• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.4
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• pp.482-494
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• 2014

This study researched TV makeup types with a focus on Korean aesthetics. First, natural beauty is expressed with a random form that excluded artificial techniques or decorations often shown in the form of incompletion and space through TV entertainment programs. Incompletion is what excludes artificial technique and denies the whole completion in expressing a face, it shows the intentional incompletion that leaves it as a bare face that has no type, no color, and no decoration. A pursuit for purity, as nature leads to realizing the internal world of concentrating on the essence of object. Space is what makes it empty without filling, it offers a mental space in the inner side so that diverse images can be imagined beyond external form. This trend is indicated similarly to the tendency that the recent global interest in naturalism yearns for purity in nature and wellbeing. The presentation of skin (preferably healthy looking skin) is given attention; consequently, the similarity was being shown between the TV makeup that focuses on expressing skin and recent trends.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.3-11
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• 2005

With development of digital technology and build-up of global network in the 21st century, Korea has recklessly accepted Western information and culture in recent years, thus causing damages to out identity. In the situation, restoration and development of traditions in a modern way will contribute to the creation of contemporary interiors. This study has analyzed and assessed the process through which traditional decorative elements have applied to contemporary interior decorations over the past ten years with a view to identify the trend of expressing traditional elements in comtemporary interiors. Designs that have applied traditional elements in a transfigure expression method amounted to 77 pieces, accounting for $43\%$ of the total investigated 178 designs, which was followed by 48 designs ($27\%$) of metaphor expression method and 39 designs ($22\%$) of symbol expression method, which express the tradition as interpreted by the designer. Designs that have adopted direct expression method amounted to no more than 14 pieces, accounting only for $8\%$ of the total designs. This result suggests that transformative, metaphoric and symbolic expressions that simplify or transform the original forms we more frequently used In the applications of traditional elements to modern interiors rather than directive expression that reproduces the original form as it was.

• Acta Via Serica
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• v.1 no.1
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• pp.69-93
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• 2016

This article compares two Iranian towers (burj) of the Saljuq period (c.1037-1194) with two Chinese Pagodas (t'a) of the Song dynasty (c.960-1279) in order to identify common cultural trends in medieval Iranian and Chinese architecture. To this end, the Iranian towers of Tuqrul in Rayy and Chihil Dukhtar in Damghan are compared with their Chinese counterparts of the Iron Pagoda in Kaifeng and the Pizhi Pagoda in Changqing. The two Iranian towers have much simpler architectural decorations compared to the splendid Song pagodas, which are decorated with statues and colorful paintings. The similarities in form, however, suggest common functions provided by the architecture. Both the Saljuq and Song towers had astronomical and military functions, position identification for travelers, and symbolic meanings, as well as their main functions as tombs. By applying comparative studies on the forms and functions of the Tuqrul and Chihil Dukhtar towers on the one hand, and the Iron and Pizhi Pagodas, on the other hand, this article aims to contribute new insights regarding common social trends shared by the medieval Iranian and Chinese and illustrated by their architecture. Extensive and distinguished publications on the general subject of art and architecture during the reign of the two dynasties under discussion already exist, as fully referenced below, but the specific comparative themes regarding the individual sites discussed here are the first in any study of this kind.

• Journal of the Korean housing association
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• v.26 no.6
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• pp.147-155
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• 2015

The purpose of this study is to understand the characteristic elements of interior space which effects the basic floor plan of traditional houses, in Huizhou, CHINA. The field study for the content analysis of a interior space of traditional houses were conducted from August 16 to 21, 2015, in Xidicun & Hongcun village. The major characteristics of 'tang' interior were as follows; Firstly, all of traditional houses in a skylight that front of 'tang'. Several types of floor plan were fixed by a combination of the space layout and numbers between 'tang' and skylights. Secondly, 'Tang' is from 3,250 to 6,000 mm in width, from 3,800 to 7,800 mm in depth. All skylights are more length than 'tang' in width. So all of spacious 'tang' were very bright without any lighting fixtutes. Thirdly, the patterns of woodcuts were the major settings of interior decorations. All of a window and door, capital has a detail woodcuts that are flowers, animals, plants, peoples, vases, and geometric patterns. In the last analysis, the traditional housing designs in Huizhoui old villages were planned for family that everlasting life, made a functional and rational decision.

• Journal of The Korean Digital Architecture Interior Association
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• v.13 no.4
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• pp.77-86
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• 2013

Uigwe is official reports of the Joseon dynasty. They published from early Joseon but remain from 17C. We can search many hidden informations in them. Ga-Jungjagak (temporary T-shaped house) is one of them. It is unique architecture of the Joseon dynasty but it doesn't exist now at all. We can see many drawings describing Ga-Jungjagak (temporary T-shaped house) located next to Jungjagak in Uigwe. Jungjagak (T-shaped house) was built in royal tombs for sacrifice. Ga-Jungjagak was built in royal tombs for sacrifice as Jungjagak but existed temporarily. In this study, I want to find the process of norms Ga-Jungjagak in old records, official reports and annals of the Joseon Dynasty. Results are as follows: Ga-Jungjagak is the sacrifice space for queens in royal tombs. It is need to avoid sacrifice of delight and sorrow at the same time. They sacrifice to represent sorrow after the death of kings and queens for three years. After three year, they sacrifice to represent delight for kings and queens became ancestral gods. Ga-Jungjagak was destroyed three years later to combined sacrifices. The shape of Ga-Jungjagak is similar to Jungjagak in the same tomb. But dimensions of Ga-Jungjagak are equal or smaller than Jungjagak and decorations are abstemious.

• Journal of The Korean Digital Architecture Interior Association
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• v.9 no.2
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• pp.35-43
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• 2009

The purpose of this study is to know the way of practical space use and user behavior pattern at the livingroom of city apartment that is the representative residential space of modern citizen. The way of study is to compare the livingroom of model house with actual condition of livingroom, through this way, we will know that livingroom is in use as the original concept of design or not. From the research which sees consequently (1) Most of the current model houses show common kind of livingroom by using typical style and arrangement of furniture (TV, couch, table, and decorations such as pictures or other artworks). (2) Actual condition of livingroom is different from model house in furniture arrangement and in using space which is set depending on the residents' preferences and characteristics.(computer, desk, exercising equipments, and instruments etc.) (3) The actual condition of livingroom shows the various behavior pattern of space use as the actual condition of livingroom is a mixture of typical kind of livingroom and the livingroom that reflects the characteristics of residents'.

• International Journal of Human Ecology
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• v.9 no.1
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• pp.29-40
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• 2008

This study clarified the classifications of Vietnamese traditional patterns and analyzed the symbolic meanings that reflect the emotional and cultural background of the Vietnamese. The type and symbolism of Vietnamese traditional patterns were analyzed through research on the history of Vietnamese costumes, the history of Vietnamese arts, the history of Vietnamese traditional culture, and a Vietnamese museum survey. The results of this study were as follows: 1. Animal patterns are diverse and include dragons, unicorns, tortoises, phoenixes, cranes, lions, bats, tigers, and buffalo patterns. 2. Dragon patterns are the most utilized pattern for practical purposes. They are often used in royal costumes, Vietnamese traditional dresses, mandarin boots, bamboo fans, silk, satin, ceramics, and other detailed decorations. 3. The patterns symbolized fortune that meant good luck and longevity so people can live long and happy. Then the symbolic meanings of patterns were followed by prosperity, nobleness, apotropism, prolificacy, and wealth. 4. Since the most of animal patterns have symbolic meanings of fortune and longevity, animal patterns can be utilized as the source of traditional patterns of design inspiration for the development of Vietnamese modern patterns and the application on Vietnamese fashion products.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.60-73
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• 2006

This study analyzes the Baekche official costume system, including the dress, cap and belt systems, by relating documentary records with the results of excavations. The study shows that the system differed depending on the time. A system of dress based on official ranks was instituted during the region of King Goi in the third century. The rap amd belt systems were begun in the first half of sixth century The official costume system, as recorded in the Chinese history $Sus{\u{o}}$, included many subdivisions of cap colors, which followed belt colors. According to $Gudangs{\u{o}}$, dress and cap systems changed in the seventh century. The official costume consisted of a $jacket(j{\u{o}}gori)$, trousers(baji), and coat(po). The coat had wide sleeves and reached below knees. Its collar had straight neckline. Officials of all rank wore silk caps and belts of matching colors. Officials above sixth rank used silver flower decorations on their caps. Officials wore wide-crouch trousers and generally adjusted the hems of the trousers, but this practice stopped in the sixth century. Officials wore shoes or boots depending on occasion. From a historical viewpoint, Baekche is important for having been the first Korean kingdom to establish a government organization. The salient feature of the system of organization established in A.D. 260(the twenty-seventh year of the region of King Goi) was the application of different colors to identify different ranks.

• Journal of the Korean Society of Costume
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• v.19
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• pp.195-207
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• 1992

palestein had been a part of Islamic culture before Israel was established after World War II and their daily lives had been totally affected by the Korean, Consequently, the idea of clothing, types of women clothes and it's characteristics reflected in the Koran have been studied and the results are as follows: First, the idea of clothing reflected in the Koran emphasizes the equality of the sexed and treats women as men's equal partner. Second, in the Koran there is almost no reference on men's clothes, but it only recommends women to wear veil to cover their faces and bodies when they go out. The Koran argues that it is not to restrict women but to protect them. Third, due to it's geographical location, Palestinian clothes had been affected by it's neighboring areas, and the gumbaz-a kind of coat - is one of the examples of Turkish origin. In the beginning the gumbaz had been worn by upper class Palestinian women and subsquently by urban Nazareth women. They used to slip on gumbaz on their heads and shoulders. Fourth, In Palestein they wore jacket over coat or dress. The emboridered jacket from Bethlehem was mostly worn their wedding dress. Fifth, the headdress and face-veil in Palestein are the most unique ones and married women decorated headdress and face-veil with gold or silver coins which they received as wedding presents, and wrapped all their coin decorations in black cloth when husbands are dead. Bedouins decorated not only with coins but also with shells, buttons, stones and beads to articulate their chastity, social status, aestheticism, religion and magic.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.32-48
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• 2007

Korean traditional flower motifs have often been used in traditional embroidery on personal products and on decorations. The flower motifs seen on embroidery with a variety of techniques show the shapes and colors changing to more and more brilliant and colorful design. Even today the flower motifs in embroideries continue to be reinterpreted in both modern ways and also in traditional ways with their fancy beauty in the design industry. This research is based on documentary and demonstrative studies conducted to find out the formative properties of these motifs through and analyzing the shapes and colors of flower motif embroideries from the Choseon Dynasty as applied in developing modern designs in harmony with their traditional beauty. A summary of the research is as follows. First, the peony blossom appears the most, with its gorgeous flower shape. It was used in a variety of ways for decorative purposes as well as in wishing for wealth and harmony on clothes or on personal products. Second, the result of analyzing the flower motifs on embroidery shows that 'realistic-complex- flower patterns' and 'stylized-complex-flower patterns' are mostly seen. Third, many of the peony blossoms, chrysanthemums, and Japanese apricots were in a radial shape and front facing with stamens, and the lotus flowers were mostly shown on the lateral side. Fourth, as a result of analyzing the colors of the flower motifs on embroideries, a tendency is shown toward the R and RP colors of v, b tone and the shades YR, Y, GY, and G colors of lt and p tone.