• Journal of the Korean Society of Costume
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• v.24
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• pp.15-28
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• 1995

This thesis focuses on the study of costume and ornaments of Shilla which had been severely affected by Uighur, and those of Uighur in Uighur self-governing district located in Shin Kang. East Turkestan, in Centrals Asia. This study aims to identifty the way of intergration of Uighur's costume and ornaments into Shilla, and orgins of Shill's costume and ornaments which had amix of internationl elelemnts thoursh cross exchanges, by comparing the differences between the two, and at the same time to clarify the pedigree of Korean costume and ornaments which are said to be udner a severe Chinese influence, by highlingting its uniqueness and originality . The result of the study demonstrates and originality of SHilla by melting foreign cultures into its own style in the process of accepting them. This means that the Shilla has recreated them in t도 form of simplification, and added naturalistic abstratness which is an element of Norther culture. The costume and ornaments are divided into coronets men's costuem, women's costume, and accessories 1. Coroncts A horse-riding man, and the costume type of 유고제 착유지체형 tell the Northern culture's influence on 백화수피기마인물채화담립 and patterns of a lotus flowr and arabesque show the 백화수피기마인물채색답립 has an influence of Buddhism with cluture of bordering countries of Western China , The origin of 뱍회수피제안형건(원정형, 방정형) lies in Northern cultures which can be found in ancient tombs of the Huns in noin-Ila , and stone caves of Jizil in Kochang. The wall paintings in Alexandropol, Murutuk and 돈황 No. 409 cave show that 초화형입식계금관 is under the influence of Northern culture, and Bezerkrick No, 25 cave and 회 번 in Kocho also show 수목녹각형입식관 is under the influence of Northern culture, with its origin in Novecherkaask. In this regard, the transformed coroncts of Shilla has shows a blended culture of Shilla with Nothern, Chinese, and Western cultures. 2. Men's Costume 반령포 derives from cultures of bordering countries of Western China centering around Uighur and Turkey. 연주문 in Uighur prince's costume and in Uighur paintings of Central Asia were reflected into the arts of Shilla in a direct way, and the motive of Uighur was deviatelly expressed at Shilla's arts in the form of simplicity , and naturalistic abstract paintings as in shown at 입수쌍조문 in tiles and brick. Along with this , 고착지체형 costume originates from Eurasia's Northern horseriding costumes as was shown in a golden man in B.C.4-5C which is now possessed by Kazakstan Republic Academy Archelogy Center Museum, and a golden figure from Skitai ancient caves, an the origin is carried away into wall paintings of Kizil No.14. cave in 8c and Astana's early period ancient tomb. No.6. 3. Women's Costume The hair styles of Shilla people are either 변발 or up -style with a lot of hair around it whose origin can be seen in Astana No.216 and No.187 caves of Kochang and Uighur's wall paintings of royal princess's hair style. Astana's middle period No. 206 and No.230 tombs reveal the its origin of 고착장군 while Astana early period No. 6 tomb shows that of 광유풍만형. 4. Accessories The earrings with small golden beads is seen at earring of figure holding a sword in wall painting of figure holding a sword in wall painting of Kizil in about 5 C. and those of a offering people in Sorchuk wall paintings. The earrings with small golden beads originates from a golden pendant of Shivargan, Afganistan, and golden pendants and other golden and metal accessories from Chrioba ancient tombs in Skiti Critia peninsula. Shilla's costume derives from the costume style of horse-ridding man, which proves the fact that Shilla people are horse-ridding peoplewith excellent horse-ridding techniques, and traditions. The people of Shilla are from horse-ridding people of local mounted momads in Northern part of Siberia steppe and this origin of Northern culture had been carried into Uighur in East Turkestan. At the same time , Shilla has a wealth and power since it was rich in gold and iron , thus producing lots of materials made of them. The results of this study emphasizes Shilla's identity and self-control by creating an independent an innovative heterogeneous culture since Shill's active exchanges with East Asia allowed it to accept the most civilized Uighur culture in East Turkestan among Altai languate which had frequent cross contacts with India and Europe.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.956-970
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• 2006

The purposes of this study was to analyze the characteristics of national races' costumes in Chinese contemporary costumes. For the purpose, this researcher concentrated on the relations between national races' costumes and Chinese contemporary costumes and discuss systematically depending on references such as fashion magazines, picture albums, and historical records. The results of study were as follows: First, the formation of fashion has been influenced by Man, Uighur, and Choson races. For example, Qipao, the tight style of Man race's fashion, Uighur race's bell style sleeve and cyclic skirt are applied to women's modern fashion. Second, weaving, printing, and embroidery technique of a minority race developed more than Han race, so applied still. Recently, Chinese contemporary costumes accepted the weaving technique of Miao and Uighur race through publicizing of a minority culture. Third, a national race's costumes are famous with splendid design and applied to modern fashion directly. They are commonly made to hair pin, necklace, earing, bracelet and so on. Recently, styles from a national race's costumes and old style are becoming popular to Chinese and it's easier to found such a fashion in market.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.105-117
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• 2007

The purpose of this study is to help the understanding the characteristics in the costumes of men and women throughout the overall acceptance process of 'Naewaebub' in the late 'Chosun Dynasty' in which the notion of 'Naewae' is more prosperous than any other period in Korean history. Originally the distinction between man and woman was not intended to display the high and the low but to show the mutual respect according to each duty. As time goes on, that ideal became gradually changed to heighten the man and lower the women especially in 'Han' period of China. There was the ideal of distinction in the ancient times in Korea. Until 'Koryo Dinasty' the community has the system of blood-tied that put together maternal and paternal. 'Karye' was introduced in the late 'Koryo Dynasty' and accepted to the stereotype of morale in the 'Chosun Dynasty' and there seemed to be 'Samgang' and 'Oryun' at once. Many restrictions was imposed to behavior in women like rules of prohibition in attending the temple and concealment of woman's face and was recognized to rule of distinction between man and woman. Confucian life custom has been settled to Korean society throughout the late 16th century and 17th century and there were some appearances in the housing construction which divide the residences of man and woman. The characteristics in the costume from the avoidance of opposite sexes are clear in the structure of clothes changed from similar style to different style. The examples of those characteristics are as fellows. The costume in man was developed to advanced 'Pyoun-bokkwan' and 'Pyounbokpo' as social action of man prospered. Meanwhile the trousers which had been the same in the man and woman were separated to different trousers between man and woman. The costume life style of woman was changed to using the a hair whirl, hiding the face in the street and overlapping the innerwear under the skirt which was extension of woman's closed life style in late 'Chosun Dynasty'.

• Journal of the Korean Operations Research and Management Science Society
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• v.32 no.1
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• pp.15-26
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• 2007

This study analyzes revenue-maximizing strategies of online auction sellers in terms of setting up starting bids and buy-it-now options. To this end, a series of field experiments is conducted where women's hair accessories of unique designs are listed in an established online auction site. The results of the experiments argue that high starting bids could increase sellers' revenue while buy-it-now options have no significant effects. Our findings suggest that online auction sellers listing items with uncertain demand - mainly individual sellers - should be cautious with auction tips which generally support low starting buds.

• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.71-88
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• 2017

The purpose of this study is to reveal that the deconstructive dis de phenomenon in contemporary fashion beauty design can be interpreted from the viewpoint of Korean aesthetics by having an open mind of coexistence. The typical characteristics of dis de phenomenon are decomposition, decentralization, and discontinuity, and these can be compared with beauty of non-artificialness, unity, and humor, which are characteristics of Korean aesthetics. In other words, the dis de-phenomenon rejects traditional composition and uniformized expression, and seeks various images by accepting the bi-national confrontation concept, this is similar to Korean aesthetics, which experienced atypical diversity by concentrating on the inner spirit rather than the outer form through indifference to technique, form, and honest human emotion.

• The International Journal of Costume Culture
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• v.12 no.1
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• pp.13-25
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• 2009

This research is progressed to look out for efficient expression-elements of eroticism used in advertisements. Since these expressions of eroticism appealing to sex which is one of the primitive instincts of mankind are increasing in advertisements of cosmetic products which are used more often by recent high-rate-growth and the elevation of living conditions. The most usual expression-elements of eroticism in advertisement are exposure, pose, fashion style, make up, hair style and color. To analyze those expression-elements we made four pieces of fashion advertisement photos with four different types and surveyed both fashion majored students and non-fashion majored students. We applied regression analysis, ANOVA, and frequency analysis to verify the hypothesis. We found that in eroticism, the pose was the most important cognitive feature among the expression-elements and degree of cognition are varied according to major field and sexual interest. As a result, degree of cognition which effected by expression-elements will be varied even in same advertisement. In particular, convincing that the pose was the significant factor of eroticism cognition, expression of eroticism in advertisement would be more diverse and daring.

• The Korean Journal of Ecology
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• v.17 no.3
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• pp.355-366
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• 1994

The purpose of this study was to investigate the changes of water quality and the patterns of self-purification with season in Gokneung stream. The vegetation in the ecosystem around Gokneung stream was dominated by Quercus species. In the physicochemical analysis based on the contents of DO, BOD, conductivity and total phosphorus, the upstream seemed to have been polluted, but the downstream was self-purified. In biological investigation by bentic macroinvertebrates, the result was similar to that in the physicochemical analysis. The self-purification constant based on BOD of the upstream, 1.013, was the highest. In the self-purification constants with month, that of September was 0.995 and that of January was 0.272. These results indicated that the self purification capacities of spring and autumn were larger than those of winter and summer in Gokneung stream.

• Journal of the Korean Society of Costume
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• v.4
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.112-132
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• 2015

Banya was a concubine slave of Shindon(辛旽) who was a powerful monk in late Goryeo Dynasty, as well as the mother of King Woo(禑王), a successor of King Gongmin(恭愍王). This study was undertaken to investigate the sources of costume for Banya. The study focused on the features of Buddhist service costume, street wear, and daywear for common women's costume during the prime age of the Buddhist culture. The study looked into Buddhist paintings, old documents, advanced research, and relics. There are three characteristics of historically investigated Buddhist service costume for Banya: Dallyeongpo(團領袍), long Jeogori made with black Ra(羅), and Jeogori with a long scarf. Skirt, under Jeogori, under skirt, Cho, Ra(羅), Neung (綾), Dan(緞), patterned ramie(紋紵), and Tapja(塔子) were included in all Buddhist service costume. And, street wear consisted of Women's Dapho(婦人搭忽), long Jeogori, skirt, underwear and black Ra beil(蒙首). Daywear consisted of Banbi(半臂), long Jeogori, and skirt, underwear made with cheap fabric, Ju(綢), ramie, and imported cotton. Plumper hair, silver comb and Biyeo, lining of light pink-colored thin silk(小紅薄絹), bronze openworked ornament that fixed the outerwear's opening, bronze needle case, Sutra box and heated gemstone could be matched for the Buddhist service costume. Bronze and heated gemstone could be used for ornaments of street wear and daywear. The investigation of ornaments was carried on by referring to presentation of overseas collections. Considering the limitation of the study on Goryeo costume due to the lack of research material, future studies including much more relics in oversea collections needs to be undertaken.

• Journal of Fashion Business
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• v.2 no.3
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.