• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Journal of Life Science
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• v.33 no.7
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• pp.555-564
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• 2023

In this study, the anti-oxidant activity, elastase inhibitory activity, and skin moisturizing effect of mixed extracts of Acanthopanax senticosus and Citrus unshiu fermented with Bovista plumbea (B-MEAC) were evaluated to verify the availability as a material for inner beauty. The DPPH radical scavenging activity of B-MEAC was showed in a dose-dependent manner (SC₅₀=156.1±0.82 ㎍/ml). Also, B-MEAC inhibited the elastase activity in a concentration-dependent manner (p<0.001). To study the effect of B-MEAC on mouse skin hydration, skin moisture content and transepidermal water loss (TEWL) measured. As a result, skin moisture content increased (p<0.001) and TEWL decreased (p<0.01) compared to the dry-induced control group. The effect on the change of collagen fibers in the dry-induced mouse skin was examined through Masson's trichrome staining. In the group administered with B-MEAC, the amount of collagen relatively increased compared to the control group, and the intensity of blue color increased. The effect on the moisturizing function of the dry-induced mouse skin was examined by Western blot method. In the group administered with B-MEAC, the expression of matrix metalloproteinase-1 (MMP-1) protein decreased compared to the control group. In addition, the expression level of collagen1A1 (COL1A1), hyaluronan synthase-2 (HAS2), filaggrin, and aquaporin-3 (AQP3) recovered (p<0.001). Therefore, these results suggest the potential of B-MEAC as a skin hydration agent for inner beauty.

• Hwankyungkyoyuk
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• v.7 no.1
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• pp.46-87
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• 1994

Our country has been consuming a huge amount of energy in the course of industrialization and its demand is expected to increase enormously in the future. However, the deposits of energy resources are so limited that the settlement of energy problem comes up the essential subject. To solve the energy problem, it is requested that new resources to gain energy stably should be developed and also energy should be economized and used effectively. The effective use of energy and an the wisdom of economy in energy are requested to everybody and these things should be habitualized from very young age through education. Nevertheless, almost every school in our country hasn’t been concerned about energy education. Even though they have a concern, they are very short of the energy education materials and the quality of the materials is not so good. Therefore it is very meaningful to the settlement of energy problem of the country to make the students who will lead our country to make the students who will lead our country in the future realize the seriousness of energy problem and to provide them the necessary knowledge and methods to solve this problem so that they practice those things in everyday life. Having these necessities, this research, supported by The Korea Energy Management Corporation(KEMCO), was performed for 8 months from April 17, 1994 to December 17, 1994. Many peoples participated in this study such as 30 staffs of researchers and authors, 5 staffs of photographers and illustrators, and 3 VCR program producers developing an energy education material set for middle school students that includes a printed material for student, a diskette for computer simulation, a teacher's guidebook, VCR material and its guidebook. The following main development direction was established : First, the material for student should be consisted of units that let students know the seriousness of energy problem. Second, the focus should be put on the necessary method and practice to economize energy actually in real life based on the basic knowledge learned in elementary school. Third, material for student should be consisted of modules to be student activity-oriented teaching-learning rather than lecture-oriented one. The activity, to maximize student's interests, should be presented in various forms such as experiments, investigation, play, data interpretation, computer simulation, visits, expression and appreciation, etc. To develop the energy education materials for middle school students, a research plan was made first. After literature review about domestic and foreign energy education materials, several research trips home and abroad, and discussion meetings, the basic theory of energy education such as the principle, objective, contents, teaching-learning method, and evaluation method was established. Material for student was developed through the following procedures : The activities in the existing energy education materials were analysed and were divided into four categories related to energy using places of home, school, community, and country, and which were again divided into three categories related to time of past, present, and future, Considering these division, nine modules which are structure units of material for student were chosen, Each module comprises 2-4 activities. Totally 31 activities were designed in this way. The syllabi were made out for each activity and writing was asked for to experts related to each activity after several discussions and revision. To complement the draft, another several discussions and revision were also made on it and then pictures and illustrations were asked for. All these procedures complete the material for student, titled ; Energy Inquiry of Middle School Students', which totals 129 pages and is all in color. As the manuscript of material for student was fixed, writing for teacher's guidebook was asked for to the same writers. The draft of teacher's guidebook was also complemented through the several concentrated works and discussions. Teacher's guidebook focused on the teaching-learning principle and methods of energy education and on the concrete instruction cases for effective instruction of material for student. It is organized with two parts : the one is 'general outline' which introduces theoretical contents and the other is 'details' which are practically helpful to teaching-learning. It is totally 131 pages including both 'general outline' and 'details'. The VCR material and its guidebook consist of contents that cultivate the good attitude trying to economize energy and raise student's interests with a purpose of strong motivation to recognize the necessity of economy and practice it. After establishing development direction of VCR material through discussion meetings and research trips, its script was made by relevant experts. Then the script was also reviewed two times. The drafted VCR material made by a video material developing expert was examined and modified by previews twice. After completion of VCR material, the VCR guidebook was made. All these procedures led to the development of VCR material which runs 20 minutes in VHS type. The VCR guidebook shows a production purpose of the program, structure of contents, evaluation methods, and contents of the program in detail to give help to instructors when they use this VCR material, When these energy education materials are used, it is desirable that the VCR material should be presented first to induce student's motive, and then material for student is introduced Since the material for student is composed of activity-oriented modules and each module is independent one another in general, and each activity is, too. the necessary module or activity can be chosen and utilized in any order according to school or class conditions. This energy education materials will contribute to the development of student's ability to solve energy problem in everyday life and teacher's ability to teach the fundamental knowledge and method in solving energy problem.

• Journal of Plant Biotechnology
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• v.39 no.3
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• pp.140-145
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• 2012

The flowering locus T (FT) gene, of which expression will be controlled at high temperature by heat shock promoter (it printed as to HSproFT), was introduced into spray-type chrysanthemum (Dendranthema grandiflorum (Ramat.) Kitamura) 2 cultivars ('Pink PangPang' and 'Pink Pride' by co-cultivation with Agrobacterium tumefaciens strain C58C1 harboring pCAMBIA2300 containing the HSproFT gene. After leaf segments of the 2 cultivars were infected with the A. tumafaciens with C58C1 as explants, shoots were regenerated from the explants cultured on the $1^{st}$ selection medium (MS basal salts + 1.0 mg/L BA, 0.5 mg/L IAA + 10 mg/L kanamycin + 0.7% plant agar, pH 5.8). The shoots were transferred into the $2^{nd}$ selection medium (MS basal salts + 1.0 mg/L BA, 0.5 mg/L IAA + 20 mg/L kanamycin + 0.7% plant agar, pH 5.8). One hundred seventeen plantlets from 'Pink PangPang' and 5 ones from 'Pink Pride' were confirmed as transformants by PCR analysis. Twenty six of the transformants and non-transformants were acclimatized and established well in a green house. Eights of 26 transgenic lines showed flower bud 1.7~10 days earlier than nontransgenic plants, and 24 of them flowered 1~6 days earlier than non- transgenic plants. The shape and color of flower of all HSproFT-transgenic lines were not different with those of non- transgenic plants.

• Archives of design research
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• v.2 no.1
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• pp.43-62
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• 1989

The luxury is the expression of human being's ornament instinct. In this study, in order to grasp the moulding system of the Korean's personal ornaments, the process of luxury prohibition was reviewed to search for to which direction the ornaments developed in the frame of the prohibited style connected closely to the character of the personal ornaments. The proiod was fixed from the old society to the late Chosun dynasty era. The beginning of the luxury in Korea seems to be the start of the luxury burial at the time of funeral in the age of Koguryo., In the era of Koguryo, 10th year of King Dongmyung (B. C. 28), in the era of Baekje, 27th year of King Koi(260), the prohibition of dress regulation and the style of dress were conducted. The prohibition of personal ornaments in Silla was started from King Bup:Heung, and in the 9th year of King Heung-Duk, the prohibition was conducted in order to correct the luxury of the nobles and set up the social discipline. In the 11 th of King Il-Sung-Ni-Sa-Kum, the use of gold, silver and jade was prohibited in the civilian circles. The prohibition of Silla was succeeded to Koryo era, and in the 7th year of King Kwangjong(956), the system of Baekgwan Gongbok(uniform for government officials) was set up, and the system of Sasek Gongbok(four color official uniform) was set up in the 11 th year of the same King, and the prohibition of the personal ornaments such as crown and band is considred to have been conducted. The prohibition of gold and silver was conducted in the first year of King Sungjong(982), and in the 4th year of King Chungryul(l260), the order of wearing the dress and hat in accordance with the Yusan dynasty and the Mongolian customs were widely circulated in the royal court and vivilian circles. The strong influence of Mongolia made the taste of the traditional personal ornaments laste. The personal ornaments were used for the nobles until the age of the Unified Sillar but even the common people could use them in case they were rich, and such a circumstances made the use of foreign goods inflated. The prohibition of Koryo era was aimed at the prohibition of the foreign goods of luxury, and the classification of the social status.In the age of Chosun Dynasty, the production of gold and silver was feeble indeed but the oute reason of the prohibition was to eradicate the luxurious tendency, elevate the custom of eradicate the luxurious tendency, elevate the custom of thrift, and moreover, the gold, silver and jade were no the products of Korea and the prohibition was conducted but the true reason was afor the tribute tt China and the classification of status. The prohibition of Chosun dynasty was conducted first in the June of the 3rd year of King Taejo The major contents of prohibition was no use of gold, silver and jade, coral, agate, amber, etc. of th, wives of the Dang-Sang-Kwan (Court Nobleman) or their sons and daughters, and the same pheno menon was common even at the time of marriage. The people engaged in the secret trade there of wert beheaded. The personal ornaments in the prohibition were the pendent trinket, Binyo (crossbar) ceremonial ornamental hat, ring, earring, ornamental knife, hat string, hat ornament, belt, etc. Thl luxurious marriage expenses out of the luxury was severe, and lose of the marriageable age because 0 non-preparing the marriage goods was the national evil. The prohibition oC luxury was hard to bt kept to the nobles or rich people, the same as old days and present days. The prohibition of th{ luxury and personal ornaments of Korea had nothing to do with the commons, and it was limited tc the nobles and rich people. The prohibition was aimed to cultivating the custom of frugality by eradicating the luxurious atmosphere, but it was chiefly due to the tribute to the China and tht discrimination of the. status. We can say that the recent personal ornament was the flower of handi craft industry bloomed in the prohibition and regulation.

• Food Science and Preservation
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• v.18 no.4
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• pp.442-458
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• 2011

Among Cucubitaceae, melon (Cucumis melo) is one of the most diversified fruits, with various forms, sizes, pulps, and peel colors, In addition, it is a commercially important crop because of its high sweetness, deep flavor, and abundant juice. In the species, there are both climacteric and non-climacteric melons depending on the respiration and ethylene production patterns after harvest. Ethylene is also considered a crucial hormone for determining sex expression, Phytohormones other than ethylene interact and regulate ripening, There are some indices that can be used to evaluate the optimum harvest maturity. The harvest time can be estimated after the pollination time, which is the most commonly used method of determining the harvest maturity of the fruit. Besides the physiological aspects, the biochemical alterations, including those of sweetness, firmness, flavor, color, and rind, contribute to the overall fruit quality. These changes can be categorized based on the ethylene-dependent and ethylene-independent phenomena due to the ethylene-suppressed transgenic melon. After harvest, the fruits are precooled to $10^{\circ}C$ to reduce the field heat, after which they are sized and packed. The fruits can be treated with hot water ($60^{\circ}C$ for 60 min) to prevent the softening of the enzyme activity and microorganisms, and with calcium to maintain their firmness. 1-methylenecyclopropene (1-MCP) treatment also maintains their storability by inhibiting respiration and ethylene production. The shelf life of melon is very short even under cold storage, like other cucurbits, and it is prone to obtaining chilling injury under $10^{\circ}C$. In South Korea, low-temperature ($10^{\circ}C$) storage is known to be the best storage condition for the fruit. For long-time transport, CA storage is a good method of maintaining the quality of the fruit by reducing the respiration and ethylene. For fresh-cut processing, washing with a sanitizing agent and packing with plastic-film processing are needed, and low-temperature storage is necessary. The consumer need and demand for fresh-cut melon are growing, but preserving the quality of fresh-cut melon is more challenging than preserving the quality of the whole fruit.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.2
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• pp.77-85
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• 2014

This study was conducted to examine the morphological characteristics of those Azalea Cultivars(hereinafter, Azalea Cultivars) that are mainly used for landscaping in Korea in order to prepare classification criteria. As testing materials, major Azalea Cultivars cultivated in large quantities by its producing companies were collected. Thereafter, the qualitative and quantitative characteristics of the traits of Azalea Cultivars were investigated in the way of characteristic investigation for new cultivars of azalea used by the Korea Seed and Variety Service in order to classify them and prepare the classification criteria. Since cultivar names have not been established for Azalea Cultivars for landscaping thus far, the data were compiled using the names used by cultivating companies. According to the results, Azalea Cultivars cultivated in Suncheon, Jeonnam mainly for landscaping were 10 in number; Beni, Daewang, Three, Zasanhong, Hancheol, Sancheoljuk, Gyeobsancheoljuk, Baekcheoljuk, Akado, and Seok-am. Among them, the cultivars Beni, Daewang, and Three could not be easily distinguished from each other because they are commonly called Yeongsanhong by cultivating companies and the shapes of their leaves and flowers are similar to each other. In particular, the flower color of Beni was 'bright red', that of Daewang was 'vivid purple', and that of Three was 'bright purple'. In addition, Zasanhong and Hancheol were similar to each other in shape the degree of expression of spots on the flowers and the gloss on the front side of the leaves of Hancheol were higher and stronger compared to that of Zasanhong. Sancheoljuk flowered in early April, earlier compared to other Azalea Cultivars. Gyeobsancheoljuk is an elementary species of Sancheoljuk and it had double flowers although all other traits were similar to those of Sancheoljuk. Although Baekcheoljuk was easily distinguished because it had white flowers, its leaves were similar to those of Akado the reason why these two cultivars could not be easily distinguished from each other. The cultivar Akado flowered early May later compared to other Azalea Cultivars and its flowers were relatively large in diameter as with Baekcheoljuk and Sancheoljuk. Finally, the cultivar Seok-am was easily distinguished because it had smaller leaves compared to other cultivars and it flowered late as with the cultivar Akado.

• Journal of Intelligence and Information Systems
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• v.19 no.4
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• pp.147-157
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• 2013

With the advent of the digital environment that can be accessed anytime, anywhere with the introduction of high-speed network, the free distribution and use of digital content were made possible. Ironically this environment is raising a variety of copyright infringement, and product images used in the online shopping mall are pirated frequently. There are many controversial issues whether shopping mall images are creative works or not. According to Supreme Court's decision in 2001, to ad pictures taken with ham products is simply a clone of the appearance of objects to deliver nothing but the decision was not only creative expression. But for the photographer's losses recognized in the advertising photo shoot takes the typical cost was estimated damages. According to Seoul District Court precedents in 2003, if there are the photographer's personality and creativity in the selection of the subject, the composition of the set, the direction and amount of light control, set the angle of the camera, shutter speed, shutter chance, other shooting methods for capturing, developing and printing process, the works should be protected by copyright law by the Court's sentence. In order to receive copyright protection of the shopping mall images by the law, it is simply not to convey the status of the product, the photographer's personality and creativity can be recognized that it requires effort. Accordingly, the cost of making the mall image increases, and the necessity for copyright protection becomes higher. The product images of the online shopping mall have a very unique configuration unlike the general pictures such as portraits and landscape photos and, therefore, the general image watermarking technique can not satisfy the requirements of the image watermarking. Because background of product images commonly used in shopping malls is white or black, or gray scale (gradient) color, it is difficult to utilize the space to embed a watermark and the area is very sensitive even a slight change. In this paper, the characteristics of images used in shopping malls are analyzed and a watermarking technology which is suitable to the shopping mall images is proposed. The proposed image watermarking technology divide a product image into smaller blocks, and the corresponding blocks are transformed by DCT (Discrete Cosine Transform), and then the watermark information was inserted into images using quantization of DCT coefficients. Because uniform treatment of the DCT coefficients for quantization cause visual blocking artifacts, the proposed algorithm used weighted mask which quantizes finely the coefficients located block boundaries and coarsely the coefficients located center area of the block. This mask improves subjective visual quality as well as the objective quality of the images. In addition, in order to improve the safety of the algorithm, the blocks which is embedded the watermark are randomly selected and the turbo code is used to reduce the BER when extracting the watermark. The PSNR(Peak Signal to Noise Ratio) of the shopping mall image watermarked by the proposed algorithm is 40.7~48.5[dB] and BER(Bit Error Rate) after JPEG with QF = 70 is 0. This means the watermarked image is high quality and the algorithm is robust to JPEG compression that is used generally at the online shopping malls. Also, for 40% change in size and 40 degrees of rotation, the BER is 0. In general, the shopping malls are used compressed images with QF which is higher than 90. Because the pirated image is used to replicate from original image, the proposed algorithm can identify the copyright infringement in the most cases. As shown the experimental results, the proposed algorithm is suitable to the shopping mall images with simple background. However, the future study should be carried out to enhance the robustness of the proposed algorithm because the robustness loss is occurred after mask process.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.