• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.78-86
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• 2005

Marek(말액) is the headgear, which is a form of hempen hoods[Geon(건)] and the origin of it is Pa(파) of band form. A history book of an old Chinese country Post-Han $\ll$ History of HouHan (후한서)$\gg$ had recorded that a soldier wore a red band around his head that was called Pa(파). In the Han dynasty(한대), Pa had been transformed into Chaek(책) or a kind of a hemp rap(건) while e headgear had still remained as the band form and called Marek from e Tang era(당). The literatures of the Tang era had referred the red Marek of soldiers, and other literatures of the later period had recorded that of the previous headgears of the band form were related with Marek. Since the Tang era, white or yellow Marek except red one fer soldiers had been were by soldiers, musicians, dancers and singers in Yuan(원) and Ming(명) of China. The colors was recorded in red on documents mostly, this red implicated soldiers for symbol of terror. This fart was documented in an old history book $\ll$The history of 25 Eras(이십오사)$\gg$, On the other side, a wall painting in Princess Jeonghyo(정효공주)'s tomb of the Parhae(발해) period described the portraits of twelve persons, and among them, two Siwui(시위) put on the red Marek. Quoted from the record of a history book of the Tang era system , a history book of Three Kingdoms(삼국시대) of ancient Korea $\ll$Samguksaki(삼국사기)$\gg$ described that four dancers of Kogryo(고구려) wore Marek on their heads with the costumes of Koguryo, one of those Kingdoms. In consideration that the book of $\ll$Tongjun$\gg$ was the literature of the Tang era so that Marek mentioned in this book was followed by their name, the Marek of Koguryo dancers shown in the history book $\ll$Samguksaki(삼국사기)$\gg$ might be a kind of Koguryo style hemp cap[Geon(건)]. The Marek of Parhae had succeeded to the headgear of Koguryo and the identity was on Koguryo.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• Asian Journal of Business Environment
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• v.11 no.2
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• pp.39-46
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• 2021

Purpose: The purpose of this study was to determine the opportunity for the traditional food of Tahu Kuning Kediri (Kediri Yellow Tofu) as a product that deserves legal protection in the form of geographic indications. Methodology: This research is a normative juridical study that emphasizes secondary data from literary studies. The research subjects are policies and regulations related to geographic indications. Findings: Based on the description above, it can be concluded that the traditional food of 'Tahu Kuning Kediri' meets the requirements for legal protection in the form of a geographical indicator because it fulfills four conditions, namely a sign indicating its origin, GI objects in the form of goods and/or products, geographical factors and certain characteristics of goods and/or products that are different from other traditional regional yellow tofu food. Conclusions: The process of applying for legal protection in the form of geographic indications can be carried out by the association of MSMEs of 'Tahu Kuning Kediri' producers who are already legal in collaboration with the local government and submit to the Ministry of Law and Human Rights by attaching the proposed Geographical Indication book.

• Korean Journal of Oriental Medicine
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• v.15 no.2
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• pp.51-61
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• 2009

Objective: Much has been known that the systematical theory of acupuncture was developed from stone needle as therapeutic tools for orthopedic diseases in ancient times. Stone needle is very old therapeutic method like moxibustion and has been recognized that it was developed since the Stone Age in China so far. In the present study, it was examined for the origination and formation of stone needle based on stone relics of the Stone Age in Korean Peninsular, the medical and geographical literatures. Materials and methods: The facts of stone needle was examined and arranged on the ancient medical or geographical literatures such as The Yellow Emperor's Canon Internal Medicine, Shanhaijing as an ancient geographical book, etc. The clan societies and family related to an origination of stone needle was chased together with their cultural characteristics and origination. The stone relics which have been digged out of historic sites in the North-East Asia were examined for a relevance to stone needle. Results: In The Yellow Emperor's Canon Internal Medicine, it was referred to the stone needle that originated from a fishery zone related to the east coast district in North-East Asia. Through the examination of Shan Hai Jing as an ancient geographical book and its historical reviews, a Go-yi clan society who keep Go's family tree dealt well with the stone needle and jewels including jade in the North-East Asia before the publication periods of The Yellow Emperor's Canon Internal Medicine, and is comprised in the culture of Dong-yi clan society but not the Chinese culture. The obsidian stones, which have been digged out of historical sites in the North-East Asia since the Stone Age, are originated from volcanic areas combined with seashore that seems to be Baekdu mountain district in Korea and Kyushu district in Japan. Furthermore, obsidian stone tools which were found out at Laodung peninsula and the Korean peninsula are archeologically similar to the stone needle with regards to the shape, size and dual-use. In addition, specific obsidian stone tools have been used in orthopedic surgery as well-crafted obsidian blades have a cutting edge up to five times sharper than high-quality steel surgical scalpels. Conclusion: The origin of obsidian stone needle is well corresponded to the explanation about that of the stone needle. It is suggested that the stone needle which influenced in completion of acupuncture and Meridian theory in China seems to be an obsidian stone, and distribution of obsidian stone needle has been closely connected to Dong-yi clan society which are lived in the North-East Asia including Baekdu-mountain district.

• Journal of the Korean Society of Food Culture
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• v.25 no.2
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• pp.179-188
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• 2010

In order to aide in the design of an improved menu book, which could play an important role as a marketing tool, the current version of the menu books and managers (subjects) of 295 restaurants in the Incheon area were examined. These were managers of Korean (36.3%), Western (25.8%), Japanese (14.6%), cafeteria (12.5%) and Chinese (10.8%) style restaurants. The level of service (self-evaluation, 3-point scale) was average $2.25{\pm}0.45$. The general colorings of the menu books were green (19.0%), brown (18.6%), black (17.6%), yellow (15.9%), red (13.6%) and blue (13.2%). The material of the menu book cover was mainly leather (35.9%), and the internal material was mainly coated paper (59.7%). Physically, the design was two-panel fold (38.3%), two-panel multi-page (35.6%), die style (10.2%), single panel (8.1%) and tent style (7.8%). The type sizes were unchanged in 49.9% of the menu books and in 61.7% photos were not used. 53.9% of menu books did not explain the menus, and 13.2% did not classify the items into groups. Emphasis of profit-making menus was not done in 66.8%. 51.5% of menu books were irreplaceable in parts. The emphasis of profit-making menus was less among the Korean style restaurants (p<0.001). The possibility of partial replacement of menu books was lower in both Korean and Chinese restaurants (p<0.001). The explanation of the items was lower in the Japanese restaurants (p<0.001). The classification of items into groups was lower in cafeteria (p<0.001). In cases in which there were both seasonal and event menus, the possibility of partial replacements of menu books was higher (p<0.001). Restaurants of which service level was less than ordinary were lower in the differentiation of type sizes (p<0.001), the use of photos (p<0.001), the explanation of menus (p<0.001), the classification of menus by groups (p<0.05), the emphasis of profit-making menus (p<0.001) and the possibility of partial replacement of menu books (p<0.001). If these study findings are applied to the designing of menu books, the role of the menu book as an important tool for marketing could be greatly improved.

• Journal of the Korean Society of Food Culture
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• v.6 no.3
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• pp.275-280
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• 1991

To analyze tablewares and table flowers in wedding ceremonies of king and royal prince (1866, 1906) of Chosun dynasty, the author studied the historic book-Gare Dogam Euigwae, in which wedding feast dishes for king and prince in Chosun Dynasty were described. The results obtained from the study were as follows. 1. Tablewares used for wedding ceremony in the year of 1866, 1096 were same as that of from the year 1744 till 1819. 2. For wedding feast dishes for the prince, black lacquered table was used, for the crown prince's wedding feast red lacquered table and for the Emperor's wedding feast yellow lacquered table were used. 3. Table flowers used for wedding ceremony in the year of 1866, 1906 were same as that of from the year 1744 till 1819.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.1
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• pp.75-95
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• 2000

The purpose of this study were: 1) to understand the meaning of color according to the culture 2) to develop color and color arrangements in the thoughts of the East and the West.. The meaning of color on the dyed clothing was investigated through the book written classified with yin, yang, five color elements and Christian color system. The results were as follows; 1. Red wedding dress used the meaning of prevent badness and American used to resist for England in the War of Independence. 2. White wedding dress meaned innocent, gladness to the ancient Greece, Rome and Gothic Christian in the West, and it meaned a dead daughter in Japan, East, 3. Blue clothes meaned lucky in the East and meaned sacredness and love in the West. 4. Yellow was the color of the Emperor in the East, and it meaned death, betray in the West. 5. Black meaned badness in the East, and it meaned sadness in the West.

• The Journal of Korean Medical History
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• v.15 no.1
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• pp.43-62
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• 2002

About the YinYang, Wang Bing used the twelve shoshickgue to explain the rise and decline of the twelve months in "Essential Questions GinYoGyungJongRon" and "Essential Questions Mekhae". And he used the principal of "when an object goes to extremes it reverses" to explain "shao fire", "invigorating fire" which shows an example of a good application of the theory of yinyang in "the Book of Changes" to "The Yellow Emperor's Inner Canon". Explanation of the five phases usually follows the explanation of the "Sangsu Hongbum" but when arranging the five live stocks to the five phases, he refered to the "SulGueJun" and made annotations.

• Journal of Conservation Science
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• v.32 no.3
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• pp.345-352
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• 2016

The purpose of this study is to analyze on the textile used for book covers of "Gukgiboksiksoseon" and "Boepboksajeolboksaek", and slipcase of these books kept in the Oryundae Korean Martyrs Museum in Busan. These records are estimated to be written by Gyeongbin Kim(1831-1907), who was a royal concubine of 24th King Heonjong (reign 1834~1849) of the Joseon Dynasty. The cover textile of slipcase and two books are investigated to be silks by the FT-IR. The cover textile of slipcase is flower patterned satin with silver thread and the cover textile of two books are green and red with Su characters and bat patterned satin. The blackish part of pattern of slipcase is investigated by silver thread by FE-SEM-EDAX. Moreover, by the dye analysis, berberine, brazilin, and carthamin are detected from the cover textile of "Boepboksajeolboksaek". It is indicated that it was dyed with an amur cork-tree, a sappanwood, and a safflower. And rutin which is the main dyestuff of the sophora flower of the pagoda tree was detected from the yellow thread of the cover textile of slipcase.

• Korean Journal of Acupuncture
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• v.36 no.4
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• pp.252-263
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• 2019

Objectives : This research aimed to 1) analyze the true meanings of the chapter, 'Wigi Haeng (Wei Qi Xing), the movement of guard qi' in Youngchu (Ling Shu) from the point of view of ancient Chinese Astronomy, 2) calculate the speed of Wigi over 24 Chinese seasons, 3) analyze the true meaning of daytime and nighttime in the chapter. Methods : 1) The chapter 'Wigi Haeng' was analyzed using concepts of ancient Chinese astronomy, 2) the records of angular distances of 28 constellations in the Book of Han (Han Shu) were used to analyze the meanings, and 3) the records of lengths of daytime and nighttime in the Book of Hou Han (Hou Han Shu) were used to calculate the speed of Wigi. Results : 1) The author of the chapter 'Wigi Haeng' did not consider the irregularity in the angular distances of the 28 Chinese constellations (Su). 2) The commentary in the Huangjenaegyong Taeso (Huang Di Nei Jing Tai Su) about the constellations in the chapter is correct. 3) The speed of Wigi changes in daytime and nighttime depending on the seasons. 4) When the speed of Wigi increases in daytime, the speed in nighttime decreases, and vice versa. 5) The beginning of daytime in 'Wigi Haeng' is not the time of sunrise but the time of dawn (2.5 Gak before sunrise). The nighttime ends 2.5 Gak after sunset. Conclusions : 1) The chapter 'Wigi Haeng' demonstrates the ancient astronomical point of view on the universe and the movement of Wigi. The speed of Wigi is variable. 2) This chapter does not address the irregularity in the angular distances of the 28 Su. 3) More research is needed on the meaning of daytime and nighttime in 'Wigi Haeng'.