• 복식
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• 제59권6호
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• 복식
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• 제61권3호
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• pp.122-138
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• 2011

The present research aims to consider the real remains of 2 suits of Kasaya owned by the Hwaeom Temple(華嚴寺) based on research results about Kasaya in the meanwhile. The present research on 2 suits of remains which are Royal gifts given to monk soldiers in case of a national crisis of the Joseon Dynasty has a big meaning in examining characteristics of Kasaya and grasping characteristics and structure of the 17th century's Kasaya of the Joseon Dynasty through dense survey and analysis according to components. If examining characteristics of Kasaya, the Kasaya of the Great Monk Seo San(西山) is composed on the basis of an initial form of Sun and Moon Light Patch's generation and the Kasaya of the Great Monk Byeok Am(碧巖) has a form that is separately attached through production of embroidery patch as a process of being settled down. If examining what surrounds gold thread in the girth and expression of Sumeru and Chaeunmun(彩雲紋), the composition of a form similar to an insignia badge, so because this is a Royal gift, this can be estimated as being analyzed in a Buddhism aspect by devising a design from the insignia badge at the time, with a meaning like an official uniform given to a monk. Although the insignia badge is a square, it seems that the Sun and Moon Light Patch is made as a rectangular form corresponding to the structure of Kasaya. In addition, it is thought that what the Samjoko(三足烏) idea which is a symbol of the Sun based on Buddhism and Taoism is used together with Yijoko(二足烏) even in expression of the Sun and Moon Light Patch in the Joseon Dynasty which was a Confucian country has a relationship with what a bird was expressed in the insignia badge of winged animals.

• 복식
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• 제57권10호
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• pp.24-34
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• 2007

The purpose of this study is to examine the pieces of 100 fabrics excavated from unknown woman's tomb Incheon, by analyzing woven methods, names of the fabrics, the kinds and the shapes of the patterns. The characteristics to assume the period of the fabrics are as follows. The geumsundan which was woven peacock insignia at chest and back area was excavated for the first time from the tomb of Joseon. Peacock insignia woven with satin weave using supplementary golden wefts, wrapped gold thread. These kind of fabrics were usually imported in the $15^{th}$ century, according to the old documents, 'Nogeoldae' 'Joseonwangjosilrok' written at the end of Goryeo or early in Joseon. Thus, these relics are from about $15^{th}$ century. From this tomb, the mixture fabric of cotton and ramie are excavated. According to another excavated cases, the mixture fabric of cotton and ramie appears from the period before the Japanese Invasion of Korea in 1592, and after the invasion, there are usually mixture fabric of cotton and silk. This also tells that these fabrics show the characteristics of those from the early period of Joseon Dynasty. The rounded patterns of Jangot is only shown from the fabrics of late Goryeo Dynasty, and the cloud pattern of an upper garment with a squared neckline is shown from the early Joseon Dynasty. So, the patterns from these excavated costumes are ranged from the late Goryeo Dynasty to the early Joseon Dynasty. To assume the period through the overall study above, these relics show the characteristics of the $15^{th}$ century fabric.

• 한국의류산업학회지
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• 제13권5호
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• pp.672-678
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• 2011

This was written based on the type and structure of korean man's waist belt in the early and middle era of the Chosun era. The waist belt was excavated from the Mokdaldong in the Daejeon city. The types of korean man's waist belt in the Chosun era were classified into Wondahae (i.e., round shape belt) and Gwangdahae. The Wondahae consist of two types which are circle shaped and straight types. The circle shaped wondahae contain one fringe in the main body of the belt and its joint part is decorated with a small network such as lacing decoration with the size about 1 cm around. The shape of the Wondahae has been changed from the circle shaped into the straight types and also has a tendency to be wider and longer as time went by. The standard form of the Gwangdahae is straight with about 2-3 cm width and elaborated by lacelike fringe as well. This also has a tendency to be wider starting from the 1600s show. The structure of this belts were divided into braid and ornament parts. The ornament part was constructed with the lacelike netting and fringe parts. The sophisticated craft techniques have a great decorative beauty. Through an analysis of FT-IR, the materials of those three belt are known which are made of the silk and the core thread was filled with cotton. Moreover, it can be confirmed that the glitter material of the ornament part were designed with gold foil and has been analyzed with SEM-EDX.

• 복식
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• 제51권6호
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.

• 복식문화연구
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• 제2권1호
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• 복식
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• 제59권8호
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• 대한두개안면성형외과학회지
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• 제25권1호
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• pp.22-26
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• 2024

Background: This study analyzed the demographic characteristics of patients with facial palsy who were treated using either dynamic or static procedures. This study aimed to compare the frequency of procedure implementation and age distribution between the two groups. Methods: This study retrospectively analyzed the medical records of patients treated for facial palsy at a single institution from 2014 to 2022. Among cases included in our study, dynamic procedures involved cross-facial nerve graft and latissimus dorsi or gracilis muscle flap transfer. Static procedures included gold weight insertion, canthopexy, browlift, and thread lift/static slings. Results: Among the 31 patients included in our study, eight (25.8%) incorporated dynamic techniques, and the average age of patients was 44.75 years (range, 24-68 years) with a male to female ratio of 1:4. The remaining 23 patients (74.2%) underwent a static procedure, of which the average age was 59.17 years (range, 23-81 years) which was statistically significantly higher than the average age of 44.75 of dynamic patients (p= 0.013). Regarding the timing of treatment after diagnosis, no patient underwent dynamic procedures more than 20 years after initial diagnosis. A greater diversity in the timing of treatment was observed in the static group. All patients who underwent dynamic procedures were treated using static procedures during the study period. Conclusion: Because aesthetics-based static techniques are typically quick outpatient procedures that can be performed under local anesthesia, our study shows that these are often preferred treatments for all age groups, especially for debilitated or older patients. Further research is required to investigate the long-term functional outcomes of these surgical techniques in a wider population of patients.

• 대한치과보철학회지
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• 제47권4호
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• pp.424-434
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• 2009

연구목적: 임플란트는 수직교합 하중에는 비교적 잘 견디나 측방하중에 대해서는 약한 역학적 성질을 갖고 있으므로 임플란트의 재료 특성과 기하학적 형태에 따른 응력 분석 연구의 필요성이 제기되고 있다. 연구재료 및 방법: 외부육각구조를 갖는 28개의 임플란트를 7개씩 4군으로 나누어 그 제품에 적합한 UCLA gold abutment를 이용해, 제3형 금합금으로 보철 물을 제작하였고, A군 (3i, FULL $OSSEOTITE^{(R)}$-Implant), B군 (Nobelbiocare, Branemark $System^{(R)}$Mk III Groovy RP), C군 (Neobiotec, $SinusQuick^{(TM)}$ EB), D군 (Osstem, US-II)으로 분류하였다. 고정체와 지대주나사, 지대주를 연결한 후 수직적으로 절단하여 연마한 후 미세경도계를 이용하여 10군데에서 경도측정을 실시하였고, 동적하중 피로시험기를 이용하여 60-600 N범위로 파절시까지 동적 하중을 가하였다. 주사전자현미경을 이용하여 지대주나사 및 고정체의 파절 양상과 파절 위치 등을 관찰하였고, 유한요소분석을 통해 고정체와 지대주 나사에 나타나는 응력 분포와 파절면을 비교 분석하였다. 결과: 1.고정체 경도는 A, B, C, D군에서 각각 245.3, 289.7, 281.3, 300.4 Hv로 D군이 가장 높았고, A군이 가장 낮았다. 지대주 나사의 경도는 A, B, C, D군에서 각각 340.00, 317.62, 306.5, 306.2 Hv로 A군이 가장 높고, D군이 가장 낮았다. 2. 모든 실험군에서 임플란트 고정체의 파절은 응력이 집중되는 고정체 3-4번째 나사산 홈 (valley) 부위 또는 내면의 사공간부와 일치하는 부위에서 발생되었고, 피로수명은 A, B, C, D군에서 각각 31585, 47311, 30141, 105371로 D군이 가장 높았으며, A, B, C군과는 유의한 차이가 있었다(P<.05). 3. 파절양상은 B군과D군에서는 고정체와 나사 모두에서 수직 (longitudinal)파절과 수평 (transverse)파절이 동시에 일어나는 복합 (complex mode) 파절이 관찰 되었고, A와 C군에서는 고정체에서 수평 (transverse mode) 파절만이 관찰되었다. 4. 유한요소분석 결과 인장응력이 가장 높은 고정체 표면부에서 피로 균열이 시발되어 압축응력이 가장 높은 반대편 부위로 피로균열이 전파되었으며, 최대 유효 응력값은 C군이 가장 높았고, B군에서 가장 낮았다. 결론: 피질골 높이와 일치하는 임플란트 고정체 부위에서 최대 인장 주응력이 발생되며, 고정체 사공간부 (dead space)가 최대 인장 주응력이 작용하는 지그 표면과 일치할 때 피로파절이 발생되었다. 따라서 악골에 식립된 임플란트의 신뢰성을 향상시키고 수명을 증대시키기 위해서는 가능한 임플란트 주위의 골소실이 일어나지 않도록 해야 할 것이나 골흡수가 일어나 사공간부 수준까지 진행된다면 임플란트의 파절 빈도가 증가될 수 있으므로 이에 대한 대처가 필요할 것으로 사료된다.

• 박물관보존과학
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• 제15권
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• pp.96-121
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• 2014

심희수 초상화는 조선 17세기 공신상이며 '종가 보존본'과 '차종손댁 보존본' 2본으로 1980년에 기증되었다. 기존 장황 형태를 그대로 유지하고 있었으나 화견의 결손 및 수해에 의한 얼룩 등 손상 상태가 매우 심각하여 보존처리를 진행하여 원형을 살리도록 복원하였다. 또한 X-ray 촬영 및 XRF, XRD, 그라프 "C" 정색반응 등 다양한 과학적 조사를 통해 재료 및 제작 기법을 조사하였다. 바탕 직물은 정련된 견섬유로 씨실 2줄이 한 쌍으로 날실 1줄로 이루어진 평직으로 되어 있었다. 배접지 분석결과, 1차 배접지는 대나무 섬유의 중국지, 2차 배접지는 닥나무 섬유의 한지로 확인되었다. 안료는 연백, 주사, 연단, 아타카마이트, 먹, 석청, 은, 금 등 다양한 전통 안료를 사용하였음을 알 수 있었다. 채색기법을 조사한 결과 흰색 ^연백·녹색 ^{아타카마이트}·주황 ^연단·흑색 ^먹·황색 ^금 등의 색을 사용하여 배채가 이루어졌음을 확인할 수 있었다. 더불어 X-ray 투과사진에서 먹이나 염료와 함께 연백을 혼용하여 사용하였음을 알 수 있었다.