• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.99-112
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• 2004

The purpose of this research is to examine the relation between the cyber environment and the contemporary fashion design by studying the formative feature characteristics of cyber character's fashion in the on-line game from the point of the contemporary fashion design. The research method is to understand the general concept of the cyber-space and characters and then is to contemplate characteristics and formative features of game character's fashion of the cyber-space mainly with cyber characters that were closely linked with features of the contemporary fashion design. As a result, the formative feature of game character's fashion of the cyber-space was to be classified into four categories; reactionism, mechanism, futurism, sensualism. First, reactionism takes traditional elements with symbolical and compromising form. Second, mechanism has a tendency of deconstruction due to its vitality and sense of velocity for objects through employing geometrical forms and new materials. Third, futurism deviates from the established framework. It makes use of high-tech materials and has surrealistic and futuristic features. Fourth, sensualism does emphasize sensual parts of the body and intends to convey aesthetic atmosphere through association of ideas. Character's fashion of the cyber on-line game is unnatural and artificial in its forms and wear for the lack of knowledge for costume's structure, and it shows just simplified design that accept extremely partial fragment of features in the contemporary fashion design.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.111-121
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• 2001

The purpose of this study was to investigate the historical changes, and analyze functions and characteristics of western men's underclothes in the second half of the 20C. This study will examine how the social backgrounds influenced on the changes of the functions of men's underclothes and how the changes of outer garments were reflected on underclothes in the second half of the 20C. In the early, the second half of the 20C, underwears of functions was continued to cleanliness and comforts. In the later of the 20C, underwears came to be seen as expressing male sexual power when it became body-conscious. By the changes of outer garments. underclothes changed the same size of proportion. In the late 1960's, the turtleneck type of shirts were copied by outer garments, and we understand that underwear can influence on outer garments. The ruffles of the 18th century reappeared in the 1960's. This reactionism of the late 20C tells us about the relation between social environments and underwear. So the social backgrounds influenced on the formativeness of men's underclothes. We understand that underwear can influence on outer garments and outer garments can influence on underwear, too. The important characteristics of the second half of the 20C were the remarkable resemblance of some styles to those of the Past and the occasional blurring of the distinction between underwear and outerwear.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.18-25
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• 2003

New simplicity means essential concept that is continuous rather than being concept that do not overcome formal, material functional boundary. Consuming masses, decorative reactionism is possible in infinite resource and continuous plenty. Nowaday situation can not forecast the affirmative future bases on economic performance and practicality, so simplicity esthetics which consisted of minimum things is justified. The purpose of this study is to discuss not the formal and functional simplicity but new simplicity to express the essential thoughts and emotional contents of human life.

• Journal of the Korean Society of Costume
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• v.43
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• pp.31-40
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• 1999

This purpose of present study was to examine the figures and colors of hanbok textile. The data were collected from 489 pieces selling at hanbok shops in Taegu pusan and were analysed. Result of this study was as follows: 1) Figures As the hanbok figures tradition figures were used a great many among the figures. The next was natural geometric abstract figures. The reactionism trend was worthy of notice in figures and traditional design occupied most of them. 2) Color In the hue, YR, R, RP group were used concentratedly. Because 5,6,7 level were used a great many among the value value was represented lightly more than midium light. Because 2,3,4 level were used a great many among the chroma chroma was represented duller than midium chroma. Thus hanbok color was used mainly in a several party and korean were tendancy to like natural the sence of color.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.101-112
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• 1994

The objectives of this study are to find out the process of changes of the costume in the era of practical science, and to search the bukhak's view of the costume. Conclusions are described as follows 1. The bukhak pursued the function and the rationality in men's costumes, and healed with the welfare point of view in the commons and humbles clothes, and criticized the phenomenon of over-fashion in women's costume. 2. They contended for thrift against the luxury. But as they had also a modem thinking at the same time, they seemed to have a flexibility. Therefore they persued the essential courtesy in manners and costume. 3. The common people of Yi dynasty had the idea that Yi dynasty is a small China replace by Ming dynasty. But the bukhak had a self-existent standpoint and a realistic idea to the Ch'ing dynasty. But they would have received the Minis culture as the reactionism in the costume. Chinese envied or ridiculed the korean costume. 4. It was the pursuit of the rationality that the Bukhak presented the direction of the costume. They contended for the growth of the business and the development of technique in order to reform the clothing industry.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.147-165
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• 2001

Haute couture denotes a luxurious made-to-order dressmaker's shop. In principle, it refers to a place that is registered with the Paris Apparel Association and has met the size and criteria specified by the association. The features of modern fashion expressed in haute couture have been contemplated by categorizing them into mixed impression appearing in haute couture work pieces. turning the collection event into a spectacle and commercialization for the succession of haute couture. Mixed impression manifested in the haute couture has engendered (1) the creative and dynamic feature (2) eclecticism with popular culture (3) mixed impression of reactionism (4) ethnic characteristics. From the above considerations, one could say that the factors drive the very existence of haute couture and comprise three elements of impeccable backgrounds, They are (1) organizing ability and protective policies of the French fashion industry, (2) relentless experimental spirit of the haute couture designers and (3) Paris that supports creativity and fashion fabrication, have coincided with rising up of the value of persistence on originality of work pieces in accordance with diversifying cultural transformations. consumer-oriented patterns by way of capital symbolized by consumers and restructuring of company operation by each shop. This report describes comprehensive understanding of haute couture, creativity and dynamic power of the haute couture work pieces. Akin to the efforts to maintain the existence of high-grade cultures throughout the overall cultures themselves, haute couture, on the basis of these factors, should also become the motive power through which luxurious culture in fashion is created in the days ahead.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.9
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• pp.1645-1654
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• 2001

패션은 지속적으로 변화하며 이는 새로운 패션 트렌드의 출현을 의미한다. 특히 지난 1990년대 패션은 사회, 과학, 경제, 문화 등 사회환경의 급격한 변화로 새롭고 다양한 가치의 추구로 패션분야에서도 새로운 것에 대한 욕구가 급증하였다. 따라서 본 연구는 1990년대 패션 트렌드를 분석하여 패션의 특성을 파악하여 미래의 패션을 예측하고 대응하기 위한 자료를 구축하는 것을 목적으로 하였다. 패션트렌드는 향후 예측되는 유행테마, 스타일, 색채 , 소재 , 디테일 등을 제시하고 있는데 , 본 연구에서는 시대상을 보다 심층적으로 파악하기 위하여 패션테마만을 집중적으로 분석하고 고찰하였다. 일반적으로 패션테마로 제시되는 개념 이 나 용어들은 동시대의 사회현상과 패션 분야에서 요구될 것으로 예상되는 내용이 비교적 자유분방하게 제 시 하고 있으므로, 패션 테마의 분석과 고찰은 패션의 실체를 이해하는데 매우 유용하다 하겠다. 따라서 본 연구에서는 패션테마로 제시된 용어들을 수집하고 분석하여 , 패션경향는 물론 패션의 실체를 파악하고자 하였다. 연구 대상은 1990년대 10년간의 패션트렌드로 설정했으며, 분석자료는 구체적으로 국내패션정보사인 K·F·S와 S· F·I에서 제시한 트렌드지를 사용하였다. 연구결과 1990년대 패션은 종래의 상식적인 디자인 개념을 넘어서서 여러 가지 다채로운 스타일들이 역사적 시간과 여러 문화의 공간을 오가며 교류되는 포스트모더니즘적 인 특성을 강하게 나타냈으며 , 이러한 경향은 매우 깊고 광범위하게 1990년대 의 패션트렌드에 반영되어 나타났다. 최근의 첨단 과학 기술의 발달과 이에 반하는 자연으로의 회귀욕구와 인간의 본질을 추구하는 인식의 전환 또한 패션 트랜드에 영향을 주었다. 이들을 포용하는 패션 주제는 크게 자연주의, 세계주의, 미래주의, 복고주의 등으로 분석되었다. 이 와 같은 패션 테마들은 각각 독립 적 이 기보다는 서로 상호 보완하고 조화를 이루는 가운데 1990년대 패션으로 형상화되었다. 이러한 1990년대 패션 경향의 분석 결과는 동시대의 사회상을 반영하는 동시에 패션의 특징인 주기성과 반복성을 그대로 보여주고 있었다. 이러한 연구 결과는 패션의 특징을 파악하고, 21세기 패션 경향을 보다 정확하게 예측하고 제시할 수 있는 중요한 자료로 사용될 수 있을 것으로 기대한다.

• Journal of Korean Medical classics
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• v.10
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• pp.415-447
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• 1997

Obstetrics and Gynecology include gynecology which is concerned with the treatment for the disease based on physiology and pathology of women, and obstetrics which is concerned with pregnancy delivery. These obstetrics and gynecology can be said to da-te from the birth of human beings. This pap-er has carried on the studies about the deve-loping process of obstetrics and gynecology of Ming and Qing age. The results of this study are as follows: In Ming age, Many Obstetrics and Gynecology books including "Nukecuoyao"("女科撮要"), "Xiaozhufurenliangfang"("校注婦人良方"), "Wanshifurenke"("萬氏婦人科") and "Nukezhingzhizhunsheng"("女科證治准繩") were published Distinction in Ming age we-re equal development on theory and clinic t-aking a serious view of the differentiation of symptoms and signs, fashion of medicine th-ought of reactionism under the influence of "lixue"(理學). The refore Obstetrics and Gyn-ecology were influenced by these points. And for this example, as treatment contents on "Xiaozhufurenliangfang"("校注婦人良方") and the theory about "fetuse-energy"(胎氣) in "Furengui"("婦人規"), theoretic system with a view point's change of women's disease were established on Obstetrics and Gynecology. But it was restricted on a field of diagnosis under the influence of feudal "lixue"(理學), so the the number of obstetrics doc-tors who were mostly men at that time had fallen greatly and maternity who were short of expert medical knowledge appeared. In Qing age, an explosive increase in po-pulation called greater demand on medicine book and generation after generation extre-mely much Obstetrics and Gynecology books including "NukeChanhoubian"("女科産後編"), "Yetianshinuke"("葉天士女科"), and "Shenshinukejiyao"("沈氏女科輯要") were p-ublished, and it is studied that application of "eight extra-channel"(奇經八脈) theory and the study of drug attributive on extra-chan-nel were progressed. Besides, it is studied that existing traditional Obstetrics and Gyn-ecology changed newly under the influence of the school of combination of traditional Chinese medicine and western medicine which was appeared in the late Qing age.

• Journal of the Korean Society of Costume
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• v.22
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• pp.313-332
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• 1994

The purpose of this study were as follows : 1) Investigate how to intluence Clothes with time background and trends of art-thought in the twenty century. 2) To understand chronologically how to change hair style Make-up and hair decor-ation. I. 1st and 2nd World War time(1920-1945) The women's social status and their sexual equality was promoted during in this time. 1) African Art Surrealism and Expression art were doninated. 2) The popalar trends were tutular silhoutte (Slim and long) boyish Style and military lookwere popular. 3) The popalar trends of were Eton Crop. short bob gaconne hair style cloche hat. page boy hair style were popular. 4) The trend of make-up which specially. emphasized eye make-up and imitated movie star make-up and make shining redish of lip and nails were popular. II. The stage of modernism(1945-1969) cold war time between communism and capi-talism and promotin of women's human rights were established in this time. 1) Pop art avantgrade art were catched up 2) The popular trends of were new look Kior's line silhoutte mini skirt and young fashion. 3) The popular trend of hair style was french twist. Pill Boxs hat curly bob style were prevalenced and they some what dwarfed hair style. 4) make-up natural make-up was popular. III. The stage of high economic development (1969-1990) Increased population economic development were tend to specialize with anti-social action such as Hippie and Punk groups. 1) Op art Androgynous post-modernism Punk and neo-modernism were catched up. 2) Clothes : classic style of reactionism layered look Punk-fashion avantgrade fashion and pantalon suits were prevalence. 3) Hair Style : Twiggy's short hair style the geometric hair cut natural long hair Spike hair unsex-hair style. 4) Make-up : diversified individuality were prevalence The result of this study indicated that the value's of recognize the importance of total fashion that is the harmonization of clothes hair style and make-up.