the as-extruded samples. The current efficiencies of E-paint on AZ samples (AZ61 and AZ61-H) were higher than those of TZ samples (TZ61 and TZ61-H), and on the heat-treated samples were higher than on as-extruded samples. All E-paintings on the four magnesium substrates had an excellent adhesion without any paint detached by tape peel-test. However, many large blisters were formed on the surface of AZ samples, and none, or very small blisters were observed on TZ samples after immersion test in DI-water for 500 h at $40^{\circ}C$. Under salt spray test (SST) conditions, E-paint on AZ samples showed blistering adjacent to scribes, while blistering of E-paint occurred on intact areas of TZ samples. The E-paint on heat-treated samples showed much better corrosion resistance than that on as-extruded samples. The ranking of greater to lesser corrosion resistance of the E-paint on these four different magnesium substrates is indicated by the order: AZ61-H > AZ61 > TZ61-H > TZ61.

• Journal of Science of Art and Design
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• v.4
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• pp.91-122
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• 2002

`Bio morphism` are constituted in paintings where the artists try to embody the elementary properties of living creature as of growth and durability. They are the most appropriate concept of painting to harmonize human being with nature closely. The formative ways of them attach great importance to both unconsciousness and desire , as well as variations or dynamics, by noticing a flow of natural senses and feelings of human being. In other words, the formative ways are based on a recognition of nature as the intrinsic force of life, with the result that aesthetics of incompleteness is embodied in images. Therefore they are clearly distinguished from that of functional, geometric images. A tendency of painting at that time, in a word, 'return to figure and expression', means a conversion into organic images like the incomplete, atypical, and biomorphic forms, while denying the mechanical or geometric. Elizabeth Murray are analyzed, for these works are remarkable in the characteristics of 'Bio morphism'. Consequently the features of organic images, that is, 'the formative acceptance of natural figures, or an informality' and 'the force of free will, or an incompleteness', could obviously be revealed. It is a type that obtains a motif out of natural figures like an animal, a plant, or the concrete figures of human being. In conclusion, this thesis is focused on not only emphasizing that 'Bio morphism' were a major tendency among the various trends of postmodern painting in the 20th century, but also analysing both the painterly formation of organic images and the structure of them. In addition to these points, it is a central aim to evoke that Bio morphism should accurately be evaluated and positioned in postmodern painting. A new recognition of 'Bio morphism' is a peculiarity of the times that reflects a cultural aspect of the present, hence it should be recognized as another way to approach the postmodern painting.

• Radiation Oncology Journal
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• v.34 no.2
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• pp.135-144
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• 2016

Purpose: The purpose of this study was to evaluate the efficacy of art therapy to control fatigue in cancer patients during course of radiotherapy and its impact on quality of life (QoL). Materials and Methods: Fifty cancer patients receiving radiotherapy received weekly art therapy sessions using famous painting appreciation. Fatigue and QoL were assessed using the Brief Fatigue Inventory (BFI) Scale and the Functional Assessment of Chronic Illness Therapy-Fatigue (FACIT-F) at baseline before starting radiotherapy, every week for 4 weeks during radiotherapy, and at the end of radiotherapy. Mean changes of scores over time were analyzed using a generalized linear mixed model. Results: Of the 50 patients, 34 (68%) participated in 4 sessions of art therapy. Generalized linear mixed models testing for the effect of time on mean score changes showed no significant changes in scores from baseline for the BFI and FACIT-F. The mean BFI score and FACIT-F total score changed from 3.1 to 2.7 and from 110.7 to 109.2, respectively. Art therapy based on the appreciation of famous paintings led to increases in self-esteem by increasing self-realization and forming social relationships. Conclusion: Fatigue and QoL in cancer patients with art therapy do not deteriorate during a period of radiotherapy. Despite the single-arm small number of participants and pilot design, this study provides a strong initial demonstration that art therapy of appreciation for famous painting is worthy of further study for fatigue and QoL improvement. Further, it can play an important role in routine practice in cancer patients during radiotherapy.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.405-410
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• 2019

This study is an primary analysis on convergence of porcelain lacquer painting art which is composed of porcelain art and raw lacquer technic. As a part of ceramic art, this study suggest 3 ways of porcelain lacquer decoration with understanding of its history and contemporary status. Lacquer technic gives stability for surface paintings and it also has various media to express its beauty. Porcelain lacquer decoration art contains artistic value and pragmatic purpose for daily life usage. These days, due to unavailability for mass production, it tends to be tried for art work purposes. However this artistic technic and value can be applied to porcelain goods, so that it will raise aesthetic pleasure and cultural diversity.

• Cross-Cultural Studies
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• v.45
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• pp.33-54
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• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.

• Journal of Digital Convergence
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• v.17 no.9
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• pp.343-347
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• 2019

As an important branch of decoration of blue and white painting, folk blue and white painting not only has a very long history, but also has a very distinctive folklore and artistry. During the Ming and qing dynasties is an important period, in the development of the folk blue and white painting, the folk craftsmen through long-term study and practice, constantly familiar with drawing technique to master the method, combining folk life form, and folk painting decorative expression aesthetic demand, thus make the painting MinSuXing and artistic expression continuously into the blue and white porcelain painting in the process of development, become an important and indispensable component of ceramic decoration.

• Korean Journal of Heritage: History & Science
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• v.48 no.4
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• pp.44-61
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• 2015

Mural tomb in Goa-ri(Goryeong) built in the 6th Century Gaya period investigated precisely by the scientific method. They were used to optical equipments for investigation and made a damage map according to the damaging types. The mortar layer was mostly exfoliated from the rest of the wall except for the burial chamber ceiling and corridor ceiling. Also painting layers rarely not observed. Most of the paintings were damaged except lotus painting in burial chamber ceiling. Various damage types that exfoliation, earthen dirt, film coating were found in murals. Damage factors of mural were the porous characteristics of mortar layer and the movement of moisture in the murals. They were caused physical damage such as crack, exfoliation. It was getting worse and causing to secondary damage like earthen dirt, film coating.