• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.182-205
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• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.90-111
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• 2021

Seojangdaeyajodo is a drawing of Jangyongyoung's military night training on February 12 (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the positions and roles of the low-ranking soldier belonging to Jangyongyoung, and the composition and characteristics of military uniforms for each role were examined. The results ascertained by the historical research on the military uniforms are as follows. Deungronggun, noeja, sunryeongsu and daegisu who were placed in front of the king's Seojangdae were the low-ranking soldiers belonging to Jangyongyoung. The soldiers who escorted the king around Seojangdae were lowranking soldiers belonging to Jangyongyoung. The military uniform of the deungronggun was consisted of a jeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon and black shoes. The low-ranking soldier's heopsu suggested that it could also be a sochangui. He carried a sword and a red lantern. Noeja were divided into a sinjeonsu and a jujangsu. The military uniform of the noeja was consisted of a Jujeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon, and black shoes. Sunryeongsu were divided into a sinsigisu and a younggisu. The military uniform of the sunryeongsu was consisted of a jeongeon, a black heopsu, red gweja, indigo jeondae white haengjeon and black shoes. He carried a sword and a red lantern. The military uniform of the daegisu was consisted of a jeongeon, a black heopsu, blue gweja, indigo jeondae, white haengjeon and black shoes. He carried a sword and a flag. The soldiers surrounding Seojangdae and the seongjeonggun defending the fortress were the Chogun. The military uniform of the chogun was consisted of a jeolrip, a black heopsu, houi, indigo jeondae, white haengjeon and straw shoes. Houi was applying the five directional colors: the east is blue, the west is white, the south is red, and the north is black. He carried a sword and a gun. It was presented as an illustration of costumes that could produce contents by reflecting on these historical results. The basic principle of the illustration was to present the standards for 3D content production or actual production. Samples of form, color, and material according to the times and status were presented. The front, the side, and the back of each costume and the feature were presented, and the colors were presented in RGB and CMYK.

• Journal of Korean Home Economics Education Association
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• v.16 no.3
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• pp.1-25
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• 2004

This study analyzes the external forms of the household textbooks and also the contents of them used at girls' middleㆍhigh schools during the period of Japanese ruling over Korea. To this end, 8 household textbooks published from 1928 to 1937 were analyzed. The results of the study are summarized as follows. 1. The household subject had become the one of the most important subjects to girl students as the practical uses were emphasized in educational area during the period. As a result. the classes of the household were the second in hours, following the class of Japanese (the national language) to girl students. 2. The contents of the household textbooks were intended to contain 'the modern' and 'the newest'. The students were also suggested to apply the contents of the textbooks to real home life. Many pictures, photos and illustrations were included in household textbooks to help students to understand the contents of the subject. 3. The purposes of the household class were the reformation of the living conditions and home economics. 4. The external characteristics of the household textbooks during the period were as follows. - Written in Japanese vertically and the size of the textbook was A5 (150/210) with pulp paper of good quality - The type style of the body of the textbooks was Ming-style type- The sequent order of the textbooks was the outer cover, the title page, pictorial, introduction, table of contents, the body, appendix and the back cover. 5. The household textbooks consisted of the first volume and the second volume. The first volume contained clothing and textiles, food and nutrition and housing. Taking care of the aged. nursing. child care, household economy and home management were included in the second volume. 6. The household textbooks were designed to make women the housewives.

• (The) Research of the performance art and culture
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• no.39
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• pp.509-547
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• 2019

The cocoon breeding related national ritual ceremony exercised from the beginning time of Joseon is the 'clothing culture' that has taken its role in the ritual ceremony where it demonstrates the resolution of a state that placed importance in 'things to wear'. During the reign of King Seongjong, it enhanced the level of importance by adding the 'procedure to pick up the mulberry leaved by the queen personally'. During the reign of King Youngjo, the implication of the ritual ceremony was even more expanded that there was an new emergence of new type of national ceremony for the Joseon Era with its first ritual ceremony for woman to personally administer the memorial ceremony to the 'woman divinity' in addition to the 'Jakheonrye' procedure to personally present by the queen for the cocoon breeding. This is intended to meet the status of chingyeonguirye (farming-friendly ceremony) with King Youngjo to personally cultivate the dry field after administering Seonnongje (good harvest paying ceremony) that it is conspicuously demonstrating the importance of farming and cocoon breeding activities. As a result, the Chinjam (a type of ceremony that queen personally breeds cocoon for fabrics) related ceremonial rite that was rearranged during the reign of King Youngjo was settled into 11 ceremonial rites with the expansion of its contents. It ranges from the procedure to leave the palace for carrying out the ritual ceremony to the procedure for the crown princess and Hyebin-gung to accompany the queen, ritual for the queen to devote the Jakheonrye to exercise Chinjam, the ritual for the king to announce his royal message, johyeonui (morning assembly) exercised after completing Chinjam, it is the ritual for the queen to receive the box that contained the cocoon. This type of ritual ceremony is a significant expansion when compared with the exercise carried out earlier and it is part of characteristics displayed for ritual overhaul trend in the reign of King Youngjo. In the main procedures of these ceremonial rites, the music is accompanied and the music includes folk music, inspiration and so forth. The Chinjam related ritual ceremony in the reign of King Youngjo was established in the direction to establish it as the ritual ceremony for a woman who had the divine role of the seonjamje ritual to administer the ritual in a way of having the justification and reality to be consistent.

• Journal of the Korean Society of Radiology
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• v.12 no.6
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• pp.727-735
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• 2018

Targeting the radiological technologists working in Gyoungsangnam province, this study was performed to obtain the fundamental data to improve the competency and right awareness of the hospital infection management, and to educate infection management of radiological technologists by analyzing the status, awareness, and performance of the hospital infection management. During April 1, 2018 to April 31, 2015, after we sent out a total of 400 questionnaires for the survey to radiological technologists working at the clinic located in Gyoungsangnam province, 320 questionnaires suitable for research were analysis by using SPSS 18.0 statistical analysis software. As the hospital infection management factors, 5 items for hospital infection and 60 items of the awareness and performance for the hospital infection management were used. 60 items of the awareness and performance for the hospital infection management were consisted hand hygiene, personal hygiene and clothing, medical equipment and supplies, cleaning and waste, examination and environment. And as the sociodemographic characteristics, the gender, marriage, age, level of education, working organization, working period, and working department were used. Consequentially, the awareness for the hospital infection management($4.19{\pm}.60$) and the performance($4.22{\pm}.52$) were confirmed as high level. Using these results, the hospital infection management level of the radiological technologists working in Gyoungsangnam province was found to be high in arareness and performance of hospital infection management. There was a significant correlation between the degree of awareness and performance of radiological technologists for hospital infection management. Furthermore, in the multiple regression analysis of cognitive factors on performance, it was found that 66.1% explanatory power had a significant positive influence. In order to improve the awareness of hospital infection management of radiological technologist working in various departments, the infection management education and improvement of hospital work environment are necessary. And also, It is important to participate actively in hospital infection management and preventive education and to play a pivotal role in securing expertise in hospital infection management.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.10 no.2
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• pp.77-84
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• 2015

According to a recent survey, the sales amount of luxuries and imitations is getting larger. Especially young consumers in 2,30's have a strong desire to own luxuries, so I tried to build a theoretical base on the 20's consuming trend. Meanwhile, targeting university students who represent consumers in 20's, I investigated the recognition of luxuries, shopping experience, main shopping items, monthly spending money, and future purchase intention. I also investigated shopping experience of imitation, main shopping items, purchase reasons, and future purchase intention. I tried to suggest lots of academic and practical implications in marketing strategy building of luxury brand, aiming young consumers in 20's. On the social-psychological view point, young generation have relatively weak sense of control or self-efficacy. So, they are easily submerged in conspicuous consumption by the atmosphere around. As a result of empirical research, I found that Korean students recognized luxuries as excellent in quality, or the world famous brand. In particular, statistically significant gender difference was shown in the luxuries characteristics as the high-quality brand for male students and the world famous brand for female students. Most respondents have experience buying luxuries. And more monthly spending money, more experience they have. Respondents' purchased items were in order of fashion goods, clothing, watches/jewelry, cosmetics/perfume. And the statistically significant differences between gender and monthly spending money were shown. Not many respondents purchased luxuries imitations, and main purchased items were fashion goods. Most of purchase motives are price over quality and economy reason. The phenomena that the respondents of relatively high levels of monthly spending money had lots of luxuries imitations shopping experiences is interesting. Female students showed higher purchase intention for luxuries and imitations than male students. There was no statistically significant difference in grade level, but was found something interesting in monthly spending money. As monthly spending money increased, the purchase intention of luxuries increased, but the purchase intention of luxuries imitations decreased. However, non-linear trend was shown in the specific allowance level. This is replicate of the luxuries imitations purchase experience. Following studies will be needed for the exact interpretation for this. This study is an exploratory and descriptive, but can provide lots of fruitful academic and practical implications in formulating luxuries marketing strategies.

• 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.

• Journal of Korean Home Economics Education Association
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• v.36 no.1
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• pp.55-69
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• 2024

This study aims to present a case of implementing educational programs that integrate theory and experience, leading to practical environmental conservation practices within households, and to analyze and evaluate their effectiveness. To achieve these goals, various hands-on environmental education programs related to family life, including carbon-neutral practices, clothing, food, housing, and design, were implemented for early adulthood. Pre- and post-surveys provided by the Korea Environmental Preservation Association were utilized to assess awareness and willingness to engage in environmental conservation among participants, and consultation with an expert was conducted to understand the effectiveness of the educational programs. As a result, the findings confirmed a notable enhancement in participants' environmental consciousness and commitment to action following the program compared to pre-program levels. The results of open-ended questions showed that the content participants wanted to learn and what they actually learned in the classes were similar, validating the effectiveness of the program. The consultation results indicated that presenting various practical methods related to household life would be effective; however, there was a suggestion for the need to consider aspects such as post-practical food management and the unique characteristics of multicultural household members when developing educational programs. This educational initiative holds promise for instigating perceptible shifts in the awareness and proactive engagement of young adults across the spectrum of household dynamics, thereby contributing significantly to the establishment of sustainable living paradigms.

• Journal of Food Hygiene and Safety
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• v.34 no.1
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• pp.40-51
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• 2019

Ginseng has a unique production system that is different from those used for other crops. It is subject to the Ginseng Industry Act., requires a long-term cultivation period of 4-6 years, involves complicated cultivation characteristics whereby ginseng is not produced in a single location, and many ginseng farmers engage in mixed-farming. Therefore, to bring the production of Ginseng in line with GAP standards, it is necessary to better understand the on-site practices of Ginseng farmers according to established control points, and to provide a proper action plan for improving efficiency. Among ginseng farmers in Korea who applied for GAP certification, 77.6% obtained it, which is lower than the 94.1% of farmers who obtained certification for other products. 13.7% of the applicants were judged to be unsuitable during document review due to their use of unregistered pesticides and soil heavy metals. Another 8.7% of applicants failed to obtain certification due to inadequate management results. This is a considerably higher rate of failure than the 5.3% incompatibility of document inspection and 0.6% incompatibility of on-site inspection, which suggests that it is relatively more difficult to obtain GAP certification for ginseng farming than for other crops. Ginseng farmers were given an average of 2.65 points out of 10 essential control points and a total 72 control points, which was slightly lower than the 2.81 points obtained for other crops. In particular, ginseng farmers were given an average of 1.96 points in the evaluation of compliance with the safe use standards for pesticides, which was much lower than the average of 2.95 points for other crops. Therefore, it is necessary to train ginseng farmers to comply with the safe use of pesticides. In the other essential control points, the ginseng farmers were rated at an average of 2.33 points, lower than the 2.58 points given for other crops. Several other areas of compliance in which the ginseng farmers also rated low in comparison to other crops were found. These inclued record keeping over 1 year, record of pesticide use, pesticide storages, posts harvest storage management, hand washing before and after work, hygiene related to work clothing, training of workers safety and hygiene, and written plan of hazard management. Also, among the total 72 control points, there are 12 control points (10 required, 2 recommended) that do not apply to ginseng. Therefore, it is considered inappropriate to conduct an effective evaluation of the ginseng production process based on the existing certification standards. In conclusion, differentiated certification standards are needed to expand GAP certification for ginseng farmers, and it is also necessary to develop programs that can be implemented in a more systematic and field-oriented manner to provide the farmers with proper GAP management education.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.