• Journal of the Korean Home Economics Association
• /
• v.12 no.34
• /
• pp.743-769
• /
• 1974

Au debut I'habit Iiturgique ne differait de I'habit de fete du simple citoyen que par sa richesse. C'est seulement quand, dans la vie courante, on adopta la robe courte que le vetememt liturgique commenca a se distinguer, meme par la forme, du costume civil. Les ornements liturgiques, en effet, ne sont qu'une forme stylisee de l'habit de fete de la fin de l'Empire Romain (du IIIeme au Veme siecle). Pour une ceremonie religieuse on se presente bien habille. Le meme sentiment de respect des choses sacrees a amene deja, vers la fin de l'antiquite chretienne, a donner au pretre un vetememt liturgique special. Pour celebrer la messe, le pretre revet par-dessus sa soutane un costume special, compose de l'amict, de l'aube, du cordon, du manipule, de l'etole et de la chasuble. Aux messes solennelles, les eveques ajoutent a ces ornements des bas et sandales, des gants, la tunique et la dalmatique avee la mitre ; en certain cas, les archeveques y joingnent le pallium. Aux messes solennelles, le diacre porte sur ; l'aube le manipule et la tunique. De ces pieces du costume liturgique, on dira brievement, apres leur emploi et leur forme actel, l'origine et l'histoire, mais seulement apres avoir marque les lignes generales parition et des transformations du costume liturgique dans son ensemble. L'evolution du costume liturgique a partir du XIIIeme siecle peut se resumer en quelques mots en raison souvent de la lourdeur des riches etoffes (velours et brocarts) et de l'importance donne a la decoration, toujours par rechereche d'une plus grande commodite on a abandonne lentement d'abord, puis rapidement adapte a partir du XVI eme siecle, les formes amples pour des formes courtes et etriquees. Il faut faire quelques exceptions qui marquent l'influence des gouts decoratifs de gouts epoque : La periode de 1700 a 1850 marque la complete decadence du costum liturgique. On a depuis essaye de lui rendre sa beaute et aussi sa signification symbolique, par un retour aux etoffes et a la decoration de la deuxieme partie du moyen age. Souhations que, sous la direction des liturgistes, en respectant l'essentiel de la liturgie aujourd'hui, avec le concours d'artistes epris du sens liturgique et des connaisseurs des tradtions et de toutes les ressources actuelles on trouve des costumes liturgiques adaptes a notre temps dans un style plus simple et correspondant au besoins actuels.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.3 s.162
• /
• pp.451-462
• /
• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.7 no.5
• /
• pp.805-810
• /
• 2006

Defects in the conventional casting process of silver jewelry can result in famished products of mediocre hardness. To overcome the shortcomings of conventional methods, we proposed new press forming process, which involves applying uniaxial pressure on casting 92.5%Ag-6.5%Cu-1%Zn ring elements and shaping with a lath. We investigated Vickers hardness, density, and microstructure evolution by changing the applied uniaxial pressure. We report that our newly proposed process can increase the hardness up to 2.3 times and decrease average grain size by 50%. Our method leads to drastic mechanical property enhancements, and is thus suitable for casting tension-style jewelry.

• Journal of the Korean Society for Computer Game
• /
• v.31 no.4
• /
• pp.51-59
• /
• 2018

The purpose of this study is to analyze genre differentiation in digital games and examine the changing characteristics of core genre elements. Especially this study focuses on the aspect that how players recognize genre differentiation based on the conceptual blending theory. The evolution of the genre does not end with decline or extinction. The genre keeps being divided into sub-genres through partial use of genre elements. The differentiation of the genre results from the principle of frame confrontation or expansion with a parent genre. Rogue-like games are differentiated from Role-playing games by frame conflict, while Metroidvania games are differentiated from Platform adventure games by frame expansion. In the former case, the core genre elements are independent and easily combined with other genres. For example, the core mechanism of Rogue-like genre like 'perma-death' or 'procedural generation' has a decisive effect on the differentiation of the game experience become an independent genre element. In the latter case of Metroidvania, the core genre elements strongly reveals context dependency and are difficult to use outside the genre convention. The core mechanism of Metroidvania is 'backtracking' in the labyrinth style map, but it could be effective genre element within the specific context like side-scrolling action-platformer.

• Korean Journal of Heritage: History & Science
• /
• v.50 no.3
• /
• pp.44-63
• /
• 2017

'Bukpo' is called 'Tongpo' or 'Balnaepo,' which respectively mean hemp fabric that goes into a small bamboo tube and women's table utensil 'bari' in Chosen. It is fine hemp fabric produced in Yukjin, Hamgyeong province. Korea has been divided into North and South since the Korean War in 1950. As it is hard to get information about Northern life style or their traditional technology, their hemp fabric production is also left unknown. This study demonstrates characteristics of the production of 'Bukpo' through "Ojuyeonmunjangjeonsango", the only document that marked about 'Bukpo' making process of the late Chosen dynasty. It aims to analyze the transition of the technique and the meaning by comparing the characteristics of the production of 'Bukpo' with the modern era's documents. In this process, I discovered that the hemp fabric production technique at 19th century shares some sort of similarities with that of Europe or Chinese Miao(hmong). But the hemp fabric production technique changed before the 20th century. The evolution of Northern hemp fabric production technique can be a good example to examine the context of the traditional craft technique.

• Journal of the Korean earth science society
• /
• v.44 no.6
• /
• pp.643-654
• /
• 2023

The West Philippine Basin, an oceanic basin half the size of the Philippine Sea Plate, lies in the western part of the plate and south of the Korean Peninsula on the Eurasian Plate. It subducts beneath the Eurasian Plate and the Philippine Islands bordering the Ryukyu Trench and the Philippine Trench with 25-50% of this basin already consumed. However, the history of the opening of the basin's southern region has been a topic of debate. The non-transform discontinuity formed during the seafloor spreading is similar to the transform fault boundaries normally perpendicular to mid-ocean ridge axes; however, it was created irregularly due to ridge propagations caused by variations of mantle convection attributable to magma supply changes. By analyzing high-resolution multi-beam echo-sounding data, we confirmed that the non-transform discontinuity due to the propagating rift evolved in the entire basin and that the abyssal hill strike direction changed from E-W to NNW-SSE from the fossil spreading center. In the early stage of basin extension, the Amami-Sankaku Basin was rotated 90 degrees clockwise from its current orientation, and it bordered the Palau Basin along the Mindanao Fracture Zone. The Amami-Sankaku Basin separated from the Palau Basin while the spreading of the West Philippine Basin began with a counter-clockwise rotation. This indicates that the non-transform discontinuities formed by a sudden change in magma supply due to the drift of the Philippine Sea Plate and simultaneously with the rapid changes in the spreading direction from ENE-WSW to N-S. The Palau Basin was considered to be the sub-south of the West Philippine Basin, but recent studies have shown that it extends into an independent system. Evidence from sediment layers and crustal thickness hints at the possibility of its existence before the West Philippine Basin opened, although its evolution continues to be debated. We performed a combined analysis using high-resolution multi-beam bathymetry and satellite gravity data to uncover new insights into the evolution of the West Philippine Basin. This information illuminates the complex plate interactions and provides a crucial contribution toward understanding the opening history of the basin and the Philippine Sea Plate.

• Journal of the Korean Geographical Society
• /
• v.39 no.3
• /
• pp.321-343
• /
• 2004

In principal, the original form of Eupchi landscape in Naepo reflects a traditional idea regarding direction as a connection with one's fortune and naturalization strategy of power. In reality, the weight for the landscape inside the castle town was distinct by locality according to the conditions of natural geographies and main function of the castle town. In other words, the traditional Eupchi landscape was shaped under the fixed principles but it was simultaneously reflecting the local temporality and spatiality. As Chosun Dynasty went under the Japanese colonization, Eupchi in the traditional period started to evolve into a modem city. That is to say, the traditional Eupchi as a political place became to change into the center of capital accumulation, stronghold of economy and education, and center of town beyond the function as a place for government and administration. Therefore, the process of change from the landscape of Eupchi to a modem city was a kind of revolution in the form and function, and it was also a very rapid rearrangement of social space. The disparate element of landscape and double social space worked as a vital inertial element in the urban structure of Naepo area until the post independence and evolution of landscape.

• Journal of the Korean Geographical Society
• /
• v.47 no.2
• /
• pp.159-178
• /
• 2012

Since the suggestions on the paleo-glacial landforms in and around the northern high mountains of Korean Peninsula by some western and Japanese scientists in the early 1900s, the likelihood of the glacier existence in the Baekdusan over the Quaternary glacial period has been had in common among most of the Korean geomorphologists. In the other meaning, some have cast doubt on the likelihood the paleo-glacier in the Baekdusan because there has been no unequivocal evidences for the glacier such as striation, moraines, except morphologic characteristic landforms possibly related to glacier. Here we show some evidences for the existence of the glacier in the Baekdusan and their cosmogenic $^{36}Cl$ exposure ages over the late Quaternary and would put forward a model on the Quaternary landscape evolution of the Baekdusan, with a focus on the relationship of 1000 AD explosive eruption and the glacial landforms. The exposure ages constrained by cosmogenic $^{36}Cl$ abundances of the col surface of the western slope located below the glacier yield 46~26 ka, which is inphase with the last glacial period. Given all the evidences above, we can draw a conclusion that the glacier existed on the Baekdusan over the late Quaternary and the style of glaciation changed from extensive ice cap through valley glacier to restricted cirque.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.9 no.3
• /
• pp.664-673
• /
• 2008

Recently, the ubiquitous is handled by maximum topic. New knowledge information and ubiquitous computing evolution have promoted new paradigm transfer and grand change. Also, need technology as powerful engineering approached fairly system and educational guidance side examination necessarily to overcome u-Learning base situation and studying obstacle situations. This treatise embodied handiness examination about attention shortage and excess obstacle (Attention Deficit Hyperactivity Disorder, low ADHD) who must solve so as to be square and level being increase trend in primary school using USB (Universal Serial Bus) terminal system that allow fetters to OSGi (Open Service Gateway Initiative). That OSGi base USB terminal system is easy preservation of information, safety of network, cost-cutting and maintenance by various ubiquitous system that server that load many USB terminals and OSGi uses an USB bus of high speed and construct network, there is advantage of concentration elevation and so on of week and ADHD handled in this treatise because early diagnosis and treatment are serious. The confirmed system application that can supplement paper and pens examination's shortcoming and could solve examination's problem which use computer, and help in student guidance through ADHD simpleexamination who utilize OSGi base USB terminal system. Is available by game system that system for human nature examination or intelligence test and general exam explaining and level studying, order style question investigation program, studying system for disabled person, majority that enforce in public in school this study finding does together.

• SUVANNABHUMI
• /
• v.1 no.2
• /
• pp.21-41
• /
• 2009

The Art of the Buddha's Life which depicts the life and before-life of Buddha flourished in Sanci and Bharhut in the ancient India and in Gandhara during the Kushan period. More than one hundred scenes from Buddha's life were represented in the form of relief sculpture or wall painting. They are found in Gandhara and Mathura during the Kushan period, Amaravati and Nagarjunakonda during the Satavahana period, in Mathura and Sarnath during the Gupta period, and during the Pala Period. They unfolded in various forms and styles according to the text(Buddhist scripture), layout, and expressive technique. In Mathura, where the Evolution of the Buddha image was made about the same time as in Gandhara during the Kushan period, the Buddha's life was presented in a number of scenes related to the sacred sites; in four or eight scenes. In the case of the Eight Great Events of the Buddha's Life, the four scenes out of eight were different from those that were represented in Sarnath during the Gupta period, manifesting a transitional period. The Gupta period is widely known as the time when the classic artistic style was established. The art of Buddha's Life was produced only in Sarnath during this period, and it was the time when the Eight Great Events of the Buddha's Life was established as iconography, providing a model for those of the Pala period. Also, it was the time when the single image of Buddha was produced such as the 'Buddha delivering his first sermon,' 'Buddha's Enlightenment,' and 'Buddha's Death,' thus showing the emergence of the single Buddha image from the narrative Buddha's life image. In this paper, a general introduction of the relief sculpture of the Buddha's life from Sarnath during the Gupta period was given. The art of Buddha's life gave great influences on that of China, Korea, Japan and Southeast Asia, and can be emphasized as an important subject in understanding the development of the Buddhist art in East Asia. A further study will be made on the art of Buddha's Life of Southeast Asia in the future, which will enhance the understanding of the art of Buddha's Life in East Asia as a whole.