• Journal of the Korean Society of Costume
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• v.5
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• pp.103-112
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• 1981

In Koryo Dynasty, during the reign of uijong, Choe Yun-ui and others countries collected the royal orders of the Koryo kings and adopted the Tang institutions, and compiled 50 volumes of a book, called "Detailed Ceremonies of Old and New." Recording about clothing, with a special focus on dress and its ornaments of armed vassals, when they attend the king while he is conducting his business. 1) As for the headgear's were the Pokdu, Moja, Kwan, Tumo (official hat to be worn with armors) and Malye (for protection against the cold). There were II kinds of headgear's name in all. 2) As for the clothes, (1) Kongbok (formal costume) (2) Dress, there were 34 kinds of clothes name differented by (i) flowerage on clothes (ii) size of sleeves (iii) color of clothes (iv) fabrics (v) the belt used with the dress. Others were; (3) Baeja (4) Hansam, (5) Poto, and (6) Armor. 3) As for colors of clothes, there were (i) Purple, (ii) Red(Scarlet), (iii) Green, (iv) Blue, (v) Yellow, (vi) Black and (vii) White. 4) As for materials, there were (i) Kum, Ra, Sa (all kinds of silk), (ii) Iron and (iii) Leather. 5) For belts, there were (i) Sockdae, (ii) Hongjung, (iii) Kayeundae, (iv) Dongdokum-dae, (v) Jojung and (vi) Dongshimsokdae.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.25-39
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• 2002

The purpose of this study is to look into dressing practices at the Woinarodo region in terms of ordinary and ritual clothes. Men wore Bqji(trousers) and Jeokori(jackets) as their plain clothes and sometimes Jangsam mid Durumaki(topcoat). During the period of Japanese colony, men wore Western-style clothes. For women it was basic to wear Chima(skirts) and Jeokori. And they preferred Momppe rather when in Japanese rule. In arrangements for their head, men put on gut, and had their hair cut during Japanese nile. Women laid a bundle of their braided hairs on the head or braided their hair, while married women did their hair up in a chignon during the ruling period People of the region put on straw and leather shoes, and then rubber ones since the late 1930s. Hand weaving was a major means of living for women at the region. Ramie, hemp and cotton were mainly weaved by hand. Starching was applied mainly to ramie and cotton. Glues for starching were made of raw rices, cooked rices, wheat flour or gloiopeltis tenax. For ritual clothes, especially in wedding, bridegrooms arranged themselves with Samokwandae and then Put on Baji, Jeokori, Durumaki and Danryung. But they Put on Western-style dresses as the liners of Danryung, and wear Nambawi Rather than the Samo after korean independence from Japanese rule. Bridges wore Chima, Jeokori and Wonsam and Chokdoori and covered their face with Hansam Wonsam did not be worn any longer after Korean independence from the rule. Shrouds for funeral ceremony were manufactured with silks, cotton and hemp, when the chief mourner wore hempen hoods and funeral robes, while women, Chima, made of hemp. and any type of Jeokori.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.140-150
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• 2007

The study aimed to classify the synonyms of clothing terms, such as equal relationship, connoting relationship and partial relationship. The subjects of the study are eleven Chinese character study books such as <石峰千字文 Seokbongcheonjamun> <丙子本千字文 Byeongjacheonjamun>, <註解千字文 Juhaecheonjamun>, <訓蒙字會 Hungmongjahoi>, <新增類合 Sinjeungyuhap>, <兒學編 Aahakpyeon(1816) (1908)>, <蒙喩編 Mongyupyeon>, <字類註釋 Jalyujuseok>, <正蒙類語 Joengmongyueo> and <通學徑編 Tonghakgyeongpyeon>, seven foreign language study books such as <譯語類解 Yeokeoyuhae>, <譯語類解補編 Yeokeoyuhae-supplementary book>, <同文類解 Dongnunyuhae>, <蒙語類解 Mongeoyuhae>, <蒙語類解補編 Mongeoyuhae-supplementary book>, <倭語類解 Oaeeoyuhae> and <方言類釋 Bangeonyuseok>, and some vocabulary books <才物譜 Jaemulbo>, <廣才物譜 Kwangjaemulbo>, <物譜 Mulbo>, <物名攷 Mulmyeongko>, and <事類博解 Salyupakhae>. There are two kinds of synonyms with equal relationship that are spelled as more than two names for the same clothing. The first group was names that have different vocabularies for the same Chinese character headword, for example, Gyeokji and Namosin, Jeoguriot and Dongdolssi, Deungjige and Got dongot, Daloi and Nangja, Jitbidan and Oaedan, jusa and jeuusya, jusa and Murui, Muja and Heoja, and so on. The second group was names that are spelled with sound and meaning of Chinese character, for example, Nuyeok and Saui, Binhyeo and Jam, Mosi and Jyeopo, and so on. Also synonyms of Chinese names were found in equal relationship. Synonyms with connoting relationship in which one name perfectly connotes meaning of another name are Gotgal and Susik, Danryeong and Gwandae, Bosyeon and Chyeong, ete. In these cases, the range of the meaning of clothing terms can be confirmed since names with broad meaning connote names with narrow meaning. There are differences in use and form. In partial relationship synonym with the same name, some synonyms like Baji and Goui, and jeoksam and Hansam have difference in use, while Gamto, Got and Sarno, Neolku and Satgat, and Nangja and Cheopji have difference in form. These presented differences among similar names.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.886-898
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• 2013

This study explores the types, shapes and changes of the court dance garments of mudong[child court dancer] and yeoryeong[female court dancer] for court dances such as Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang, and Choehwamu, and the arrangement of colors in their garments. The conclusion of the study is as follows: First, the type of garments of mudong varied according to the type of dance, role of mudong and passage of time. In all four jeongjae's, hongpo[red robe] and baekjilheukseonjungdaneui[white under garment trimmed in black] were commonly found. Second, the dress of yeoryeong in the Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu was that of other yeoryeong, which was basically comprised of hwagwan[flower headdress], hwangchosam[yellow robe], hongchosang[red skirt] and sudae[embroidered belt]. Third, the color schemes of the court dance garments used in Jangsaengboyeonjimu, Yeonbaekbokjimu, Jesuchang and Choehwamu revealed that the color arrangement of sangsaeng [mutual generation] of the Ohaeng[Five Elements] scheme were favored in the garments of mudong and yeoryeong. The dress of mudong is characterized by sangsaeng between top and bottom, and between total and part, while the color scheme of the outer and inner was sanggeuk[mutual overcoming]. As for yeoryeong, the color arrangement was of sangsaeng in top and bottom, outer and inner, and total and part, but in the five-colored hansam[sleeve extension], both sangsaeng and sanggeuk were found.

• Journal of the Korean Society of Costume
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• v.34
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• pp.79-89
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• 1997

Comparison of Korean shroud with Chinese shroud are as follows. 1. Taetae Simeui P'oo Hansam Ko, Mal, Nukpaek, Kwatu, Ch'ungi Po-kkon Myokmok Ri Aksu Mo and Om were used the most inchina. However Mangkon Tapho Tanko Sotae Ri and Kop'o were used more widely in Korea. 2. The cloths of Chinese shroud were p'o, Paek and Kyun but those of the orean were paek Chu Chung and P'o The colors of the chinese and Koean shroud was Hyun Hun and white. 3. The size of the Cinese shroud is as follows. The size of the Ch ungi ws si-milar tothe size of jujube kernel the len-gth of Myokmok was one Ch'ok two Ch'on or one Ch'ok five Ch'on the length of Aksu was one Ch'ok two Ch'on and its width was five Ch'on. The chil of Mo reached the hands and the length of Sw-ae was three Ch'ok and the length of Om ws five Ch'on. the size of the Korean shroud was the same as Chinese shroud except that the size fo Myokmok and the lenth of Chil and Swae was seven Ch'ok respectively,. 4. In Korean and Chinese shroud Aksu was tied by the strings at two corners Myokmok was teid by the strings of four corners. The tip of the Om was divided and Mo wrapped the shole body. 5. The clothes of Soryom was nineteen Ch'ing in Korean and chinese shroud. The clothes of Taeryom in Kun were one hundred Ch'ing in the chinese and ninety Ch'ing in the Korean shroud. The imple-ment of Soryom were Kum Kyo Sangeui Saneui Ch'im Yok and Kyon in the Chinese shroud and were Kum Kyo Sangeui Saneui Ch'im Yok Kyonand Sinmyon in the Korean shroud. In the case of the implement of Taeryom the Chinese shroud had Kum Kyo Sangeui Saneui Ch'im and Yok the same as Korean shroud.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.176-188
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• 2013

This research examines embroidery panels of Hwarot belonging to the Victoria and Albert Museum (the V&A). There are a total of seven objects and are all disassembled into clothe pieces. They were classified into two groups according to their acquisition year. One group, four objects, was acquired by the Museum in 1920. Considering their materials, embroidery threads, techniques and formative characteristics of patterns, it can be assumed that the objects formed an original dress, Hwarot. Although they look very similar to the embroidery patterns of Hwarot belonging to National Folklore Museum of Korea, they are more finely embroidered with very thin embroidery thread that uses the Jarisu technique. There are some differences in used embroidery threads and embroidery skills between Hwarot artifacts of the National Museum of Korea and the V&A. The embroidery of the National Museum of Korea used thicker threads and longer (approximately 0.7cm) Jarisu stitch techniques. With these details, they would have been made in different time periods. Comparison of the V&A and Changdeok Palace' Hwarot objects show that their patterns' motifs are almost similar but the pattern units, expressions and embroidery techniques are different. Regarding the colors of their patterns, it is noticeable that the peonies are generally expressed in reddish and the lotus patterns are expressed in either bluish or purplish color. It seems that they are contrasted with red-colored flowers and show harmony between yin and yang symbolically. Three artifacts of another group were acquired in 1925. Two of them show patterns almost the same as those of the sleeves of Hwarot (no.33156, no.33158) in Chicago Field Museum collection. The pattern of the remaining object is very similar to Hansam of Hwarot (no.33158).

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korean GEO-environmental Society
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• v.20 no.3
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• pp.39-46
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• 2019

The liquefaction is a phenomenon that the effective stress becomes zero due to the rapidly accumulated excess pore water pressure when a strong load acts on the ground for a short period of time, such as an earthquake or pile driving, resulting in the loss of the shear strength of the ground. Since the Geongju and Pohang earthquake, liquefaction brought increasing domestic attention. This liquefaction can be assessed mainly through the semi-empirical procedures proposed by Seed and Idriss (1982) and the liquefaction risk based on the penetration resistance obtained from borehole DB and SPT. However, the geotechnical information data obtained by the in-situ tests or boring information fundamentally have an issue of the representative of the target area. Therefore, this study sought to construct a ground information database by classifying and reviewing the ground information required for liquefaction assessment, and tried to solve the representative problem of the soil layer that is subject to liquefaction evaluation by performing spatial interpolation using GIS.

• Journal of Microbiology and Biotechnology
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• v.29 no.5
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• pp.813-819
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• 2019

Middle East respiratory syndrome coronavirus (MERS-CoV) induces severe respiratory impairment with a reported mortality rate of ~36% in humans. The absence of clinically available MERS-CoV vaccines and treatments to date has resulted in uncontrolled incidence and propagation of the virus. In vaccine design, fusion with the IgG Fc domain is reported to increase the immunogenicity of various vaccine antigens. However, limited reports have documented the potential negative effects of Fc fusion on vaccine antigens. To determine whether Fc fusion affects the immunogenicity of MERS-CoV antigen, we constructed a Fcassociated MERS-CoV spike protein (eS770-Fc, 110 kDa), whereby human IgG4 Fc domain was fused to MERS-CoV spike protein (eS770) via a Gly/Pro linker using baculovirus as the expression system. For comparative analyses, two eS770 proteins lacking the IgG4 Fc domain were generated using the IdeS protease ($eS770-{\Delta}Fc$) or His tag attachment (eS770-His) and the immunogenicity of the above constructs were examined following intramuscular immunization in mice. Contrary to expectations, non-Fc spike proteins ($eS770-{\Delta}Fc$, eS770-His; 90 kDa) showed higher immunogenicity than the Fc fusion protein (eS770-Fc). Moreover, unlike non-Fc spike proteins, eS770-Fc immunization did not elicit neutralizing antibodies against MERS-CoV. The lower immunogenicity of Fc-fused eS770 was related to alterations in the structural conformation of the spike protein. Taken together, our results indicate that IgG Fc fusion reduces the immunogenicity of eS770 by interfering with the proper folding structure.