• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.45-60
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• 2008

This study reports a court dress culture in 1719 shown in the Scene of a Royal Banquet given by the King at Gyeong-hyeon-dang(景賢堂) of Gisagyecheop(耆社契帖). It can be summarized as follows: First, King Suk-jong(肅宗) attending a Royal Banquet for members of the Hall of Elder Statement wore the Ikseonkwan decorated with flowers, red Gollyongpo, Okdae, and Heukpiwha. The Crown Prince(王世子) also wore the Ikseonkwan decorated with flowers, black Goliyongpo, Okdae, and Heukpiwha. Second, senior statesmen(耆老臣) over the age 70 wore Sarno, Heukdallyeong with a crane rank tablet, belt, and black boots. Royal family members and officers also wore Samo, Heukdallyeong with a crane or silver pheasant rank tablet, belt, and black boots. Third, Sakum(司禁) of King's body guards wore Yungbok and Muyaebyulgam(武藝別監) wore Ja-geon and the green Jikryeong. Ui-jang-gun(儀仗軍) wore Pirip and Hongui, Haengjeon, and Unhae. Saboksikwan(司僕侍官) wore Samo, Heukdallyeong, belt, black boots, and a sword. Fourth, boy dancers(舞童) wore Buyongkwan, Kwanbok, skirt, belt, and black boots. Cheoyong-dancers(處容舞童) wore outfits in fine colors, wide pants, skirt, mask with an earring, gold colored belt, and white colored sandal. Hyeopryulrang(協律郞) wore Sarno and Heukdallyeong. Jipbak(執拍) wore Morabokdu and Noksaui, and Ak-kong(樂工) wore Whawhabokdu, Hongju-ui, Ojungdae, and Heukpiwha. Singer(歌童) wore Jajeok-dugeon, nokju-ui, and jajeokdae.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.379-380
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• 2018

기술의 발달로 경제, 산업 분야에 큰 변화가 일어날 것으로 전망되는 가운데 기업 경영의 커다란 원동력으로 자리 잡은 기업가 정신의 중요성은 점점 더 부각되고 있다. 이에 본 논문에서는 미국의 대표적 공업지대로 번창했다가 몰락한 러스트 벨트와 첨단 산업 중심지로 부상한 실리콘 밸리의 배경을 비교하여 살펴보고, 씨써클 관점의 기업가 정신을 통해 새로이 형성될 산업을 '골드 밸리'로 명칭하고 러스트 밸리에 적용하고자 한다.

• Economic and Environmental Geology
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• v.45 no.6
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• pp.709-719
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• 2012

Prospection was performed on the tin mineralized belt in Mwanza and Kongolo areas of Katanga, DR Congo. Most of deposits in Katanga areas are related to the granites which are located in Kibaran belt in NE and SW trends of mid Proterozoic. Metasedimentary rocks in the Kibaran belt are intruded by granites, and tin, niobium and tantalum deposits are especially developed along with tin-granite. Cassiterite, coltan and gold are developed in the pegmatite, quartz vein and greisen in related to the tin-granite in Mwanza and Katanga areas, and they are exploited by artisan in the smale scale. And we conducted the works with the alluviums and stream sediments in the case of no outcrops. With the results of analysis of samples, we will choose a few potential mineralized zones and con-tinue to prosepect precisely.

• Economic and Environmental Geology
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• v.22 no.3
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• pp.237-252
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• 1989

The Inseong gold-silver mine is located 3Km northwest of Suanbo, Choongcheongbugdo, Republic of Korea. The mine occurs in the shear zone formed by tension fractures within the Hwanggangri Formation of the Ogcheon metamorphic belt. Ore minerals found in the gold-silver bearing hydrothermal quartz vein composed mainly of pyrite, arsenopyrite, sphalerite, galena and minor amount of chalcopyrite, pyrrhotite, stannite, bismuthininte, native bismuth, chalcocite, electrum and tellurian canfieldite(?). The gangue minerals are quartz, calcite, chlorite and rhodochrocite. Wallrock alterations such as chloritization, silicitication, pyritization, carbonitization and sericitization can be observed in or around the quartz vein. According to the paragenetic sequence, quartz vein structure and mineral assemnlages, three different stages of ore formation can be recognized. The physico-chemical environment of ore formation in this deposit shows slight variation from stage to stage, but the condition of main ore deposition can be summarized as follows. Fluid inclusion, S-istope geothermometry and geothermometry based on mineral chemistry by use of arsenopyrite and chlorite show the ore was formed at temperature between 399 and $210^{\circ}C$ from fluids with salinities of 3.3-5.8 wt.% equivalent NaCl. It indicates that pressure during the mineralization is less than 0.6 Kb corresponding to a depth not greater than 1Km. S-isotope data suggests that thermal fluid may have magmatic origin wit some degree of mixing with meteoric water. In coclusion, the Inseong gold-silver deposit was formed at shallow depth and relatively high-temperature possibly with steep geothermal gradient under xenothermal condition.

• Economic and Environmental Geology
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• v.43 no.5
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• pp.429-441
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• 2010

The Sunrise Dam gold deposit is located approximately 850 km ENE of Perth, in the eastern part of the Yilgam Craton, Western Australia. The mine has produced approximately 153 t of Au at an average grade of 4.2 g/t, which stands for the most significant gold discoveries during the last decade in Western Australia. The deposit occurs in the Laverton Tectonic Zone corresponding to the corridor of structural complexity in the Laverton greenstone belt, and characterized by tight folding and thrusting. The mine stratigraphy consists of a complexly deformed and altered volcaniclastic and volcanic rocks. These have been overlain by a turbidite sequence containing generally well-sorted siltstones, sandstones and magnetite-rich shales, which are consistently fining upwards. These sequences have been intruded by quartz diorite, ultramafic dikes, and rhyodacite porphyry (Archean), and lamprophyre dikes (Palaeoproterozoic). These rocks constitute the asymmetric NNE-trending Spartan anticline with north-plunging thrust duplication of the BIF unit. The deposit is located on the western limb of this structure. Transported, fluvial-lacustrine and aeolean sediments lie unconformably over the deposit showing significant variation in relief. Gold mineralization occurs intermittently along a NE-trending corridor of ca. 4.5 km length. The 20 currently defined orebodies are centered on a series of parallel, gently-dipping ($\sim30^{\circ}$) and NESW trending shear zones with a thrust-duplex architecture and high-strain characteristics. The paragenetic sequence of the Sunrise Dam deposit can be divided into five hydrothermal stages ($D_1$, $D_2$, $D_3$, $D_4a$, $D_4b$), which are supported by distinctive features of the mineralogical assemblages. Among them, the D4a stage is the dominant episode of Au deposition, followed by the $D_4b$ stage, which is characterized by more diverse ore mineralogy including base metal sulfides, sulfosalts, and telluride minerals. The $D_4a$ stage contains higher proportions of microscopic free gold (48%) than D4b stage (12%), and pyrite is the principal host for native gold (electrum) followed by tetrahedrite-group minerals in both stages.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.7
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.

• Economic and Environmental Geology
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• v.47 no.2
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• pp.169-180
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• 2014

Surface geological and trench surveys and drilling exploration (total length, 1,100 m; 9 drill holes) were carried out to secure new Au ore bodies in the area($0.96km^2$) of Actosity gold field, where is located at the western Kuldjuktau mineralized district in the middle territory of Uzbekistan. Several Au ore bodies occurring as tabular or lens shapes with thickness of 0.5~35 m were newly discovered on the outcrops and extended to $N40{\sim}70^{\circ}\;W$ direction with dipping of $70{\sim}90^{\circ}$ SW or NE. Indicated ore resource of gold with Au grade of 0.25~3.52 mg/kg was newly estimated by 2,382 t(gold resource of 2.5 t) as a result of 9 drilling exploration in 2010~2012 from the Actosity gold field. Judging from the ore resources and Au grade of the Actosity gold field, economic potentiality of mining development seems to be low. Because of high possibility to secure new ore resources through more detailed exploration works from the Actosity area, the growth of econonic value will be expected by a mine of middle scale.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.151-160
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• 2002

This study implicates that the Danryoung(Formal dress) has been worn by the lady in Joesun dynasty. So far 8 cases of Danryoung excavated has been supposed to be worn by woman. The differences between man and woman's Danryoung is at the 'Somae(sleeve)'and 'Mu(gusset)'. Through those excavated Danryoungs, 'Somae' in Woman's Danryoung was straight and 'Mu' attached in outer layer of dress with rectangular form. From the excavated dresses, Ot-go-reum(strings) coloured violet and wider than man's Danryoung. It was also found as detached. Woman's Danryoung was decorated with gold brocade and excavated with belt. Through the dress and accessories excavated, it was estimated in mid-16C to early 17C. With this respect, it was implicated that Danryoung has changed its style to Wonsam after late 17C.

• Journal of Fashion Business
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• v.14 no.3
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• pp.1-19
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• 2010

The Assyrians usually wore two types - the tunic and the shawl. These two types were worn alone, or in combination and changes were introduced by varying the proportions of the tunic or shawl. The tunic appeared to be of the sleeves are short and reaching to the ankles or shortened to knee length according to the rank. Assyrian shawl pattern can be divided into five distinct styless. Many of the styles were suitable for costumes to wear in religious plays and pageants. Fringed shawls were the trademark of forma1 Assyrian costume. The usual badge of rank was a long fringed shawl. Intermediate rank wore shawl with short fringes and lower grade wore no shawl at all. The military costume was comparative uniformity : conical helmets was regarded as Scythic in character, short, fringed tunics, wide belts or helmet, round caps and long tunics covered in metal scales, belted at the waist. Assyrian woman costume was the long tunic with fringed hem and a long fringed shawl or was a plaid tunic and wide belt over it. They wore gold crown and horned Cap and tiara, ugal (head-dress) and the most ordinary earrings were the drop and the cross shape and necklace was made of the coloured stones and bracelets ended with heads of animal was regarded as Scythy style or adorned with a rosette at the centre.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.679-685
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• 2011

The purpose of this study is to analyze the formative characteristics and the aesthetic values of the Power suit in 1980s and the images of the Power suit styles shown in 08/09 F/W, 09 S/S, 09/10 F/W and 10 S/S collections. The results of this study are as follows: 1) The aesthetic values of the Power suit in 1980s are authority, sexuality and luxury to express the power, body and wealth. Authority is represented in wide and hard shoulders with pads and dark colors with stripe and no patterns. Sexuality is represented in tight waist jacket and tight skirt. Luxury is represented in luxurious fabrics and handicraft ornaments. 2) The Power suit styles shown in collections are expressed in classic, romantic, avant-garde and ethnic images: Classic images appeared in jacket which exaggerated shoulders with pads, mini skirt, tapered pants, dark colors with stripe and check patterns, rough materials and a waist belt. Romantic images are represented in the skirt with an asymmetric hem, pastel and splendid colors, lace and silk, romantic details made with gathers and flounces and fantastic accessories. Avant-garde images appeared in the deformed jacket, unperfected skirt, special materials and exaggerated accessories. Ethnic images are represented in big silhouette forms with wide shoulders jacket and wide pants, ethnic patterns, gold, orange and other vivid colors and ethnic accessories.