• 한방안이비인후피부과학회지
• /
• 제23권1호
• /
• pp.23-43
• /
• 2010

Objective : This study was performed to assess the effects of Aloe and Violae herba extracts on skin disease and skin beauty. Methods : Anti-oxidant effects were measured by the scavenging for DPPH radical, xanthine oxidase activity. Anti-inflammatory effects were examined by relations in NO synthesis, IL-$1{\beta}$, IL-6, TNF-$\alpha$, NF-kB, COX-2, MAP kinase. The skin wrinkle formation effects were measured by collagenase and elastase activities. The whitening effects were examined by tyrosinase activities, melanin synthesis in MNT-1 cell. Results : 1. In an anti-oxidant test, Aloe and Violae herba extracts showed high radical scavenging activity. 2. In an anti-inflammatory test, Aloe and Violae herba extracts strongly inhibited the lipopolysaccharide(LPS)-induced nitric oxide(NO) release from the RAW 246.7 macrophage cells. Aloe and Violae herba extracts also inhibited the LPS-induced IL-$1{\beta}$ and COX-2 expressions. The inhibitory effects of Aloe and Violae herba extracts on macrophage activation were via the inhibition of NF-kB, evidenced by transient transfection assay. Furthermore, Aloe and Violae herba extracts weakly inhibited the activation of Jun-N-terminal kinase(JNK) but they did not have any effects on p38 MAP kinase in RAW 264.7 cells. 3. In the skin wrinkle formation assay, Aloe extract strongly inhibited collagenase and elastase, whose activity are tightly related with the wrinkle formation. 4. In the skin whitening assay, Aloe and Viloae herba extracts weakly inhibited tyrosinase activity, however, it was not statistically significant. Besides they did not have any effects on melanin synthesis, indicating that they could not be applicable for skin whitening. Conclusion : This study show that Aloe and Violae herba extracts may play a significant role in skin disease and skin beauty.

• 복식
• /
• 제30권
• /
• pp.261-274
• /
• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 산업진흥연구
• /
• 제8권3호
• /
• pp.125-136
• /
• 2023

본 연구는 정조시대의 놀이하는 인간을 통해 한국형 놀이·여가 문화를 재조명하고 현대의 서비스문화의 통합성을 밝힘으로써 창조적 서비스 패러다임의 체계를 정립하고자 하였으며, 연구 결과는 다음과 같다. 첫째, 창덕궁 후원의 군신동행을 통해서 정조는 참여자들의 자율과 창의성을 고취시키고 창조적 놀이로서 조선의 르네상스 시대를 이끌었다. 서비스산업의 창조적 놀이는 자유롭게 소통하는 지적 네트워크로 공동의 발전을 실현하는 혁신의 장으로 거듭난다. 둘째, 서비스와 놀이의 가치를 융합하는 예술적 놀이를 환기시키는 회갑 진찬연과 느림의 미학은 언어와 문화를 뛰어넘는 혁신의 언어이다. 예술적 놀이는 절대적인 아름다움과 미적 감수성을 기반으로 세계인들과 즐거움과 행복을 나누는 소통의 통로가 된다. 셋째, 모든 이를 존엄하게 대하는 정조는 조선의 휴머니스트였다. 이러한 인본주의 이념은 인간에게 특유의 신성한 성질이 있다고 믿는 인본주의적 종교로 이어진다. 종교적 놀이를 매개로 하는 K-서비스는 서비스의 모든 참여자가 성스럽고 고귀함을 경험하면서 치유와 행복으로의 전환점을 가진다. 본고는 놀이와 서비스를 접목하여 새로운 패러다임을 제시함으로써 선봉적인 서비스문화를 개척하고, 한민족 정체성에 뿌리를 두고 있는 K-서비스 연구를 통해 글로벌 비즈니스에서 독창적인 영역을 구축할 수 있는 토대를 마련했다는 데에 학문적·실무적 시사점이 있다.

• 영어어문교육
• /
• 제11권4호
• /
• pp.79-96
• /
• 2005

Eugene O'Neill portrays Puritan values of the Mannon family inherited from their family past. Since Puritan values of the Mannons suppress the normal way of life and love, they retain only rigidity, without the charity which is the core element of the teaching of Christianity. With Puritan repression and its dissociation from the vital spring of life, the Puritan Mannons live in a world drained of life and in a world of hypocrisy between outer beauty and inner ugliness. Ironically, they think more of death itself, neglecting to feel the vitality of life. Working as a fate, Puritan values of the Mannon as 'Force Behind' in O'Neill's own term are the cause of suffering and destruction of the Mannons throughout the whole play. The mask-like house and faces are effectively used as a dramatic technique to express the distorted Puritan values.

• International Journal of Contents
• /
• 제10권2호
• /
• pp.37-41
• /
• 2014

This study defined the pre-elderly as middle age people from 50 to 59. Because it is difficult to produce a design to satisfy the pre-elderly without deeply understanding them, their financial and physical characteristics and persona-based scenario method was studied. An experimental study about persona based scenario method was conducted, and as a result, the types of personas found were as follows: 1) Users enjoy the same games online and offline. 2) Users enjoy playing alone on the computer. 3) Users prefer games that end quickly with win or loss. Writing the situation scenario for each type, the pre-elderly's problems and needs occurring while they play web board games were obtained. The obtained user requests were as follows: users would like the level of difficulty to be simpler in the game of baduk; users wanted unlimited credit and refrainment from using English words in go-Stop; and there were simple comments about game screen design.

• 패션비즈니스
• /
• 제11권4호
• /
• pp.232-246
• /
• 2007

The purpose of this study is to investigate aesthetic characteristics and aesthetic consciousness of the style that European fashion(Paris, London, Netherlands) has accepted the since $19^{th}$ century. The mode Japonisme's development process in around $20^{th}$ century and 21st century has 6 characteristics as follows; 1. Accepting kimono as dressing gown 2. Accepting kimono as Japanese style's objet of Japanese taste 3. Accepting Japanese textile's skills, patterns, and asymmetry. 4. Accepting kimono's formative nature : flat pattern, flexibility, style etc. 5. Shocking of Japanese style's beauty 6. Accepting characters and casual wear Japanese aesthetic consciousness expressed on unconstructed design or deconstructed design that is the aesthetic characteristic of Japanese fashion is , , and the aesthetic consciousness expressed on Zen(Seon) style, cartoons of character fashion, and costume play is .

• 한국의류학회지
• /
• 제29권7호
• /
• pp.909-917
• /
• 2005

Based on the theory that formation of Korean Men's Traditional Trousers is related to Mobius strip, this study researches correlation between distinctive construction of Korean Men's Traditional Trousers and historical background based on old documents and restoration. Distinctive construction of Korean Men's Traditional Trousers are as follows. First, Korean Men's Traditional Trousers is manufactured just like Principle of Mobius strip that the square is twisted once, considering its materials' conditions. Second, Korean Men's Traditional Trousers, manufactured larger, feature cubic effect and twisted formative beauty because its waist and ankle parts are tightened with bands. Third, Korean Men's Traditional Trousers, composed of big Sapok and small Sapok in oblique, are suitable for active play due to its high functionality.

• 복식
• /
• 제59권4호
• /
• pp.98-110
• /
• 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.

• 한국의상디자인학회지
• /
• 제24권3호
• /
• pp.127-144
• /
• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• 한국지역사회생활과학회지
• /
• 제15권1호
• /
• pp.17-26
• /
• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.