• The Journal of Korean Medicine
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• v.18 no.2
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• pp.355-365
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• 1997

This study was undertaken to examine the effect of Cheongahwan(CAH), being known to reinforce Kidney-yang, on the activities of endogenous antioxidant enzymes and the production of oxygen free radicals in the kidney tissues. Alterations in enzyme activities were observed after in vivo treatment in rats. CAH caused a significant increase in the activities of superoxide dismutase (SOD), glutathione peroxidase and glutathione S-transferase. But catalase activity was not significantly altered by CAH. Treatment in vitro of CAH decreased the production of oxygen free radicals in a dose-dependent fashion. These results suggest that CAH stimulate the activities of antioxidant enzymes and inhibit directly the production of oxygen free radicals. These effects of CAH may contribute to prevent the oxygen free radical-induced impairment of cell function.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.159-173
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• 2002

The subject of the paper is for the study about the implication and the changes of design and functions in the underwear by the change of the times from late 19c until present time. Researching on documents and magazine's articles, and interviewing with women older than 60s is used for the period of previous 1960s. researching on documents, advertising, newspaper, and interviewing with the persons concerned is used for the period of after 1960s. Analysis showed periodical change in underwear is divided into that the changes of the time is divided into 1890-1950 start to Westernization in underwear, 1957-1969 Ready made in underwear. 1950-1969 Variety in underwear, 1980-1989 Fashioning, functioning in underwear, 1990-present Withdrawing from fundamental notion in underwear. The time of 1890-l950 showed the biggest change in an external form in underwear. In 1950-1969, notions of beauty in underwear ultimately swatch from Oriental sense to Western sense, In 70s, underwear achieved the early stage of fashioning. In 80s, Underwear became one of fashion item. In 90s, underwear achieved higher quality and variety. The basic notion of underwear was destroyed by exposing underwear.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.538-544
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• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.131-139
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• 2010

The ten traditional symbols of longevity are represented as 10 which means perfection in oriental philosophy, the sun, mountain, water, cloud, rock, pine tree, elixir plant, tortoise, crane and deer. each subjects symbolizing longevity had used in isolation. unlike China and Japan, the ten symbols of longevity became a fixed form and was widely used in paintings, household effects and clothes in Korea. therefore, It will be a meaningful study how the ten symbols of longevity, as one of subjects in painting, changed into a pattern on clothes. The ten symbols of longevity was affected by various philosophies and religion. especially, it laid emphasis on order by Yin-Yang and the Five Elements theory. the order was applied to arrange each subjects and use colors carefully. the sun colored with red and was on the upper. the pine tree colored with green meaned tree and was on the left. the earth and the mountain meaned the soil and was on the center. the rock meaned the iron and was on the right. the water meaned the water and was on the bottom. The subjects of the study were embroideries like spectacle cases, spoon cases and pouches. the scope of study was the Latter Part of the Joseon Dynasty because there are more relics in the Joseon Dynasty than any other times.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.115-125
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• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.

• 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 Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.135-148
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• 2015

The purpose of this study was to research into TV makeup types focusing on Korean aesthetics with recognizing importance of Korean thought amid what the global interest pays attention to South Korea thanks to the recent influence of Hanryu(Korean wave). The following are summary and result of this study. The non-dual beauty is an integrative concept of including ambivalence on the categorical difference in sex, culture and class by transcending the extreme binary division. As this is what reflected the open thought of pursuing balance of yin and yang in Korean people, it is being shown in the form of transcendence and far-outness through TV entertainment programs. Transcendence coexisted with maintaining relative relationship beyond separation in sex. Far-outness was pursuing free sensitivity immanent in the non-separated thought of transcending the past, the present and future. This trend is being indicated similarly to a change in its paradigm from separation to convergence these days. Accordingly, even makeup was showing similarity to the recent trend with being paid attention to the makeup of focusing on identity in sex and to the makeup of being coexisted the past, the present and future with the aspect of being mixed space time. The Korean aesthetics has been feeble in its influence compared to the Oriental image of focusing on China and Japan in the meantime. Hence, this study can be said to have significance in a sense of being the first consideration that compared TV makeup types of focusing on Korean aesthetics and suggested its developmental direction.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.39-47
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• 2008

Korean embroidery is the long historical industrial arts of real life and has handed down Korean sentiment up to now. Korean traditional embroidered pattern is designed to wish someone's health and luck, who uses the embroidery on the clothes and the goods in real life. Especially, the ten longevity symbols' design is represented as 10 which means perfection in oriental philosophy, the sun, mountain, cloud, water, crane, rock, turtle, pine tree, the elixir of life and deer; these 10 symbols show how ancient Korean believe and wish perpetual youth. However, fiber material used embroidery relic has difficulty in preserving for long period compared to other relic descended from historical events for long time and their preserved state isn't so good owing to have been used directly in the real life. Therefore, it is essentially embossed to preserve the embroidery relic and pattern, and make DB for the data. With preservation of the pictures about the handicraft, it's necessary to preserve embroidery technique and make DB through digital imagination. Through the process, we can apply Korean embroidery image to cul-duct package and digital image related field, and it will be helpful to make the tradition popular. In this study, through the research for the embroidery technique applied pattern on the embroidery relic of ten longevity symbols, we'll establish the cultural identification of Korean embroidery image and then develop a worldwide Korean image.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.105-115
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• 2014

The costumes (including mask) of the first World Master series of The National Changguk Company of Korea, Achim Freyer's 'Mr. Rabbit & Dragon king' is directly designed by Achim Freyer who was in charge of direction and stage design. The new form called Pansori opera is proposed for modernization of Korean traditional opera, it maintained the original form of music yet introduced play form of opera. The costumes and stage also promoted modernistic transformation while maintaining the original Korean form. The overall concept of 'Mr. Rabbit & Dragon king' costumes emphasizes comical effect by abstractness like childlike scribble. It expressed characteristic of characters diversely through exaggeration and expansion while maintaining original form of Hanbok, used surface of costumes as a drawing board, and created flat and geometrically transformed silhouette. The complicated characters was caricatured like everyone is doing mask play by using masks, and it still maintained sophisticated oriental color with modern application of five cardinal colors. It may seems it just mixed our traditional elements like a hint of humor, however, it could be known that it introduced various techniques in it to deliver new subject while maintaining the original form of 'Mr. Rabbit & Dragon king'. From this study, open mind for our tradition and need for diverse attempt could be rediscovered and could also see the possibility to contribute on creating a Nation Brand of traditional performing art.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.97-110
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• 2006

The value that evaluates ancient Oriental civilization and culture is Hwa-i-kwan(華夷觀: the view that China is only good country and the others are savages) as Confucianism. Generally, Hwa-i-kwan(華夷觀) includes cultural Hwa-i-kwan(華夷觀) as Confucian culture is only superior, Han-centered racial Hwa-i-kwan(華夷觀), and country-centered geographical Hwa-i-kwan(華夷觀). As times goes on, instead racial and geographical Hwa-i-kwan(華夷觀) is diluted, cultural Hwa-i-kwan(華夷觀) was just emphasized. The value of cutural Hwa-i-kwan(華夷觀) is presented on dressing system and hair style becoming an issue in Confucian culture. This study intends to research how Hwa-i-ron in latter period of Chosun influenced the view of Ching men's hair style, pigtail. For this study, 5 books of Yeon-hang-rok in $17{\sim}18$ centuries are chosen, but some parts of them would be selected concerning with hairdressing and would be studied with other documents. Hwa-i-kwan(華夷觀) had dominated in the latter period of Chosun and had been making proprieties, then geographical and racial Hwa-i-kwan(華夷觀) were disappeared when Ching had been building a big cultural country, but cultural Hwa-i-kwan(華夷觀) had been stronger in latter period of Chosun than before, it had been a standard in all proprieties. After all, not only did cultural Hwa-i-kwan(華夷觀) become a standard of all proprieties in Chosun, but it was applied to the view of Ching men's hairstyle. So, people thought that pigtail, Ching men's hairstyle, is a custom of the savages. out of Chinese proprieties. Therefore, this cultural Hwa-i-kwan(華夷觀) that Chosun is a real China through taking over Chinese proprieties might be in that age.