• The Southeast Asian review
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• v.29 no.3
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• pp.39-80
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• 2019

This article examines the reason why Indonesian Javanese are using their traditional medicine jamu. Tracing the cultural logic of Javanese, this study observes the space and the process in which the demand on jamu is culturally constructed. In order to address this, the article focuses on Javanese family and their royal court, the spaces where jamu originated from and has been used. Then, the discussion proceeds to identify jamu as a medium to construct rukun(harmony) and tentram(peace), as well as to express and ensure Javanese cosmology. Along with the research, the article argues that: 1) jamu is an embodiment of Javanese local knowledge system into which Javanese consciousness, notions, knowledge, and techniques integrate; 2) the health achieved by using jamu is what Javanese call tentram, which encompasses physical, mental, spiritual and social dimensions of health; 3) the health of tentram has the value of a resource that becomes the foundation to build a good, prosperous society.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.63-78
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• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.

• Journal of Fashion Business
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• v.13 no.1
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.

• Journal of Science of Art and Design
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• v.12
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• pp.97-124
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• 2007

The paper examined whether the fine arts education needed concept of 'Yu' that was suggested by, 'Soyoyu' of Jangja, a representative philosopher of Doka. At first, the paper defined concept of 'Yu' of Jangja as well as background and needs of the fine arts education, and investigated values of 'Yu' of the Oriental painting in aesthetic way to examine whether today's Yu concept can be applied to modern Oriental fine arts education to express. Chapter 2 examined concept and thought of 'strolling (Yu)', and Chapter 3 did background and needs of the fine arts education. Chapter 4 examined an access to practical technique education of the Oriental painting through 'strolling (Yu)': At first, the chapter investigated 'Heosil' of space concept that was researched at Chapter 2, 'Pilmuk' of expression technique, and 'Saeui' of state of spiritual canvas of painters. The findings were as follow: Firstly, when relation between Yu and Oriental paintings was investigated based on formative idea, 'Heo' reminded appreciators of association of ideas, hint and imagination, etc by, 'Sil' that other objects disclosed intrinsic attributes so that it indicated border of positive forgetfulness expressed by artists to have same border between 'Heo' and 'Yu'. Therefore, both 'Heo' and 'Sil' could build up expression as well as appreciation ability by experiencing formative idea to develop creativity and to build emotion and to cognize needs of the fine arts education. Secondly, the artistic state of 'Shin', 'Ki (Simjae)', 'Jeonshin' and, Saeui', etc could be expressed with strength and weakness of both Yin and Yang of Pilmuk. Therefore, the Pilmuk were linked even with creation of both Hyeongsa and artistic form of Saeui. Therefore, freedom at border of spiritual 'strolling' could produce creative power being expressed by thinking, natural appreciation ability, and education that could judge values of aesthetic culture. Therefore, cultivation of aesthetic eye, development of creativity, build up of formative ability and education of human nature, etc could keep identity of the Oriental fine arts education at various modern fine arts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.111-120
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• 2012

This study regards a series of achievement on Wonlim(Garden) Cultural Properties Excavation Project, led by field of landscape architecture. It will mainly describe excavation results of Gwiam(龜巖: Turtle rock) and historical value of it in terms of Nakseojae(樂書齋) restoration in Bogil-do Yun,Seondo Wonlim(Scenic Sites, No.34). Gwiam(Turtle rock) was found 14.6m apart from the north of Nakseojae, and it covered with 10~15m topsoil tilted toward Nakseojae, The size of Gwiam, which was Granite, was 360cm length, 270cm width, 95cm high. The Edge of Gwiam's North west part was of triangular shape forming Turtle head. The back of the Turtle head was form of Tortoise-shell because of wide backboard with both side groove. The southeast part of Gwiam projected was Turtle's tail. This Granite was obvious Turtle shape artificially made, and there are less likely to relocate from place to place. This Turtle-shaped Gwiam is important landmark for Nakseojae, which is one of the four spiritual creatures written in Bogildoji(甫吉島識) and Gosanyugo(孤山遺稿) by Yunwi. According to Bogildoji, it is estimated that Gwiam were on the axis with Soeunbyung(小隱屛), Nakseojae and was buried when Yiguan(Gosan's grandson) reconstructed a building. Also, it was place for enjoying the moon. But, Even after three times excavation in Nakseojae, there was no way to identify further information regarding Gwiam, so it was a matter of mystification. As a result of this study, Gwiam is laid bare to light in at least 260 years, so it is good example for boosting importance of landscape architecture field and restoring Nakseojae. Furthermore, firm base-soil was discovered in 135m high Rock Mass below, so natural ground of Nakseojae can be estimated by this basis. To be conclusion, Preservation Process for Gwiam and Estimation Space through interpretation of four spiritual creatures(四靈) in Gosan's Poetry should be continue.

• Asian Pacific Journal of Cancer Prevention
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• v.15 no.20
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• pp.8969-8974
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• 2014

Background: The aim of this study was to determine the predictors of health promoting lifestyle behaviour among medical students attending seven of the medical schools in Turkey. Materials and Methods: This crosssectional descriptive study was performed during the second semester of the first and last (sixth) years of study from March to May 2011. A questionnaire with two sections was specifically designed. The first section contained questions on demographic characteristics; the second consisted of the Health Promoting Lifestyle Profile II (HPLP) Scale. From a total of 2,309 medical students, 2,118 (response rate 91.7%) completed the questionnaire. Data were analyzed using descriptive statistics, t, Anova, Tukey test and binary logistic regression analysis. The research was approved by the Ethics Committee of Erciyes University. Results: The mean age was $20.7{\pm}2.9$ years and it was found that 55.1% were men, 62.3% were in the first year. The overall prevalence of smoking was 19.1%, and for drinking alcohol was 19.4%. HPLP point averages of the first year students were $129.2{\pm}17.7$, and for last year $125.5{\pm}19.0$. The overall mean score for the HPLP II was $2.5{\pm}0.4$. They scored highest on the spiritual growth subscale ($2.9{\pm}0.5$), interpersonal relations ($2.8{\pm}0.5$), health responsibility subscale ($2.3{\pm}0.5$), nutrition subscale ($2.3{\pm}0.5$), stress management subscale ($2.3{\pm}0.4$), and the lowest subscale physical activity ($2.0{\pm}0.5$). It is established that student's grade, educational level of parents, economic status of family, marital status, smoking and general health perception of the students resulted in a significant difference in HPLP Scale total score average and the mean score of majority of subscales. There was no statistically significant difference between the total HPLP when evaluated for gender, chronic disease, alcohol drinking status and BMI. Conclusions: Based on these results, particularly in the curriculum of medical students in order to increase positive health behaviours including physical activity, health promotion issues, and giving more space to aim at behaviour change in these matters is recommended.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.82-95
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• 2020

This study takes the identity and characteristics of public art in historical and cultural regions as the research object. Through the theoretical investigation and research on the public art of historical and cultural regions, six evaluation factors that shape spatial identity and characteristics were drawn: Environmental characteristics, public characteristics; Symbolic characteristics; Artistic characteristics;.Historical characteristics; Interactivity. The identity and characteristics of Taoxichuan public art in Jingdezhen was analyzed and evaluated. The results show that the " public art " of seven large chimneys is consistent with the historical structure of the industry. Among them, environmental, public characteristics, symbolic, artistic and historical characteristics of the Industria park have a high degree of preservation value and can be recognized as the historical landmark of the park. In the new public art, the artistic quality of public art, the environment, and the public characteristic of public art, are also at a moderate level, but it is comparatively weak. Public art recreated as an industrial heritage has formed an identity that can communicate spiritual sympathy to the public by forming a time-space communication between the public with historical relics and ceramic elements, and the new public art for local rehabilitation has given new artistic flavor to the city, but the new identity has not been shown.

• Journal of Korean Home Economics Education Association
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• v.8 no.1
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• pp.1-10
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• 1996

This study aims at finding a new home economics education which will include male and female students as its teaching objects, and then providing home economics teachers with useful materials. For this purpose I examined analized male and female the upper secondary school students’and parents’recognition and demand to the home economics education The conclusion of this study is summarized as follows： 1. There was significant difference between male students(73.7％) and female students(89.8％) in the necessity for studying Home Economics(P＜.001). In the necessity of Home Economics education, male students emphasized the spiritual part but female students emphasized the functional part. In part of parents, there was no significant difference between fathers(95.5％) and mothers(96.4％). 2. The necessity of each part in the contents of Home Economics 1) In the part of family, there was significant difference between male and female students in the true nature of family, the role and responsibility of family, and the laws relating to family(P＜.001). There was significant difference between mothers and fathers in the true nature of family and the role and responsibility of family. Fathers and male students emphasized the true nature of family and the role and responsibility of family more than mothers and female students did. 2) In the Home management and economy parts, there was significant difference between male and female students in the significance of home management(P＜.001), the relation of family to society(P＜.001), and fluctuating measures for home economy. There was significant difference between fathers and mothers in the relation of family to society(P＜.05). Fathers and male students emphasized the relation of family to society more than mothers and female students did. Mothers, male and female students emphasized the importance of the protection of consumers. 3) In the clothes part, male students emphasized the role of clothes, the disign and making of clothes(P＜.001), the present situation of the resources of clothing and the distribution of clothes (P＜.05) more than female students did. 4) In the part of food, there was significant difference between male and female students in the kinds and function of nutritive elements(P＜.05). Parents and students emphasized the importance of selecting good food. 5) In the part of housing, male students emphasized home planning, and arrangements and facilities of house more than female students did. Female students emphasized the interior of the house(P＜.05). Fathers emphasized the planning of a residential space and arrangements and facilities of a house(P＜.05) more than mothers did. 6) In the parts of human development and upbringing, and upbringing, male students emphasized the significance of being parents, family planning and the population problem(P＜.001), pregnancy and delivery(P＜.01), and the chracteristic of juvenile development(P＜.05) more than female students did. Parents and students emphasized the importance of prevention and countermeasures for diseases and the significance of being parents.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.