• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.204-221
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• 2021

The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

• Journal of Digital Contents Society
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• v.19 no.9
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• pp.1653-1662
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• 2018

Inspired by the increasing popularity of cosmetic-related mobile application as a tool for instant beautification, the present study examined colors of virtual makeup templates and makeup looks. A survey study was performed by thirty-six respondents to determine the top three desirable virtual makeup templates among nineteen templates. The templates of 'Bella', 'Hilary' and 'Cara' were then analyzed by makeup specialists and color experts for the evaluation of their makeup design and colors. Each color feature of three makeup templates were also evaluated through statistical analysis of ANOVA on the measure of $L^*a^*b^*$ crossed with five types of face elements on three types of virtual makeup images. Overall results indicate that Korean female users in their 20s and 30s preferred a similar makeup concept appeared in makeup template and key worlds. They also preferred a pale skin tone with higher lightness and a slightly higher saturated lip color as an emphasis than other features.

• Journal of the Korean Home Economics Association
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• v.41 no.2
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• pp.123-139
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• 2003

This study examines the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect through field study and various documents. The purpose of the study is to elucidate how their religious ideas are reflected in their ceremonial costumes and what characteritics and underlying meanings these costumes have, and I reached the following conclusions 1. The new religious groups in Korea modified or mixed the designs or names of existing outfits to convey their ideas or beliefs in their costumes. 2. The costumes of new religious groups turned out to have certain characteristics in common: they all reflected the times, Korean tradition, ancestor worship. 3. I looked at the symbolicity, names, and types of the outfit, and their color scheme to establish their structural characteristics, and it turned out that they an symbolized the creeds and ideas of each religion. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, for instance, had to do with Buddhism Taoism, and Confucianism. The most common type of costume consisted of traditional hanbok top, pant, robe, and some type of headpiece for men, and hanbok top and, skirt for women, and if women were to wear a robe, it usually meant the sect believed in sexual equality. There was also a tendency to simplify or minimize the dress code, which seems to indicate that the sect was trying to adapt itself to, the times. The most common type of the outer garment for men was a robe with narrow sleeves, straight lapel, and no slits, and a robe with wide sleeves, straight lapel, and slits for women. The color scheme of the costumes included blue, white, yellow, red, and black, reflecting the influence of the Yin-Yang and Five Elements idea and traditional preference for white of Koreans. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbolicity, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various element of traditional Korean outfit and those of existing religions to symbolize their religious ideas. Many religions in and fall, and each has its own dress codes, and I hope this study provides a framework and data for other researchers and leaders of new religious groups that will emerge in the future.

• Journal of Physiology & Pathology in Korean Medicine
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• v.23 no.1
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• pp.34-40
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• 2009

After a research on appearance diagnosis and fish, bird, horse, and turtle types, this study concluded as following. Appearance diagnosis is a technique that exams five jang organs by color and shape of eye, nose, mouth, and ear. Four HyungSang types-including fish, bird, horse and turtle types-are evaluated upon the external shape that are created while type of seed changes. Appearance diagnosis focuses on five jang organs. Four HyungSang types focus on external shape, but are eventually related to five jang organs. Thus, two different techniques possess a point in common; five jang organs. The assignment of nose, eye, ear and mouth to the Five elements varies between two techniques. On the viewpoint of formation, appearance diagnosis assigns them to metal-water-wood-fire-earth and movement, and four HyungSang types do to wood-fire-earth-metal-water and constitution. On the viewpoint of body/use and static/dynamic, appearance diagnosis assigns them to metal-water-wood-fire-earth and constitution, and four HyungSang types do to wood-fire-earth-metal-water and movement. If nose, eye, ear, and mouth are assigned by on four HyungSang types, which are based on external shape, the assignment can be utilized in diagnosis. If, however, they are assigned by appearance diagnosis, it can be focus on treatment. Five jang organs and six fu organs are affected by internal conditions because they are located inside of human body, while four HyungSang types are affected by external conditions because it deals with external shape. If a disease occurs in the developed part of the body, it would be difficult to be cured because four HyungSang types depend on external shapes.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.898-918
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• 2022

Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers' collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun's collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.26 no.5
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• pp.181-187
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• 2016

In this study, new composition of orange color pigment was developed by replacing formerly used lead and chromium with environment-friendly elements. $TiO_2-SnO-ZnO$ composite was synthesized using the solid state reaction under the reducing atmosphere with the LPG and air mixture gas. The synthesized pigments were characterized by spectrophotometer, X-ray Diffraction (XRD), Scanning Electron Microscopy (SEM) and X-ray Photoelectron Spectroscopy (XPS). The colorimetric analysis of pigments exhibited color values ranging from yellow to orange-red. Five different crystalline phases were formed after the heat treatment for 4 and 6 hours. The color of pigments was strongly influenced by the crystalline structure of $SnO_2$, having either cubic or tetragonal structure. The oxidation state study of elements revealed that the color of pigment is getting close to rYR with the increase of $Sn^{4+}$ ratio.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• Journal of Fashion Business
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• v.18 no.6
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.6
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• pp.11-20
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• 2002

This study aims to discover the landscape image of bridges and their harmonization wish surrounding sceneries. This research utilized the basic study tool of psycho-physics and processed the case study of five types of bridges on the Han-River, Seoul. Twenty-one bridges on Han-River were classified into five categories ; the cable stayed bridge, the arch bridge, the girder bridge, the trust bridge and the suspension bridge. Also, aesthetic elements of the bridges including the form the texture, the color, the scale and the harmony were examined. The questionaires to analysis the image and harmonization with surrounding sceneries were designed using semantic differential scale and 5 point Likert scale. The results of the research were as follows. First, components representing the images of bridge landscape are classified into three types, ‘beauty’, ‘weightfulness’ and ‘friendliness’. Second, the image of each bridge as a whole turns out not to be different from each other but to be different in the context of neighboring sceneries. It was also determined that both the Cable Stayed Bridge type and the Arch Bridge type are the most attractive. But, the former does have a more masculine image, and the latter has a m[n feminine image. Third, the Cable Stayed Bridge and the Arch Bridge were evaluated highly in terms of harmonization with surrounding landscapes, while the Girder Bridge received the lowest evaluation. All of the above results suggest that the bridges should be constructed not only for beauty itself in form, color, texture and scale, but also in harmonization with the surrounding landscape. Lastly, it is desirable to do further research to find out sort specific design principles that exist between bridges and tangible surrounding landscape types.