• Journal of the Korean Home Economics Association
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• v.42 no.4
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• pp.55-68
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• 2004

This study investigated differences or similarities of infant rearing practices in Korea, Hong Kong and the United States and in young mothers and grandmothers generations. The silbjects were young mothers(YM) with babies from 2 to 2.5 years and their mothers or mothers-in-law(GM) in Korea(YM=118, GM=118), Hong Kong(YM= 126, GM=78) and the United States(YM= 105, GM= 105). The subjects answered questionnaires on infant rearing practices that were constructed by child study specialists in Korea, Hong Kong and the United States. Statistical analyses were by frequencies, percentages, and $\chi$$^2$ The results of this study were as follows. 1. Kum-Jut was used to announce giving birth to relatives and neighbors only in Korea. Mothers in Korea were more helped in their recovery by their mother or mother-in-law than their husband, but the opposite was the case in Hong Kong and the United States. Most Korean mothers ate special foods after giving birth, but mothers in Hong Kong and the United Slates didn't. Mothers in Korea were more likely to avoid contact with strangers for a given period of time than mothers in Hong Kong and the United States. The babies in Korea were more often named by grandparents than by parents, but most of the babies in Hong Kong and the United States were named by parents. The greater part of babies in Korea didn't have childhood names or nick names, but most babies in Hong Kong and the United States did. 2. Mothers in Korea were more likely to give a banquet, exercise Dol Jab le, share foods with neighbors, and take souvenir pictures on the baby's first birthday than mothers did in Hong Kong and the United States. Most mothers in Korea tended to think that their baby's fiyst birthday was more meaningful than the other birihdays, but most mothers in Hong Kong and the United States didn't. 3. Some differences between young mothers and grandmothers generations in infant rearing practices were found in each culture.

• The Southeast Asian review
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• v.21 no.2
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• Economic and Environmental Geology
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• v.55 no.6
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• pp.583-596
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• 2022

The rock surface of Bangudae petroglyphs is mainly dark brown hornfelsified shales by contact metamorphism. The surface form a weathered layer of a invariable depth, and there is a difference with mineral and chemical composition between weathered and non-weathered layers. Surface of the petroglyphs has been discolored to light brown over the face due to biological and chemical weathering. As the measuring chromaticity based on the non-weathered layer, the whiteness and yellowness increased in the weathered layer, and the color difference (ΔE) was 5.54 to 36.89 (mean 17.26). In the weathered layer of the petroglyph surface, the CaO content was reduced by about 90% compared to the non-weathered layer, and Sr also showed the same trend. In particular, the mean porosity of the non-weathered layer was 0.4%, but it was estimated as 25.0% in the weathered layer. This is interpreted as the fact that calcite reacts with water, and forms a weathered layer from the surface as it is eluted. Based on the weathering depth modeling of the petroglyphs using the penetration characteristics of X-rays, the weathering depth of rock faces was found to be 1 to 2mm. However, the area classified as 2mm or more estimated to be a maximum of 3 to 4mm, considering the weathering depth around the petroglyphs surface.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• 보존과학연구
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• s.25
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• pp.171-195
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• 2004

This research presents an evaluation of the weathering and deterioration state of the Wanggung-ri five-storied stone pagoda in the Iksan (National Treasure No. 289) and suggests conservational schemes. A deterioration map of the pagoda was drawn from the aspects of petrological, physical, chemical, biological, structural and artificial weathering.The rock properties consisting of the pagoda were medium-grained biotite granite that had leucocratic phenocryst developed in parts. The body of each story suffered severely from the secondary contamination that turned the colors into light grey, pitch dark, yellowish brown, and reddish brown as well as granular decomposition, exfoliation and peel-off. The roof stones were heavy exfoliated or peeled off in most of the cases. In addition to the fine cracks, there were layered cracks on the corners. The roof stones of the3rd and 4th story in the north and west side had some stones fall-off, while those of the 2ndstory in the north side had steel reinforcement filled for a fixing purpose. Those of the 5th story showed big gaps that must have originated from cracks and were easily subject to granular decomposition and rainfall. The inside clay filler was missing in the lower part of the roof stones of the 4th and 5th story and the supporting stones, which were thus covered by light grey or pitch dark sediments. The contact area of the materials was about 70 % in the parts where there was a space due to the filler missing and washigher than 90 % in the lower parts of the pagoda. About 90 % or more of the roof stones surface of each story were covered by aerial plants that formed a thick biological mat. Thus it seemed necessary to come up with the conservational measures to remove the plans living on the surface of the stone materials, with the plans to prevent rain from falling inside, and with the water repellent and hardening treatments to postpone the surface weathering of the rock properties. All those measures and plans must be based on the results of long-term monitoring and thorough detail investigations.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.79-94
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• 2016

The purpose of this study is to explore the process of how modern fashion establishes new consumption cultures by analyzing the different types of fashion toys that have appeared in modern fashion, and identifying inherent meanings of the said toys. The range of this study was limited to four collections (New York, London, Milano, Paris) from 2000 to 2015. In addition to these collections, advertisement campaign and cooperative examples as well as examples of fashion toys that appeared in public interest activities and collections were included. The selected materials were classified into different types of fashion toy usage. From the results of analyzing fashion toys appearing in modern fashion, the four following characteristics. After analyzing the use of fashion toys in modern fashion, four characteristics were found. First, fashion toys were found to be a means to maximize the visual effects of the collection stage. Second, fashion toys utilized as a fashion object were key elements in transforming neo-pop into modern fashion, and constructing high fashion. Third, the fact that people's fashion and fashion toys share contemporary fashion means that customers are shared through the integration of diverse media. This leads to creation of new benefits. Fourth, fashion toys are meaningful because the products reflect contemporary culture, and extend the scope of fashion and art, as it can be considered fashion as well as art. In conclusion, fashion toys were meaningful in that high fashion broke from conservative values, and swiftly introduced contemporary culture codes. It derived a point of effective contact to present a new way of consumption and extended the scope of fashion.

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.1-20
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• 2011

As a follow-up of a study on design strategies to improve Korea's Korean coast guarduniforms, this study set out to propose Korean coast guard uniforms of a new concept that would meet the changing needs of the times and match the advanced technology and work environments. Three concepts of classical, nautical and techno chic were identified from the design strategies of the previous study. Using the results from a prototype show and preference survey, the investigator divided items into design, color, material, and detail and reflects demands for each of them. As a result, design was examined in four aspects of identity, acknowledgement, unity, and practicality and focused its improvement factors on design differentiated from other organizations' uniforms including ground police, segmentation of size system, adjustment of the length of upper garment to consider activity, and changes to the lines and silhouette to give out a modern image. As for color, the focus was placed on differentiated colors from other organizations' uniforms including ground police through dark blue and ocean color, change toward colors that reflect environmental characteristics, and unity in colors between the summer and winter uniform. As for material, the focus of improvement was put on elasticity, resistance against contamination, warmth retention, texture, wearing sensation, and functionality by taking into account convenience for field workers on coast guard vessels and branch offices who have much time in contact with ocean environments in order to make the materials high-grade. As for detail, structural details were added to give out a modern image such as changing the detail lines, efficiency of storage space, buttons, sleeve hems, ironing lines, and neck collars by taking into account environmental characteristics. The significance of the study lies in that it proposed a development model for large-scale uniform copy design by establishing copy design that secures functionality and is proper for an organization's social and cultural environment.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.1
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• pp.50-66
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• 2010

This Shanghai region study is a sample survey of female college students in their early 20s. This study collected and analyzed the information of shapes through a direct contact survey to understand the breast figures and the measurements of bodies to provide basic information to improve brassiere production for adult females in China. Data was analyzed through a SAS 9.0. The characteristic of the final brassiere pattern that had been corrected and complemented from the results of the $l^{st},\;2^{nd},\;3^{rd}$, and $4^{th}$ fitting tests is defined as a brassiere inserted with a round wire that has the 3/4cup to wrap the bust area by about 3/4. It consists of an upper and lower nonwoven fabric cup that has a flat-shaped wing of a circular dart. The drawing method of the pattern of this brassiere is applied with the conditions to cover the body naturally under the diverse and organic relations of the material factor of stretch material and wire, functional factor, and sewing factor. The final pattern is created as a bigger angle of wing pattern and a short inner side diameter because there are more Chinese women with a back of bending figure compared to Korean women.

• Journal of the Korean Society of Costume
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• v.18
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• pp.97-110
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• 1992

West African's traditional looms, weaving and raw materials, structural patterning, dyeing and basic forms of dress were examines in the present study in order to deepen the appreciation of the cultural heritage of West Africa, and to make a contribution to the policy planning for export market developing The research method employed was the analysis f written materials. The study was limited to the traditional clothing habit which is preserved and practicing by them at the present day and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) They have vertical single-heddle loom horizontal or ground single-heddle loom, and double-heddle loom. The width of the cloth produced on the single-heddle loom varies about 38.5cm to 123cm and double-heddle looms all produced on the single-heddle looms all produced narrow strips of cloth varying in width from about 1.3cm to 75cm, although the average is about 10-20cm. (2) Despite the relative simplicity of the llom technology a remarkable variety of textiles are produced. (3) The most popular decorative technique in West African compound weaves is extra-weft patterning which is produced on both single-heddle and double-heddle loom by men and women weavers. Other forms of secondary patterning on textiles in West Africa are dyeing, applique, patchwork and embroidery. (4) Two basic forms of dress have spread throughout West Africa, the poncho (bpibpi) and the wrapper. Some versions of these basic forms are supplemented by western inspired trousers, shirts and blouses coupled with accessories usually complete their traditional outfits. They have a great variety of basic poncho, like as Khasa, Gandura, Tuareg-poncho, Babariga, Rigas (agba-da), Grand-boubou, Afteck, Tagua, buba, Danshike etc. Although West Africa has long been in contact with the peoples of the Nile region as well as the Maghreb and Sahara, both the boubou styles and the wrapper styles appear to have developed with a minimum of outside influence. African Islam was the principal agent for the diffusion of the boubou styles.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.229-239
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• 2015

The 21st century is a multiplication age and social and cultural phenomena have become diverse and peoples' desires and individuality have become important. Accordingly, the sensibility that reflects human taste is also required in the exhibition space. The exhibitions in this age induce the direct cognition of senses or take interactive forms that contact diverse media and react. The purpose of this research is to define the concept of haptic presentation method in which the audience perceive in the exhibition space by themselves and the visual elements spread into other senses and perceive complexly, and to present the directional nature. To conduct this research, first, this researcher recognized that haptic sensory experiential research by analyzing the roles and transition history of exhibition space is needed for the present age Second, based on philosophical theories, four haptic sensory expression characteristics (medium nature, experiential nature, attractiveness, sensitiveness) were derived by substituting Giles Deleuze's four haptic spatial characteristics (grasping short distance, dispersed gaze, cognition of bodily movement, formation of synesthesia through complex senses) and six formative factors of exhibition space (space, form, size, light, quality of materials, and color). And the effective exhibition presentation methods were analyzed through six cases of experiential exhibition spaces. Accordingly, what matters in the experiential exhibition space is to produce the four characteristics: medium nature, experientiality, attractiveness, and sensitiveness in equilibrium. It is necessary for the designers to reflect it appropriately in producing so that the audience can think and experience by themselves. Accordingly, in this thesis, it could be seen that to produce the haptic production characteristics in the experiential exhibition space in equilibrium is the important factor in the experiential exhibition space. In conclusion, experiences in the exhibition space should be approached with the transcendental haptic presentation method by which even the space of actually unexperienced cognition can be expanded and experienced through the metastasis and tension of various senses. Also, researches on such senses should be developed continuously, and this researcher expects that this will become a stimulant to present a new directivity.