• 한국안광학회지
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• 제13권1호
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• pp.53-58
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• 2008

목적: 안경렌즈용 소형 suptter coating system을 설계하고 제작하고자 한다. 방법: sputter system의 target 설계에 있어서 Essential Macleod thinfilm design software를 이용해 AR 코팅과 mirror 코팅이 동시에 설계 가능한 Si target 을 결정하였으며. 그 후 sputtering 장비를 제작하였다. 결과: $SiO_2$와 $Si_3N_4$의 5층 박막으로 구성되는 AR 코팅의 최적조건은 [air|$SiO_2$(81.3)|$Si_3N_4$(102)|$SiO_2$(19.21)|$Si_3N_4$(15.95)| $SiO_2$(102)|glass] 이였다. Mirror 코팅의 경우, blue color 코팅의 최적조건은 [air|$SiO_2$(56.61)|$Si_3N_4$(135.86)|$SiO_2$(67.64)| $Si_3N_4$(55.4)|$SiO_2$ (53.53)|$Si_3N_4$(51.28)|glass] 이고, green color 코팅의 최적조건은 [air|$SiO_2$(66.2)|$Si_3N_4$(22.76)|$SiO_2$(56.58)| $Si_3N_4$(140.35) |$SiO_2$(152.35)|$Si_3N_4$(70.16)|$SiO_2$(121.87)|glass] 이였으며, gold color 코팅의 최적조건은 [air|$SiO_2$(83.59)|$Si_3N_4$(144.86) |$SiO_2$(11.82)|$Si_3N_4$(129.93)|$SiO_2$(90.01)|$Si_3N_4$(88.37)|glass] 이였다. 결론: 코팅 시간을 줄여 안경단가를 줄이기 위하여 안경렌즈 코팅 시 렌즈의 전 후면을 동시에 코팅을 해야 하기 때문에 sputtering장비 설계를 할 때 안경렌즈 전면과 후면에 동일하게 Si target을 갖춘 cathode를 사용하였고, 렌즈의 곡률을 고려하여 각 층이 동일하게 코팅이 되어야 하기 때문에 target-substrate 간의 간격은 12.5 cm에서 20 cm로 가변할 수 있도록 설계하고 제작하였다. 고품질의 안경렌즈 코팅을 위하여 고진공 펌프로 turbo pump를 이용하였으며, 코팅박막의 균일함을 얻기 위해서 치구를 회전할 수 있도록 설계하고 제작하였다.

• 생명과학회지
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• 제16권4호
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• pp.626-631
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• 2006

밀양 토종개의 일반적인 특징을 구명할 수 있는 기초자료를 확보하고자 밀양 토종개 44두를 대상으로 형태학적 특징 및 microsatellite DNA형의 유전적 다양성의 출현빈도에 기초한 유전적인 특징을 조사한 결과 밀양 토종개의 체고는 43-55 cm(평균 49.5 cm)로서 수캐는 44-55 cm(평균 50.3 cm), 암캐는 43-52 cm(평균 48.1 cm)로 나타났고 체장은 45-60 cm(평균 54.3 cm)로서 수캐는 45-60 cm(평균 55.9 cm), 암캐는 45-57 cm(평균 52.6 cm)였다. 또한 가슴둘레는 수캐가 51-64 cm(평균 59.2 cm), 암캐는 50-62 cm(평균 56.3 cm)로 측정되었다. 머리의 형태는 정면에서 보았을 때 44두 모두에서 역삼각형 형태를 가지고 있었으며, 눈의 모양은 삼각형 형태가 40두(90.9%)였고 초승달 모양이 4두(9.1%)로 관찰되었다. 모색은 백색이 41두(93.2%), 황색이 3두(6.8%)로 나타나 두 색깔을 가지고 있었다. 혀와 발톱의 색깔은 전 두수에서 각각 연분홍색과 분홍색이 관찰되었고 항문의 색깔은 연한 흑색이 40두(90.9%), 연분홍색이 4두(9.1%)로 나타났다. 그리고 귀의 형태는 전 두수가삼각형의 곧게 서 있는 형태였으며, 꼬리의 형태는 반말린 꼬리가 25두(56.8%)로 가장 많았고 선꼬리(장대꼬리)가 15두(34.1%), 말린 꼬리가 4두(9.1%)로 나타났다. 15개의 marker로 분석한 microsatellite DNA 다형의 유전자 빈도에 기초하여 heterozygosity, PIC 그리고 PE를 분석한 결과 대립유전자의 수는 $2{\sim}14$개(평균 6.13개)로 검출되었으며 expected heterozygosity와 PIC는 각각 $0.455{\sim}0.863$ (평균 0.635), $0.348{\sim}\;0.837$(평균 0.570)으로 나타났고 PEZ 10, PEZ 13, PEZ 17, FHC 2054의 marker는 PIC 0.7이상으로 관찰되었다. PE 1은 $0.101{\sim}\;0.548$으로서 15개 marker를 조합시 0.9895, PE 2는 $0.174{\sim}\;0.710$으로서 전체 조합시 0.9996으로 나타났다.

• Asian-Australasian Journal of Animal Sciences
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• 제26권2호
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• pp.163-170
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• 2013

In order to analyze the genetic diversity and phylogenetic status of the Korean Chikso breed, we determined sequences of mtDNA cytochrome b (cyt b) gene and performed phylogenetic analysis using 239 individuals from 5 Chikso populations. Five non-synonymous mutations of a total of 15 polymorphic sites were identified among 239 cyt b coding sequences. Thirteen haplotypes were defined, and haplotype diversity was 0.4709 ranging from 0.2577 to 0.6114. Thirty-five haplotypes (C1-C35) were classified among 9 Asia and 3 European breeds. C2 was a major haplotype that contained 206 sequences (64.6%) from all breeds used. C3-C13 haplotypes were Chikso-specific haplotypes. C1 and C2 haplotypes contained 80.5% of cyt b sequences of Hanwoo, Yanbian, Zaosheng and JB breeds. In phylogenetic analyses, the Chikso breed was contained into B. taurus lineage and was genetically more closely related to two Chinese breeds than to Korean brown cattle, Hanwoo. These results suggest that Chikso and Hanwoo have a genetic difference based on the mtDNA cyt b gene as well as their coat color, sufficient for classification as a separate breed.

• 복식문화연구
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• 제8권3호
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• pp.493-511
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• 2000

The objective of this study was to trace and to examine costume terminologies recorded in Pak Tong Sa Eun Hae. Names of costumes and costume related terms were collected from P마 Tong Sa Eun Hae. Books and various references from China and Korea were used for this study. Costume terms were examined from the Chinese and Korean. Classifications of costume terminologies from the data were made for the analysis : man and woman's costume, accessories, names of fabrics, colors, and decorative motifs used, professional costume, special occasion dresses and so on. Conclusions and summary of results and findings can be summerized as follows : It revealed that manes of man's costume and other costume related words were a large in number compared with those of woman. Only one name of woman's costume appeared in the text : It was kind of long vests. However, names of accessories such as a hat, a hat decorated with jewels and phoenix design, a hair pin, earings, bracelets, finger rings, a soft belt were shown in the text. While many costume names of man included in the text were of garments such as a kind of long vest, a short vest, an outer robe, a kind of long coat with pleated skirt, leg coverings, outer jacket and so on. Also names of undergarments such as an under skirt, a belly covering, and drawers were found in the text. Fabric names were mostly silks such as brocade, twill, sarcenet, damasks and plain silks. Blue was the most widely appeared fabric color in the text and red was the second. Design motifs of fabric design were of dragon, flowers, eight precious things, clouds which were characteristic design motifs of the Chinese. It was found that some of the Chinese costume terminologies were translated into the Korean although many Chinese costume terms were used as the original Chinese.

• 한국식품영양과학회지
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• 제32권4호
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• pp.591-597
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• 2003

노란콩과 검정콩의 항산화효과를 생체 시스템에서 살펴보기 위해 S.D계 흰쥐에게 8주간 섭취시킨 후 지질 및 단백질 산화를 측정 한 결과 실험군은 대조군에 비해 산화를 억제하는 경향을 나타내었고 특히 검정콩의 경우 혈장에서 단백질 산화를 유의적으로 억제하였다. SOD 및 catalase 활성은 대조군과 실험군간에 유의적인 차이가 나타나지 않았고, GSH-px의 경우 대조군에 비해 노란콩 및 검정콩 섭취군에서 유의적으로 활성이 감소하였다. 간의 세포질에서 활성산소인 superoxide anion 함량을 측정한 결과 대조군에 비해 실험군 모두 superoxide anion 함량이 유의적으로 감소하였고 hydroxyl radical의 경우는 유의적인 차이는 없었으나 콩 섭취군에서 약간 감소하였다. 심장과 눈의 리포퓨신 함량을 측정한 결과 심장에서 대조군에 비해 실험군 모두 리포퓨신 축적을 유의적으로 억제하였고 눈에서도 대조군에 비해 검정콩 섭취군의 경우 유의적으로 리포퓨신 생성을 억제하였다. 전체적으로 생체 내에서 노란콩 및 검정콩의 항산화효과는 인정되었으며 종피 색의 차이는 크지 않은 것으로 나타났다.

• 한국의상디자인학회지
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• 제12권3호
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• pp.121-132
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• 2010

The purpose of this research was to analyze the Korean Formative-Artistic Characteristics which were expressed by Hanbok designers. In this research, Hanbok style is a combination of two main things: formative-artistic factors of the Korean past, which naturally focuses on the peculiarity of the tradition and the modern aspects of clothing. Hanbok fashion is defined as all products created by Hanbok designers that incorporate traditional design factors, but do not follow it exactly. There are four formative-artistic characteristics of Korean designs in the Hanbok fashion. The first is the practical usage of the form and the second is the application of texture, color and patterns of materials which are synonymous with traditional Korean costumes; the third, by utilizing specific features, such as a the string of Jeogori(jacket), the round line of Jeogori sleeve, quilting, slit of Dofo (coat), the line of goreum and git (collar), the beauty of the Hanbok can be expressed in various ways; finally, the decorations added to the clothing, like embroidery, dying, patchwork, and beaten silver have been used to express Korean beauty in a modern sense. At the conclusion of the research, the study suggests the following recommendations to upgrade the Hanbok designs and the Hanbok industry. The first recommendation is that continuous design research be done for the development and popularity of the brand image; secondly, collaboration with specialists from other areas of fashion would be beneficial; thirdly, it would be a positive development if Hanbok designers studied Western clothing; and fourthly, Hanbok materials should continue to evolve and be developed.

• 복식
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• 제60권8호
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• 복식
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• 제36권
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• pp.121-137
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• 1998

This paper is a study of clothing recorded in$\boxDr$Shin Ching$\boxUl$.$\boxDr$Shin Ching$\boxUl$is the oldest poetry, which written in early west-Zhou to mid Spring and Autumn Period. In this book, clothing is classified with men's women's and fabrics. But only the men's costume is included in this paper, and others will be studied later. As a result, men's clothing includes Qui, Mian Fu, Bian Fu, Yi Shang, Po, Ze, the armour, the belt ornaments, the hair ornaments and the hair styles, the shoes. 1. Qui is depicted at 11 poetries. It's materials are sheep, wolf, bear etc. The materials and color are differentiated according to the class. 2. Mian Fu is depicted at 20 poetries. There are depictions about the embroidered black garment and a red skirt, and also about inner blouse, Chong er, Chi xi etc. 3. Bian Fu is depicted at 5 poetries and there are three types. 4. Yi Shang is depicted at 9 poetries and classified with two types. One is twp piece style, and the other is one pieced style. 5. Po and Ze is depicted at 1 poetry. Po is sa long coat with lining and Ze is a under-wear. The armour and the helmet are depicted at 2 poetries. 6. The belt ornaments are classified with two styles. One is decorational and the other is practical. At 7 poetries they are depicted. 7. The hair ornaments includes a hat and a hair style. Also, the shoes are depicted and there are two styles. Such a results can clarify the men's costumes of Zhou and may be a raw datas about the costumes of old China.

• 복식
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• 제59권10호
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• pp.51-67
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• 2009

The study is about 'Dap-ho', a kind of men's coat in the early, and mid period of Joseon Dynasty. The study examined the kinds, color, and fabric of Dap-ho from "The Annals of the Joseon Dynasty". It also examined the characteristic, and the change of shape through excavated costume, and the period is limited until early 17th century. In "The Annals of the Joseon Dynasty", there is record of Dap-ho from King Sejong period to Gwang-hae-gun period. After 160 years, it appears again in King Young-jo period, and remains until King Soon-jong period. It was mentioned 168 times, from over 100 cases. There are 26 colors of Dap-ho from "The Annals of the Joseon Dynasty", and among them, green appears the most. Thin fabric, like Joo [紬], Sa[紗], and Cho[綃] was used often, and there are records of double layered, and cotton padded Dap-ho. The period when Dap-ho appears as excavated costume is almost the same as, "The Annals of the Joseon Dynasty" and disappears after the decease of Dae-ho Kang(1541-1624), and Sun-un Yun(1580~1628). After in this period, Dan-ryung, and Jik-ryung changes into double layered clothes, and Jik-ryung functioned as the underclothes of Dan-ryung, instead of Dap-ho. The excavated costumes of Hwak Kim(1572~1633), and Eung-hae Lee(1547~1626) proofs this. But Dap-ho was called 'Jun-bok', 'Dugree', Que-ja', and 'Dap-ho' until the later period of Joseon Dynasty.

• 한국지역사회생활과학회지
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• 제22권1호
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• pp.103-113
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• 2011

The purpose of the study was to examine formative features of embroidered norigae in form, color, pattern and expressive technique through positive analysis of relics and various of collections of work and to consider expressive features of embroidered norigae. The results of the study were as follows. First, embroidered norigae has handcrafted decoration. it was made by being sewed for women longing for their family's happiness. Embroidered norigae is a dress worn by women that is hung on a coat string or the waist part of a skirt. Second, it is eco-environmental. Embroidered norigae applied things seen in nature such as flowers, butterflies and bees to its pattern. Third, it has practicality. Embroidered norigae has high practical value besides a decorative function. Needle case norigae and incense case norigae provide functions in accordance with women's wisdom and skill as well as practicality. Fourth, it is praying for good luck. Women embroidered patterns symbolizing their desires in life such as their family's happiness, wealth, many sons and a long life. Fifth, it has balance and harmony. The knot of embroidered norigae has a perfect symmetry in the front/back part and in the right/left part. And the main body and tassel are symetrical in the right/left part, which gives stability and comfortableness. Embroidered norigae is classified into knot, main body and decorative part in its form. The three kinds express their unique beauty by being harmonized together. Finally, it has a property of melody. Movement of the tassel has a property of melody shaken by the wind and movement of its wearer.