• Fashion & Textile Research Journal
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• v.23 no.5
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• pp.545-558
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• 2021

This research analyzed the Chinese style design embodied in the collections of the new generation of fashion designers shown during the Shanghai Fashion Week to improve the understanding of Chinese style and the modernization of Chinese design. The research questions were 1) studying the development of the Chinese fashion industry chronologically and investing young designers' current situation, 2) investigating young designers' awareness of Chinese style and analyzing Chinese style design in collections. A literature and case study were conducted as the research method. The literature study focused on the books about the Chinese fashion industry and history, newspaper, articles, and so on. The case study was conducted among 63 Chinese style collections in 2016-2020 SFW by investigating fashion magazine reviews, articles, and so on. The findings are as follows: 1) Young Chinese fashion designers' awareness of Chinese style has three characteristics; the nonmaterial tendency from decreasing stereotyped images, combination of traditional culture and local youth culture, and commercialization with trends. 2) Chinese elements, including natural, character, and cultural elements were predominantly used in the concept, pattern, and shape. Nonmaterial characteristics were identified in concept, cultural combination characteristics in concept, shape, color, material, and pattern, and trend commercialization in shape, color, and pattern. In conclusion, Chinese young fashion designers had strong national consciousness and new awareness of Chinese style fashion in decreasing the stereotyped images of China. Thus, they used more varied expressions. Meanwhile, they faced difficulties in expressing nonmaterial Chinese elements by balancing them with Chinese style and globalization.

• The Journal of Korean Medical History
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• v.31 no.1
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• pp.1-12
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• 2018

Gyoojoon Lee is a prominent figure of Confucianism and traditional medicine representing southern region of Korea during late $19^{th}$ and early $20^{th}$ century, but studies on his achievements were just started merely a decade ago. We would provide foundation for the further multidisciplinary study on his legacy. We reviewed his chronology, written works, interactions with intellectual figures, and current studies on his works to provide foundations for more thorough research on his legacy. We found he has wide spectrum of studies in medicine, confucianism, literature, humanism and philosophy during the late Chosun dynasty, Korean empire and Japanese colonization period. He wrote twenty five books in diverse fields and was found to have interactions with fifty seven figures with idea during his lifetime which need more detailed examination. Multidisciplinary studies on Gyoojoon Lee is guaranteed for the future in depth study on his works including Buyunglon (theory of supporting Yang).

• Cross-Cultural Studies
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• v.27
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• pp.167-195
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• 2012

A Chinese female writer Linhaiyin(林海音) and Chengnanjiushi(城南舊事), her representative work, have never been studied in Korea before although she and her literary works stand high and are well known in the history of the modern Chinese literature. Thus, in this paper, I analyze her and her novels included in Chengnanjiushi and study their literary value and meaning. To analyze and study them, I mainly consider novels Anhuiguan, Womenkanhaiqu, Lanyiniang, $L{\acute{\ddot{u}}}dagunr$, and Babadehuarluole included in Chengnanjiushi. Firstly, I look into her attitude and mode to observe children and women's life as a writer. Such attitude and mode succeeded to the spirit of the '5.4 literature'. Secondly, I evaluate Linhaiyin's 'Both sides complex' and its value in the history of literature. From this evaluation, the meaning of Linhaiyin's literature is highlighted. She was free from 'Both sides complex' occurred due to the circumstance of the times and played a role of a bridge so as not to break off literature of China and Taiwan. When her and her works are evaluated, this is one of the most important values. The characteristic of her writing mode is that she did not seek a compelling climax, a surprising reversal, or an exclusive plot or character in her works. In her works, plain description or unwitting conversation and story often imply deep meanings. Thus, at unexpected moment after reading her novels, readers truly listen to deep resonance for her attitude and mode to observe people's life. This is exactly her potential energy that makes readers sink into her literary world regardless of time and space.

• Journal of the Korean Society of Food Culture
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• v.34 no.2
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• pp.112-128
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• 2019

The history of modern Korean 'kimchi' can be traced through the history of the wordforms 'dihi' (디히), 'dimchʌi' (딤?), and 'thimchʌi' (팀?) in ancient Korean texts. As native Korean words, the 'dihi' word line ('dihi', 'dii', 'jihi', and 'ji') constitutes an old substratum. This word line coexisted with the 'dimchʌi' word line (dimchʌi, jimchʌi, and kim∫chi) from the Hanja '沈菜'. 'Ji', which is the last word variation of 'dihi', and is still used today as the unique form in several Korean dialects. In standard Korean, however, it only serves as a suffix to form the derivative names of various kimchi types. 'Dimchʌi' is believed to have appeared around the $6^{th}-7^{th}$ centuries, when Silla began to master Chinese characters. Hence,'dimchʌi' reflects either the Archaic Chinese (上古音) or the Old Chinese (中古音) pronunciation of the Hanja, '沈菜'. With the palatalization of the plosive alveolar [t], 'dimchʌi' changed to 'jimchʌi'. The Yangban intellectuals' rejection of the palatalization of the plosive velar [k] led to the hypercorrection of 'jimchʌi' into 'kimchʌi'. It is precisely the hypercorrect 'kimchʌe' that gave the wordform 'kim∫chi', which has eventually become the standard and predominant form in today's Korean language. Regarding 'thimchʌe', it reflects the Middle Chinese (Yuan Dynasty) pronunciation of the Hanja '沈菜' and was used mainly in writing by Yangban intellectuals.

• The Journal of Korean Medical History
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• v.24 no.2
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• pp.135-143
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• 2011

The market of conferences and expos of traditional/ complementary and alternative medicine has not been mature enough while interests in those medicines are growing fast. Meanwhile, some related events in Europe, North America, and Asia, held on regular basis, have reached to the international level in size, such as CAMExpo The Complementary, Natural & Healthcare Show in Europe, Integrative Healthcare Symposium in North America, Ayurveda Congress & Arogya Expo in India, International Conference and Exhibition of the Modernization of Chinese Medicine & Health Products in Hong Kong. Those events have been held for 10 years or so, initiated their own features, and secured their own regular booth exhibitors and visitors. They open the homepage on the internet one or two years before their events are held and vigorously advertise their events on yearly basis. To succeed in, and bear fruits from, the 2013 World Traditional Medicine Expo in Sancheong, it is needed to analyze strong points of the events above and benchmark a practical timeline and technical road map to the 2013 Expo from them.

• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.110-120
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• 2017

For designers, Chinese characters are featured as its unique cultural connotation and the inheritance of information. In visual designs, the beauty of Bushou in form, especially its potential forms, plays an important role and has been applied in various modern designs. There are analyses focused on radicals' roles, as well as its performance and design principles in modern posters in order to figure out how radicals are inherited and developed in posters. Additionally, these researches are conducted to recognize the cultural values of the visual linguistics of Bushou. In this paper, collating of the history and structure of Chinese characters, along with the history, function, classification and meaning of Bushou has been conducted through the method of literature research. The function of Bushou and its potential visual performance means, as well as the objective laws are summarized by analyzing Bushou posters.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• Korean Journal of Oriental Medicine
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• v.16 no.2
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• pp.65-73
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• 2010

This study is to discuss the content of Posangkimun on the whole and to report the understanding of Seokgok Lee Gyujoon on western civilization. Through the overall analysis of Posangkimun, it is found the following facts: 1. Posangkimun aroused interest of academic circles as it covered theories of western civilization. Most of the introduction to western civilization contained in the book is related to astronomy and geography. Seokgok criticized all the western theories on revolution of the earth, astronomy, continents and oceans on the ground that these theories were not congruous with the teaching of the Oriental sages. 2. Seokgok found the reasons why the West had led the East from 'nationalism' of the West. The nationalism mentioned here were more similar to 'democracy' in modern sense, or rather 'democratism'. What is specially noteworthy is that he did not find the reasons of western advancement from the spiritual issues not from the machine civilization. In this way, Seokgok could avoid the fallacy of throwing away traditional ideas to concentrate in western machine civilization. 3. The content of Posangkimun shows that Seokgok was a person with a very conservative view. Notwithstanding his inclination, he had good knowledge about western theories, most of which were gathered from newspapers and magazines at that time. It means that newspapers and magazines should be treated with more importance when studying Korean intellectuals in late Joseon period or during the time of Japanese forced occupation.

• Cross-Cultural Studies
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• v.25
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• pp.363-389
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• 2011

Modern Chinese Literature, the so-called 'feminist' is a very modern and the traditional criticism and took an important position in the double action. Because a woman's freedom from the bondage of traditional ethics of restoring the social status equal to men but to women does not give, that compared to men and women just the dimension of the problem of isolation is not just. It is dominated by yugajeok worldview by streamlining the whole Chinese society to build a modern society and the country was a critical task. However, multi-cultural life of Lin, Hui-yin and Ling, Shu-hua in the history of the world's attention to the shrine was worried attention to soils, rather than East-West dualism law by taking a mixture of both women in modern Chinese literature and Western literature from the center of efforts to overcome the traditional point hayeotdaneun feminist literature that may be different. Lin, Hui-yin and Ling, Shu-hua to overcome the Western-oriented culture really the true dream of China's globalization and localization could be regarded. She naesewotdeon the banner of feminist literature in the traditional 'anti feudal', 'free personality' silcheondoen under such slogans as well as women's liberation from traditional, male-oriented perspective away from the women's unique experiences and new understanding of the value of the superiority the concept of a woman, and was to create. In particular, the femininity of these women who traditionally associated with women and the unique culture - the creation of a new consciousness, a re-evaluation of traditional feminine skills and talents was to try to.