• 복식
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• 제56권8호
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• pp.74-82
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• 2006

In ancient China, Su(綬) was the ornament of the full dress. It had originated from tying the jade or another thing before Jen(秦:Qin) dynasty and it tied the imperial jade seal and the chop from Han dynasty. Su of Han dynasty was different in the inscape, colour, length and density according to the grade. And the shape was the straight line. But these phenomena were changed after Han dynasty. This study showed how it changed. To studying used the comparison method of literature records, paintings and archeological relics. It mostly studied imperial Su. Su of Han dynasty of the high grade was formed by Yeok, the circle type jade and Su(Su moaned whole Su, at the same time moaned the part of Su, too). Afterward, Yeok was changed into Small Su[小綬] and Su was changed into Big Su(大綬). Originally the circle type jade was connecting Yeok to Su, but it was changed into tying Small Su only. Su of Han dynasty used the four kinds of colour, but from Su(隋: Sui) dynasty used the six kinds of colour. Originally Su was interlacing, but it was changed into the silk fabric from Song[宋] dynasty. According to using silk fabric's Su, it was likely to disappear the system distinguishing the grade by length. And it kept the method of interlacing the reticulation in the low part of silk fabric's Su. So, after using silk fabric's Su, the system of the density was not about the main body but about the reticulation. Su was been used woven with supplementary golden wefts, too. The circle type jade was chiseled the dragon and cloud from Geum[金:Jin] dynasty. These not the pattern of silk fabrics.

• 한국의류학회지
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• 제37권3호
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• pp.270-279
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• 2013

This study presents a T-shirt design process that utilizes modernized traditional patterns; in addition, it also includes various modernization techniques for Korean traditional patterns. T-shirts are a representative casual wear item worn in everyday life, especially among young people. The association of traditional elements and public goods such as T-shirts effects the diffusion of the Korean image into global society. Through the whole design process, target groups and design concepts were determined first: collegiate students as well as clean, natural, refined, simple and sporty image, respectively. Subsequently, Dokkaebi, lotus, Dangcho, dragon and Taegeuk patterns were selected as traditional pattern sources. Along with the technique of the division, transformation, and configuration of original patterns, the combining method of geometrical figures, stripe patterns, and check patterns with traditional patterns was helped create modernized traditional motives. Finally, T-shirt designs with a Korean image were developed with the harmonized deployment of modernized motives and color planning. The survey showed that designs had a clean, natural, refined, simple and sporty image that was preferred by collegiate students. This study is relevant in three aspects. First, the design process of modernization was very creative to combine traditional patterns and basic figures. Second, this study expanded the scope of traditional image design to casual wear to promote the Korean image to young people all over the world. Third, the whole design process, from planning to final product development, presented in this study is applicable to other design processes.

• 한국의류학회지
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• 제32권5호
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• pp.704-716
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• 2008

This study aims to explore the creation of fashion design that embraces the diversity of human culture by examining oriental images that appear in the modern fashion with a focus on new paradigms that significantly affect human life as the latest trends, and by reflecting the trends of the times. The results of this study are as follows: First, this study examined that with regard to paradigm, a theoretical frame to view universe, the dichotomous, determinist, mechanism, linear paradigm collapsed to convert to undetermined, exoteric, pluralistic, indeterministic, organic, and holistic paradigm. The new paradigm is identified to have emerged before and after 1950s, and through the new paradigm, the characteristics of postmodernism such as historicality, popularity, locality, folkways and the characteristics of deconstructionism, internally mutual text, post phenomenon, undeterminability and externally exposure, destruction, poverty, decomposition and analysis, were identified. Second, the Orient is defined as the generic term referring to the entire Asian areas east of Turkey. Through the developmental process of oriental images, it was converted from the Oriental image, which mysteriously and romantically represents oriental elements, into the ethnic image that represents long time oriental traditions and indigenous culture together with the characteristics of the new paradigm. Third, the artistic characteristics of the Oriental costumes presented by Korea, China and Japan are expressed in developmental types, T-type plane structure, layered style, asymmetrical adjustment and easy silhouette, and they show indigenous characteristics of each country, for example, Chinese styles in dragon pattern, red and yellow, Japanese styles in flower design and achromatic color. Fourth, the Oriental Image, combined with the postmodernism and deconstructionism through the new paradigm, has two: one Oriental image highlights traditional elements by creating new Oriental image such as natural image, folk image, hybrid image and deconstruction image; and another is undetermined and vague by combining or decomposing Oriental or Western elements. It is expected that fashion designs that reflect these contexts of the times will contribute to the strengthening of international competitiveness.

• 한국환경과학회지
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• 제31권4호
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• pp.369-372
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• 2022

This study was conducted to determine the injury type and frequency of bearded dragons during single and group breeding according to stocking density, for 16 weeks. A total of 14 bearded dragons compromising three groups were selected for this study. Six and four bearded dragons bred in a cage of 45 cm × 45 cm × 45 cm were designed as group A and B, respectively. Group C was made of four partitions (20 cm × 20 cm × 20 cm) of equal size in the kennel, and the dragons, four in number, were reared alone. Injury type criteria were given 1 score each in 6 stages. Most of the injury types in group A were primary tail cutting, which was 1 point, depending on the score, except for 4 scores. The injury type of group A varied, that is 1, 2, 3, and 5 scores, and the pattern lasted for 2 to 9 weeks. After 10 weeks, the dragons showed no response to injury type, except 4 scores at 11 weeks and 2 scores at 14 weeks with a frequency of one, respectively. The representative injury types of the group B were primary tail cutting, which was 1 point, and the scores of the injury type from 2 to 11 weeks were the highest; the frequency of occurrence at 1 and 2 scores was 5 times and 3 times, respectively, and the frequency of occurrence at 3 scores was twice. In addition, 5 scores were found to have the lowest frequency of occurrence. Solitary breeding showed no response to the type of injury for 16 weeks. Consequently, single breeding with an appropriate stocking density did not affect stress, and it could be expected a positive aspect for pet welfare.

• 문화기술의 융합
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• 제3권4호
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• pp.1-19
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• 2017

죽음의 문화는 삶의 문화의 반쪽이라는 의미에서 상보적(相補的)이다. 3개의 이승 정낭과 2개의 묘(墓)의 저승 신문(神門)은 올레길 공간체로 연결되어 있다. 그 공간체에는 삶과 죽음사이의 상생(相生)과 상극(相剋)이 공존하는 상보성(相補性)(complementarity) 원리가 제주 문화(文化)에 숨어있다. 대(對)와 대(待)이다. 즉 반대되는 것은 서로 보완적이다란 말이 "(Contraria Sunt Complementa 라틴어)" 서로 대립하면서도 서로 의존하는 관계로 서로가 서로를 품은 관계를 뜻한다. 정낭은 통신 원리로 사용될 뿐 아니라 인체의 RNA Codon에 기본 원리로 사용된다. 또한, 묘의 사각형 산담 귓돌과 한국의 태극과 괘(卦), 유전자(RNA)의 괘(卦), 연결고리의 유사성 Pattern을 들 수 있다. 제주에는 흑용만리 곡선밭담과 사각형 산담이 들판에 펼쳐있다. 제주에서 돌담은 괸담(Stone Networks)으로 연결되고, 괸담의 관습상 발음이 되는 괸당은 친족(Relative Family Networks)로 연결된다. 조상의 명당 묘와 자손들 관계는 영혼적으로 동기감응(同氣感應: Soul Synchronizing the Ancestor to Offspring)이 되어 발복(發福: Change in Future)이 된다고 믿고, 육체적인 피(血)인 유전인자가 자식들에게 직접 전수된다. DNA RNA를 행렬식으로 표시했다.

• 한국조경학회지
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• 제18권4호
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• pp.45-71
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• 1991

The landscape systems in Korean island settlements can be recognized as results of ingabitants' ecological adptation to the isolated environment with the limited natural resources. Both the fishery dominant industry in island society and ecological nature of its environments seem to have influenced on inhabitants' environmental cognition as well as the physical landscape of island villages such as its location, spatial pattern in each village, housing form and so on. This study was done mainly by both refering to the related documents and direct observations in case study areas, and results of the study can be summarized as follows. 1. In general, the landscape of an individual island seems to take more innate characteristics of island's own, corresponding to the degree of isolation from mainland. That is, while the landscape of island in neighboring waters takes both inland-like and island-innate landscape character at the same time, the one in the open sea far from land takes more innate landscape character of all island's own in the aspects of village location, land use and housing density etc. 2. The convex landform of most islands brings about more centrifugal village allocation than centripetal allocation in most inland villages. And thus most villages in each island face extremely diverse directions different from the south facing preference in most inland rural villages. 3. Most island villages tend to be located along the ecologically transitional strip between land and sea, so called 'line of life', rather than between hilly slope and flat land as being in most inland village locations. So they are located with marine ecology bounded fishing ground ahead and land ecology bounded agricultural site at the back of them. 4. The settlement pattern of the island fishing villages shows more compact spatial structure than that of inland agricultural villages, due to the absolute limits of usable land resources and the adaptation to the marine environment with severe sea winds and waves or for the easy accessability to the fishing grounds. And also the managerial patterns of public owned sea weed catching ground, which take each family as the unit of usership rather than an individual, seem to make the villagescape more compact and the size of Individual residence smaller than that of inland agricultural village. 5. The folk shrine('Dand') systems, in persrective of villagescape, represent innate environmental cognition of island inhabitants above all other cultural landscape elements in the island. Usually the kinds and the meanings of island's communal shrine and its allocative patternsin island villagescape are composed of set with binary opposition, for example 'Upper shrine(representing 'earth', 'mountain' or 'fire')' and 'Lower Shrine(representing 'sea', 'dragon' or 'water') are those. They are usually located at contrary positions in villagescape each other. That is, they are located at 'the virtical center or visual terminus(Upper shrine at hillside behind the village)' and 'the border or entrance(Lower Shrine at seashore in front of the village)'. Each of these shirines' divinity coincides with each subsystem of island's natural eco-system(earth sphere vs marine sphere) and they also contribute to ecological conservation, bonded with the 'Sacred Forest(usually with another function of windbreak)' or 'Sacred Natural Fountain' nearby them, which are representatives of island's natural resources.

• 패션비즈니스
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• 제2권3호
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 복식
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• 제57권3호
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• pp.37-52
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• 2007

Dan(緞) is satin damask. It was a newly popularized fabrics in the Joseon Period and is one of main traditional fabrics at present. The purpose of this study is to suggest a theoretical basis to name Dan(緞) remains properly by comparing and analyzing the name, pattern, usage, feature, length and width, value of Dan(緞) recorded on documents made at the end of the Joseon Period. The results of this study are as follows. 1. The kinds of Dan(緞) recorded on documents made at the end of the Joseon Period are various. Among fabrics named Dan(緞), were not only silk fabrics but also cotton fabrics, woolen fabrics, mixture fabrics with silk and cotton, and mixture fabrics with cotton and wool. 2. Some newly revealed patterns in the case of Dan(緞) are as follows. The shape of Byeolmun(別紋) is assumed to have originated from that of character symbolizing the Royal Family and developed into a variety of circular ones of dragon, phoenix, flower, or character. O-ho-ro-mun(五葫蘆紋) was five-gourd-shaped patterns that form a circle, turning their narrow mouth to the center, and vines between each two gourds. 3. When considering the usages of Dan(緞), Dan(緞) was used for various detailed usages according to their kinds. But it was't mostly used for underwear. 4. Features have been examined are Godan(庫緞), Mobondan(模本緞), Handan(漢緞), Daedan(大緞), Yangdan(洋緞), Waedan(倭緞), and Geumdan(錦緞). 5. The length and the width of 1 Pil(疋) silk fabrics are various. It is normal for the width being different, but for 1 Pil(疋)'s length being different is very unusual. The width of Dan (緞) was about 47-76.20cm, it was wider than Ju(紬), Cho, Gyeon(絹), Sa(紗), Ra(羅) and Reung(綾). 6. As for the value of each fabric per $10,000cm^2$, Dan(緞) was the most valuable silks at that time. Among them the most valuable Dan(緞) was Udan(羽緞).

• 한국지역지리학회지
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• 제6권3호
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• pp.53-81
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• 2000

신라 말 선종계열 사찰을 대표하는 구산선문(九山禪門)의 개산(開山)은 지방문화의 발흥과 자신감의 표현이었으며 지방 호족들의 사회 경제적 기반을 토대로 한 것이었다. 선종(禪宗)이 유행하던 시기에 주로 재창되었던 구산선문의 입지 특색은 풍수적 논리를 따른 것이다. 풍수가 성행하기 이전에 건립된 사찰들은 주로 전통적인 토착신앙 세력들이 신성시하던 성소, 성지(聖所, 聖地)를 택해 입지했고, 신라의 경우 왕성의 도심 곳곳에 사찰이 수없이 많이 건립되었다. 이후 신라말기에 선종의 유행으로 인해 선종사찰들이 많이 건립되고 풍수도 본격적으로 성행하게 되어 사찰의 입지에 풍수논리가 뒷받침되기 시작했다. 구산선문이 개산(開山)하기 이전의 사찰은 주로 삼산, 오악(三山, 五岳) 등의 영지(靈地)개념에 따른 입지가 많았으나 구산선문은 당시로서는 변방이라 할 수 있는 지역으로 확대되어 독립적인 산문을 재창하였다. 구산선문 각 사찰의 경우 산과 물이 짜임새 있게 조화를 이루고 있어 풍수지리적인 전체성이 잘 드러나고 있다. 각 사찰은 계곡물이 모여 완만히 감싸는 곳, 물을 얻기 용이하면서도 산이 사방으로 들러쳐진 아늑한 곳, 즉 풍수에서 길지(吉地)로 여기는 '산에 기대고 물에 접한' 땅에 입지하여 풍수적인 조건을 잘 갖추고 있다. 구산선문은 주로 분지상의 지세에 입지하였으며 사찰의 축선(軸線)은 지형(내룡(來龍)의 맥세(脈勢))에 따라 이루어졌다. 각 사찰에서 나타나는 장소의 약점은 풍수적인 비보책(裨補策)을 통해 보완하였다.

• 헤리티지:역사와 과학
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• 제55권4호
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• pp.6-22
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• 2022

본고에서는 서·남해안에서 출수된 닻돌 228점의 유형을 분류하고, 유형별 결합 방식 상정, 출수 위치를 통한 항로 및 묘박지 추정 등을 시도하였다. 유형 분류에 앞서 닻돌의 무게, 두께, 너비, 길이를 측정하였는데, 묘박(錨泊)에서 가장 큰 영향을 끼치는 무게를 I~V군으로, 닻돌의 형태는 1~6형으로 구분하였다. 이러한 무게와 형태의 상관 관계를 통해 모두 17개의 유형으로 분류하였다. 유형별 결합 방식은 출수된 닻돌의 기준값 형태적 특징에 따라 무게가 180kg 이하이면서, 형태가 1·2형인 것은 닻장에 결합하여 사용하는 닻으로, 무게가 180kg 이상이며 형태가 3~6형인 것은 닻채에 결합하여 사용하는 닻으로 상정하였다. 이와 함께 과거 기록과 지역 주민의 증언을 통해 항로와 묘박지(錨泊地)를 파악하고 이를 실물자료와 대조하였다. 항로는 대체로 과거 기록과 그 위치가 일치했지만, 새로운 항로가 섬 인근이나 내륙 인접 해역에서 확인되기도 하였다. 묘박지의 경우 닻돌 집중 분포지인 태안 마도 해역과 진도 벽파진 해역(珍島 碧波津 海域)에서 소형, 대형 닻돌들이 출수되는 양상을 볼 때, 여러 크기의 선박이 두 해역에 묘박하였다는 증언과 일치하였다.