• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.188-206
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• 2001

In 1990's, many collections, showing trends of restoration, took the hippie fashion as their main theme. Therefore, this study investigates the aspects of the hippie trend focusing on style, materials, colors shown in Mlan Collection, New York Collection, London Collection, Paris Collection, Tokyo Woman's Collection, and street fashions. 1. In style, the collections and street fashions exhibited layered look. 2. In materials, natural fibers were preferred s in 1960's . 3. In colors, natural hues such as black, white, and brown were primarily used, whereas vivid colors were used as accent. 4. In patterns, floral patterns were most extensively used as the flower is the symbol of Hippie. Animal patterns were also used. 5. In accessories, the Indian bred, a symbolic accessory of Hippie, was used with various materials. The hippie fashion in 1990's appeared not s a total fashion, but as an ancillary associate has the role of accentuation like hair-style, make-up, acessaries, etc.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.299-331
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• 2020

In Daesoon Jinrihoe, the Supreme God descended into the mortal world by incarnating as Kang Jeungsan to save the world from imminent disaster. Daesoon Jinrihoe is regarded by some Chinese scholars as a new Korean Daoism, and Jo Jeong-san, the Lord of the Dao in Daesoon Jinrihoe, revealed the Supreme God's name to "Gucheon Eungwon Noeseong Bohwa Cheonjon Kangseong Sangje." Comparative studies are often conducted to highlight the similarities between this god and the nearly identically named god in Chinese Daoism. However, this Chinese god is only a god of natural phenomena and has no previous connections to descension into the world via human incarnation. My research has determined that the closest basis for comparison would be Emperor Huizong within the context of Northern Song Dynasty Daoism. In the Daoism of that time period, he was understood to be the Supreme God who incarnated as a human to save the world. Borrowing Eliade's Phenomenology of Religion, this paper has discovered that core archetypes of these two godheads are different due to their different soteriological missions. In order to solve the grievances among humans, divine beings, heaven, and the afterworld, Kang Jeungsan actualized the Earthly Paradise of Later World. Drawing on the archetypal notion of an Original Time, he reshaped the world into the beginning of chaos to completely eliminate the past, and to create a fundamentally and qualitatively new era. On the other hand, Emperor Huizong tried to absorb what he viewed as heretical Buddhism into something sacred that could be used to save people from its harm. He established a hierarchy radiating from the archetypal notion of the Center of the Universe, and he cosmosized Buddhism, which he viewed as barbaric, into that order. Their core godheads mainly show differences in terms of time and space. Additionally, their extended sub-godhead symbols are quite different. Emperor Huizong, like the common supreme gods of other religions, established law of order, and then retreated as the symbol of heaven, the abdicated god. His divine power was specialized as Lin Lingsu's symbol of natural phenomena. Kang Jeungsan was completely different. He always proved his power over the three realms through different symbols. The main symbols he used were the moon for healing and resurrection, water for establishing order from chaos, and light for enabling secular individuals to experience sacred profundity.

• Journal of Fashion Business
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• v.21 no.4
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• pp.144-158
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• 2017

Fur garment has long been the conventional symbol for luxury, or conspicuous consumption. However, as fashion items began to diversify as part of overall fashion trend, fur items are now more about individual taste and style than just lavishness. Synthetic fur is especially emerging as a new promising fashion material, with a touch almost like natural fur at an affordable price. Along with the emergence of 'Vegan Fashion' trend, synthetic fur is establishing itself as a popular fashion textile. This study is an attempt to investigate subjective evaluation and physical properties of natural and synthetic furs, whose results will further serve as basic data in developing synthetic fur materials. Sensory and emotional evaluations are carried out on natural and artificial furs. For analysis, factors such as weight, thickness, air permeability, gloss and compressibility were surveyed to observe how they influence the physical properties. According to the subjective evaluation, natural and artificial fur samples do not differ in conspicuous ways in appearance. Experiments on physical properties, specifically warm/cool touch experiment, show that natural fur has a slightly higher warm sensation than artificial fur. Luster analysis by using a microscope revealed that there are subtle qualitative differences between natural and artificial fur. During the subjective evaluation, subjects found it hard to state distinct quantitative differences in luster. A survey as a means of assessing qualitative differences in gloss seems to be necessary to complement the evaluation. Results from this study will potentially serve as resources for diversification of fashion product designs using synthetic fur.

• Journal of the Korean Society of Costume
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• v.13
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• pp.51-72
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• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.665-671
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• 2006

This study is to develop tourist souvenir which designed image of butterfly, the symbol of Hampyeong Butterfly Festival, using natural dyeing product, the specialty of Namdo region. Results of market survey of tourist souvenirs for Hampyeong Butterfly festival showed that souvenirs of butterfly design sold in market which were not discriminated from that of general products and locality or characteristic of the region could not be exhibited. According to the results of market survey, design of souvenirs of Hampyeong Butterfly Festival is as follows; Butterfly pattern of hinge and Dangcho pattern are developed to graphic motive of modern sense with traditional beauty to make design which can be consumed by modern consumers in their actual life and then proper pattern is planned by combining, repeating and disassembling them. Such a pattern is applied to souvenirs like T-shirts, necktie and scarf to make tourists feel identity and unification of the festival visually. In addition, design of souvenirs was made to be coordinated with casuals. Therefore, visual factor could be extracted from Korean cultural heritages suitable to concept of local festivals and it is considered that ways of commercialization and development of traditional pattern suitable to consumers' demands can be suggested.

• Journal of the Korean housing association
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• v.17 no.2
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• pp.1-10
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• 2006

In the resultant period of architectural transition and a tendency towards unthinking formalism, it is all the more important for designers to question the meaning of their actions and their role in society. Modern architects were convinced that their visions were reality, their ideas truth. Yet this assumption is was the fundamental issue, for what reality and how is it perceived? Harries argues a rediscovery of a language of natural symbols, which might help create buildings that are experienced as necessary rather than arbitrary. These symbols are said to express the essential patterns of human existence in the world. In the Frank Lloyd Wright's works, the uniqueness of his architecture lies in its expression and interpretation of nature and people's existence in the world. This study is intended to be an investigation of the nature of physical expression and perception of the reality known, and to seek to present Wright's philosophy of house design in relation to nature and non-arbitrary architecture. Finally this paper concludes that the architectural expression of expressions of Wright's houses are timeless and full of lift, and these built qualities are necessary and could not readily be otherwise.

• Archives of design research
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• v.16 no.4
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• pp.433-442
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• 2003

The concept of pun was basically used to get rhetorical effect in verbal usage and it can be easily applicable to visual communication design. By substituting symbolic images for words of verbal expression, we can draw out some effective communication methods in forms of pun. For years, visual puns have been useful concept to convey a visual message from ancient hieroglyphics to modern arts and design. There are essentially three categories of visual puns. Literal pun upholds the primary meanings of the message literally by picking up a key symbol to create two or more meanings, meanwhile suggestive pun is created when one symbol is used as a key symbol or two or more symbols are combined to created one key symbol that can suggest and strengthen meanings. Comparative pun can be defined two or more symbols of nearly the same appearance are combined or juxtaposed two or more times to enhance overall statement. The concept of visual pun used for traditional area can also be effective ways of new media communication. Thus it is natural to see the concept of visual puns in website. How to handle the images in website is the most critical point for differentiation. But recently, web site designers just seem to focus on somewhat functional aspect. There are certain types of web design formats, and many designers are tend to follow these routines unconsciously. In this situation, the new aspect of visual puns for web design can be a possible design method to fortify the overall message. Through this concept, we can build up some clear identity compared to other web sites and can get alternatives to perform more effective communication ways as a problem-solving process.

• Journal of Physiology & Pathology in Korean Medicine
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• v.21 no.2
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• pp.379-386
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• 2007

Hado(河圖) and Laks${\u{\lrcorner}}$(書洛) are the diagrams composed of the symbols of numbers from one to ten. And the eight-trigrams, P'al-gwoe divide into two types one is a priori eight-trigrams (先夭八卦) or the Bok-Hui's eight trigrams(伏羲八卦); and the other is a posterior eight trigrams (後夭八卦) or the king Mun's eight trigrams (文王八卦). Relating these two diagrams of Hado and Laks${\u{\lrcorner}}$ with the two types of eight trigrams, they are said to be a term of Ha-Lak-Hui-Mun (HLHM). Each of HLHM represents the process of creating and changing of 'heaven and Earth' and every beingby the symbols of numbers and trigrams. In other words, each of HLHM symbolizes the origin and the structure of the universe as well as the birth of every life represented in the diagram of theosophany (福智學) or Kabbalah. HLHM are also regarded as the origin of l-ching or Book of Change. Hado produces Laks${\u{\lrcorner}}$ through the principle of yin-yang(陰陽). Laks${\u{\lrcorner}}$ produces a priori eight trigrams through the zigzag shapes which means Heaven and Earth are mutually responding. And a priori eight trigrams produce a posteriori eight trigrams through the triangle principle of connecting Heaven and Earth. In this process, Hado and a priori eight trigrams are respectively prior to Laks${\u{\lrcorner}}$ and a posteriori eight trigrams. HLHM represent fractal shape resembling the symbol of five on the center of Hado, or Hado itself. In the dynamic process of HLHM, a diagram of Circle, Quadrangle, and Triangle (CQT) is produced as follows: Circle, the symbol of 'infinify' or Heaven, represents the origin of life or birth. Hadois the symbol of creation. Quadrangle, the symbol of Earth, represents that Laks${\u{\lrcorner}}$is scattered into four directions of front, back, left, and rifht. Quadrangle, which is immovable, represents materiality. Triangle, being described from the eight trigrams, means the movements of the process of 'mutual inclusion' of Circle and Quadrangle. Triangle also means the process of harmonizing human beings with natural law.

• SUVANNABHUMI
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• v.6 no.2
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• pp.3-18
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• 2014

With natural resources-terrestrial or coastal-fastly diminishing, governments are now resorting to biodiversity conservation, fast-tracking the introduction of new legislations, as well as the amendment of existing ones, and laying out programs that interpret existing practices and research agendas. This paper examines how biodiversity conservation-in addition to eco-tourism-has become an important symbol of the modernizing state of Sabah, Malaysia. It further examines the effects of biodiversity conservation on state and community management of natural resources, with particular reference to the management of natural resources by the indigenous peoples of Sabah. Citing case studies and focusing on a forest community at Kiau Nuluh, in the district of Kota Belud, Sabah, this paper evaluates strategies used by indigenous groups to maintain access and control over the management of natural resources-and by implication to livelihoods-via ecotourism, making creative alliances with non-government organisations as well as forging cooperation with government agencies which act as custodians of these resources. For a majority of indigenous groups however, the practice of biodiversity conservation has meant reduced and controlled access to natural resources, considering the fundamental issue of the lack of security of tenure to the land claimed under customary rights. New initiatives at recognizing Indigenous and Community Conserved Areas (ICCAs) by international conservation groups provide a means for tenure recognition, for a price, of course. The recognition of ICCAs also faces obstacles arising from developmentalist ideology which upholds that forests are valuable only when converted to other land use, and not left to stand for their intrinsic value.

• Communications of the Korean Mathematical Society
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• v.18 no.1
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• pp.117-126
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• 2003

Let {$X_{nk}$\mid$1\;{\leq}\;k\;{\leq}\;n,\;n\;{\geq}\;1$} be an array of row negatively associated (NA) random variables which satisfy $P($\mid$X_{nk}$\mid$\;>\;x)\;{\leq}\;P($\mid$X$\mid$\;>\;x)$. For weighed sums ${{\Sigma}_{k=1}}^{Tn}\;a_kX_{nk}$ indexed by random variables {$T_n$\mid$n\;{\geq}$1$}, we establish a general weak law of large numbers (WLLN) of the form $({{\Sigma}_{k=1}}^{Tn}\;a_kX_{nk}\;-\;v_{[nk]})\;/b_{[an]}$ under some suitable conditions, where $\{a_n$\mid$n\;\geq\;1\},\; \{b_n$\mid$n\;\geq\;1\}$ are sequences of constants with $a_n\;>\;0,\;0\;<\;b_n\;\rightarrow \;\infty,\;n\;{\geq}\;1$, and {$v_{an}$\mid$n\;{\geq}\;1$} is an array of random variables, and the symbol [x] denotes the greatest integer in x.