• 복식
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• 제59권4호
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• pp.98-110
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• 2009

Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.

• 한국의류산업학회지
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• 제6권3호
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• pp.297-306
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• 2004

Mehndi, becoming a kind of body fashion in western advanced countries nowadays, is a exquisite, classical fashion form sublimated to traditional faith, medicine and designing art. As one of the cultural arts, especially transmitted by women, a individual tradition of the way how to do the mehndi and the design has been handed down from one culture to another over a thousand of years and it is extensively using in many area, all around world today. Mehndi was used as preparing for special events or celebrations in India, Africa, Central Asia in order to pray for happiness, good luck and calm hart 5000 years ago. Especially, it is concerned with romantic love or a wedding and takes important part of a traditional wedding reception and bride adorning in the culture of Hindu or Islam. In addition to adorning skin, mehndi has various symbols, meaning, function, that is, as a speechless language, in several cultures, it has common meaning such as attraction, protection, celebration. The design of mehndi has been in harmony with the figure, colors, skin types of the dress or the ornament. According to the region, religion, design, mehndi is divided into the design of India and Morocco mostly. Indian design mainly shows flowers and paisley pattern, people widely recognize this design to celebrate and adorn bride in wedding ceremony, still apply mehndi the present time. Moroccan mehndi design, representing North Africa, characterized a bold geometrical figure which stands for belief in living under the protection from supernatural power. Through the understanding of these various meaning, function, symbolism of the design, adorning their body, the current general public use mehndi as not only aesthetic means but also another self expression.

• 복식
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• 제66권1호
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• pp.42-57
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• 2016

The Tibetan people are an ethnic group that is native to Tibet who have adapted to the region's harsh climate and environment, and developed their own culture. Religion played a central role in maintaining its traditional culture and society in the history. The objective of this study is to understand Tibetan costume and religion, and examine patterns that appear on the costume to study their religious symbolism. The significance of this study lies in explaining the symbolisms of the patterns that appear on the costume in terms of cultural maintenance and change. Based on literature review, I summarized the data about Tibet's environment, history and religion, and divided the residential district into three: ${\ddot{U}}$-Tsang, Amdo, Khamba. Then, I organized each region's characteristics and clothes, and studied Tibetan Buddhism (Vajrayana) costumes and features of the patterns that appear on the costumes. Through combining these data, I would like to examine the religious symbolism of the costume pattern of Tibet. Buddhism is at the heart of cultural and social maintenance and change in Tibet, and the patterns shown in the costume is influenced mostly from Buddhism. The features of general Tibetan costume vary with the region and life style, but the patterns that appear on the costume are used over a wide area to represent good luck and the spread of Buddhist teachings. The costumes for religious rites vary with religious sects, but most of the patterns are commonly used. The symbolism of pattern is a form of figure that represents the human psyche and physical world. The symbolism of pattern implies meanings such as compensation or futuristic wish. First, the lucky omen normally means long life, happiness and peace, and means religious salvation in Buddhist perspective. Second, warding off evil spirits normally means avoiding misfortune, and means dignity and self-protection, and protection of Buddhadharma in Buddhist perspective.

• Korean Journal of Acupuncture
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• 제22권4호
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• pp.129-147
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• 2005

Objectives and methods : This research aims to study about Gimunchimbeop(奇門鍼法) from original text of ${\ulcorner}$Singyeol(神訣) and Bosingyeol(保身訣)${\lrcorner}$. I could know is contents about Gimunchim-beop(奇門鍼法) through result that interprets original text of ${\ulcorner}$Singyeol(神訣) and Bosingyeol(保身訣)${\lrcorner}$ with Hyeonto(懇吐) and analyzes, and Gimunchimbeop(奇門鍼法)'s contents are as following. Results and Conrlusions : ${\ulcorner}$Singyeol(神訣) and Bosingyeol(保身訣)${\lrcorner}$ is seen uses Honggukpoyeol-beop(洪局布列法)'s Saenggipalgwae(生氣八卦) among Gimunpogukbeop(奇門鐵法), and Yearngukpoyeol-beop(姻局布列法) that do Sigapoguk(時家布局) by putting first. It Introduced method that depends to Saenggipalgwae(生氣八卦) in Sigapoguk(時家布局)'s occasion and selects, and doctors depend to Bideungpalbeop(飛謄八法)'s Palmaekpalhyeolbaegugungpal-gwaedo(八販八穴配九嘗八卦圖) deciding Bongwae(本卦) via a day to look at patient and selects Juhyeol(主穴), Assign Saenggipalgwae(生氣八卦) laying stress on Bongwae(本卦) and makes Bojohyeol(補助穴) equivalent to Saenggi(生氣), good luck(福德) and Cheoneui(天宜). but, this need study more should use distinguishing how because was not proved. Wonpando(圓板圖) and Babdo(方圖) from Eumyangdun(陰賜遁)'s from 1 Guk(局) to 9 Guk(局) are thing for Yeamgukpoyeolbeop(姻局布列法). But it is few references about there decides Hyeolwi(穴位) that use even if arrange actually. Through ${\ulcorner}$Singyeol(神訣) and Bosingyeol(保身訣)${\lrcorner}$, I could know truth that took advantage of strange news to acupuncture methods(鐵法) but specific practical use method does not remain. Need to establish body of theory in reply in hereafter therefore and prove the effect through presence at a sickbed practical use.

• 한국항해항만학회:학술대회논문집
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• 한국항해항만학회 2006년도 Asia Navigation Conference
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• pp.203-212
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• 2006

The purpose of this research is to suggest the activation plan of Busan port. In the past years, Busan port enjoyed the golden days because of the China's rapid economic growth. But China's continuous development of ports, the trend of increasing container ship size and increasing direct call to China are coming threats to Busan port. So Korea needs to revise the 'Northeast Logistics Hub' strategy because it is considered that Korea ports continuously will handle China's transshipment cargoes. But now China's transshipment cargo share has decreased by direct call to China ports. It means that China has a lot of its local cargoes, so many ship companies change liner service route to handle China cargoes except Bussan ports although Busan port is included in the main trunk route. In the future, Bussan port will not be able to compete again about throughput with China ports if Busan port's transshipment cargo share decreases. So we must find out and develop Busan port's strength which is the competitive edge. By good luck, Busan port has a few opportunities such as the developed feeder network service and geographical advantages. Busan port has many feeder network service like spider's web in any northeast countries so we can suggest that if Japanese shippers use Busan port to distribute their cargoes to Japanese local areas, its transport costs are cheaper than when they use Japan's main ports. In this paper analyzed side of cost when they use Bussan port like hub to distribute their cargo to their local areas. Because most companies tried to reduce the total cost about logistics. Finally, this paper suggests when northeast shippers(China, Japan) use Bussan port which is more economical than their local main ports.

• Plant Biotechnology Reports
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• 제3권3호
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• pp.191-197
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• 2009

Four-leaf white clover is not found easily in nature due to its low appearance rate (1 in 10,000). Because people believe that it brings good luck and like to either keep it or present it to a loved one, it has commercial and ornamental value. To breed four-leaf clover, we exposed its flowers to ${\gamma}-rays$ at the pollination stage. The $M_1$ seeds produced following doses at 25-100 Gy showed an approximately 74% germination rate, with seedling survival at 46%. In the $M_1$ generation of plants irradiated within that dose range, we found an increased frequency of four leaflets. One of them, Jeju Lucky-1 (JL-1), had a frequency of about 60%. To see whether that mutation was somaclonal or genetic, we observed its $M_2$ generation and found that such a phenotype reappeared. Although our results demonstrated that the irradiation of fully mature flowers led to a higher frequency of 4-leaflets, we could not clearly explain the genetic mechanism involved. We suggest that JL-1 is valuable as a new variety, without further genetic fixation, because white clover can be propagated vegetatively by stolons.

• 헤리티지:역사와 과학
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• 제34권
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• pp.172-195
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• 2001

This research on the house folklore in China, Korea, and Japan is focusing on a kitchen God that is common in these three countries. This god originated in China and has subsequently influenced Korea and Japan. Today, all three countries use the same name of this kitchen god which is called Youngwang(竈王) as its name has been spelled in Chinese. In China, this kitchen god has been believed in two different ways. The Han people have developed their belief in Youngwang while another creed has been originated from other ethnic groups. Because of the particular house style with upper stories of ethnic groups in the southern and southeast areas of China, a kitchen fireplace is centered in the house. Han people in China also worship painted depictions of kitchen gods. And the ethnic groups believe it has three stone legs for a fire box. These differing beliefs has bad influenced on Korea and Japan. The kitchen god of Cheju island (off the south Korea coast) is believed to be almost the same as among the ethnic groups in China Interestingly, form of belief in the kitchen god in Okinawa (off the south coast of Japan) is almost identical as in the southern area of China Custom in China. Korea, and Japan regarding the kitchen god symbolized family values healing, initiating a new daughter-in-law to reveging the kitchen god, etc. are all the very similar. A fireplace and its fire are very important and, have many taboo, attached. Existing rich tales of kitchen gods are similar in the three countries. Moreover, people in the three countries, think that the clay or time plaster of the fireplace with bring good luck on New Year's eve. However, Korea kitchen god features one thing that is different from those China and Japan, that is that water symbolizes the kitchen god in Korea. A painted kitchen god as they are popular in China, has influenced only some Buddhist temples in Korea.

• Biomolecules & Therapeutics
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• 제30권3호
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• pp.232-237
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• 2022

Autism spectrum disorder (ASD) having core characteristics of social interaction problems and repetitive behaviors and interests affects individuals at varying degrees and comorbidities, making it difficult to determine the precise etiology underlying the symptoms. Given its heterogeneity, ASD is difficult to treat and the development of therapeutics is slow due to the scarcity of animal models that are easy to produce and screen with. Based on the theory of excitation/inhibition imbalance in the brain with ASD which involves glutamatergic and/or GABAergic neurotransmission, a pharmacologic agent to modulate these receptors might be a good starting point for modeling. N-methyl-D-aspartic acid (NMDA) is an amino acid derivative acting as a specific agonist at the NMDA receptor and therefore imitates the action of the neurotransmitter glutamate on that receptor. In contrast to glutamate, NMDA selectively binds to and regulates the NMDA receptor, but not other glutamate receptors such as AMPA and kainite receptors. Given this role, we aimed to determine whether NMDA administration could result in autistic-like behavior in adolescent mice. Both male and female mice were treated with saline or NMDA (50 and 75 mg/kg) and were tested on various behavior experiments. Interestingly, acute NMDA-treated mice showed social deficits and repetitive behavior similar to ASD phenotypes. These results support the excitation/inhibition imbalance theory of ASD and that NMDA injection can be used as a pharmacologic model of ASD-like behaviors.

• Asia Marketing Journal
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• 제17권3호
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• pp.1-31
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• 2015

The present research examined the interesting but less attended effects of pride- and surprise-tagged money on consumers' spending decisions. Focusing on the unexpected money received in their daily life, we explored recipient's judgments and responses toward pride-tagged money versus surprise-tagged, and identified differences in types of recipient's consumption and spending behaviors between the pride- tagged money and the surprise-tagged money. Consumers tend to use the money associated with pride (vs. surprise) to reward their invested effort; as a result, they were more likely to buy a personal gift. Moreover, in the context of self-gift, consumers with pride-tagged money have showed a bigger positive difference between the intent to buy individual self-expressive products and the intent to buy social self-expressive products than those with surprise-tagged money. And the receipt of pride-tagged money activates motivation to express one's individual self. Consumers who have received a sum of extra money tend to add the money into the current spendable income account and broaden the array of product category. And consumers with high arousal level of surprise triggered by receiving a sum of unpredictable money because of good luck show a smaller difference between the intent to buy individual self-expressive product and the intent to buy social self-expressive product than those with low level arousal in pride. Therefore, marketers should advertise their products in the respects of individual self-expression when their customers have pride-tagged money, and should advertise their products in the respects of social self-identity when they have surprise-tagged money by winning a large sum of unpredicted money like lottery winning.

• 조형예술학연구
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• 제8권
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• pp.63-94
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• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.