• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 복식
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• 제60권5호
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• 한국응급구조학회지
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• 제9권1호
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• pp.95-99
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• 2005

Penetrating neck trauma by gunshot injury involving tracheobronchial tree is rare in Korea. Extensive tissue damage by cavitation, tissue fragmentation and shock wave transmission of high-velocity projectile along with associated organ injury renders high rate of mortality and morbidity. A 28 year old man in military service with gunshot wound in left cervical area presented initial symptoms of severe dyspnea and subcutaneous emphysema. Computed tomography of chest and cervical region as well as bronchoscopic evaluation was performed to confirm highly suspected injury to cervical trachea. Surgical exposure was established through a low collar incision; the damaged segment of 3.5 cm length including 2-4th tracheal rings was resected out and end-to-end anastomosis was performed. Bleeding from lacerated anterior jugular vein was controlled by ligation of both ends and a K2 bulllet was found upon inner border of body of first rib, medial to right carotid sheath and removed out. Cervical esophagus, carotid artery, internal jugular vein and recurrent laryngeal nerve were spared. Extubation was done on the first postoperative day and postoperative course until discharge on nineth postoperative day remained uneventful.

• Parasites, Hosts and Diseases
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• 제36권2호
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• pp.91-98
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• 1998

이 연구는 자연계 및 실험실 내 조건 하에서 오리극구흡충의 생활사를 관찰하기 위하여 수행하였다. 1992년 8월과 9월에 부산시 강서구에 소재하는 선암천에서 다랑의 물달팽이 (Rndix owe,cdwiacoreona)를 채집하였다. 채집한 물달팽이 중 106개를 파쇄법으로 조사하였던 바, 52개 (89.0%)에서 오리극구흡충의 유충 (레디아, 유미유충, 피낭유충)이 한 종류 이상씩 검출되었다. 물달팽이로부터 자연 유출되는 유미유충을 접촉감염시킨 물달팽이, 논우렁 및 미꾸리 중 물달팽이와 미꾸리에서 피낭유충이 검출되었다. 물달팽이로부터 검출한 피낭유충을 경구감염시킨 병아리, 오리, 흰쥐, 마우스 중 병아리와 오리에서 성충이 검출되었다. 물달팽이로부터 검출한 피낭유 충을 경구감염시킨 병아리에서의 충체 회수율은 평균 13. 1%이었다. 레디아는 주머니 모양으로 평균 $2.437{\;}{\times}{\;}0.317{\;}mm$ 크기이었으며 근육성의 인두와 체장의 약 112 부위까지 내려와 있는 맹장을 하나씩 갖고 있었다. 유미유충의 체부위는 방추형으로 평균 $0.262{\;}{\times}{\;}0.129{\;}mm$ 크기이었고, 꼬리부위는 긴 막대모양으로 평균 $0.528{\;}{\times}{\;}0.056{\;}mm$ $\times$ 크기이었다. 유미유충의 체부위에서는 45개의 두극이 배열되어 있는 두관과 미세한 과립을 다수 보유하고 있는 배설관이 특징적으로 관찰되었다. 피낭유충뜬 구형으로 평균 $0.144{\;}{\times}{\;}0.142{\;}mm$ 크기이었으며 2중의 낭벽을 가지고 있었다. 성충은 비교적 길쭉하였고 평균 $0.2760{\;}{\times}{\;}0.550{\;}mm$ 크기이었으며 두관에는 특징적인 45개의 두극이 배열되어 있었다. 이상의 결과로 우리 나라에서 물달팽이가 오리극구흡충의 제1 및 제2중간숙주로서 생활사 유지에 중요한 역할을 수행하고 있음을 확인하였다.

• 복식문화연구
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• 제5권4호
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• 한국의류학회지
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• 제40권5호
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• pp.844-854
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• 2016

In order to understand the current state of production and pattern design of circular knitted jackets, this study selected 11 female clothing brands based from the "2012/2013 Korea Fashion Brand Yearbook" and interviewed the staff in charge of patterns at the companies. Polyester and polyurethane were found to be synthesized and used for the outshell of circular knitted jackets, alternatively natural fabric cotton or wool were synthesized with rayon. As for the structure of circular knitted materials, Ponte Di Roma knitting structure (a modified form of a double knit) was most often used. Surveying the use pattern and the parts for padding cloth, six responded that they used elastic padding cloth. As for circular knitted jackets with inner lining, elastic padding cloth was attached to all parts (front, back, side panel, and collar - except for sleeves) of the basic bodice pattern. Eight responded that they did not use a basic pattern when designing a pattern, which exceeds the majority. All respondents answered yes to the question on if there is any difference in designing a pattern for a woven jacket and a circular knitted jacket. It was found that they designed a pattern that considered shrinkage and elongation, which are the features of circular knitted fabric. Shrinkage and elongation were the features of a fabric material most considered when designing patterns for a circular knitted jacket.

• 한국생활과학회지
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• 제13권3호
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• pp.467-475
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• 2004

The purpose of this study was to examine the sewing construction of a double robe, the difference between the single and double robe, and the size and construction method of the double robe through a close analysis of a replica to facilitate a better understanding of the robe making in late Chosun dynasty. The results were as follows: 1. There was no significant difference in the design and sewing method between the girl's robe and an adult's even though the girl's robe was much smaller. 2. The girl's robe differed from its modern counterparts in some respects: unlike modem robes, Chungyun's robe consisted of two-layers in which the four layers were sewn together and it could be seen most clearly in the way the collar was stitched only onto the outer layer. The two layers seemed to be put on successively since they were not sewn together. The inner collars of the two robes were sewn together when the maker put on a coat string to the outer robe, and the two robes were put together with hemming and blind stitch at the top of the outer collars to make the robe formally stable, which clearly distinguished the princess' robe from a single, for example, four-layered robe. The robe was constructed using traditional sewing methods including broad stitch, back stitch, hemming, and blind stitch, and each stitch was only about 1 mm wide. 3. The maker of the robe managed to construct a formally stable and aesthetically satisfactory robe with the least amount of fabric and proper sewing methods.

• 한국의류학회지
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• 제36권11호
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• pp.1197-1207
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• 2012

This study provides information for the design of pediatric inpatient uniforms with functionality and aesthetic beauty through a questionnaire-survey of the conditions of providing, wearing, preferences and improvement requirements for pediatric inpatient uniforms. As a result of the survey, intravenous injections were mostly given on the back of the hand, and the method of changing uniforms after intravenous injections was (in most cases) to pass the injection bottle through a sleeve or pant leg while the needle is inserted. The respondents answered that the sleeve length and pant length did not match. As a result of the preference of the pediatric inpatient design survey, respondents indicated they preferred pajama type, yellow color and medium size animal patterns. A similar ratio of set-in and raglan with no collar but with 3/4 length sleeve of round neck, front end, sleeve top opening, button closing and two pockets were preferred for shirts; however, a 3/4 length with rubber string on the waist, no opening and inner opening were preferred at the same ratio for pants. As for the method to adjust the length to assign functionality to pediatric inpatient uniforms, the most preferred sleeve was a roll-up sleeve with a strap and the most preferred pants were length adjusted pants that used a strap for both shirts and pants with a both sides strap. In addition, the majority of the respondents answered that a hand wrapper that protects the injection location during intravenous injections needs be developed. As for the development type, a half glove type and glove type were preferred in sequential order.

• 보존과학회지
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• 제33권5호
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• pp.363-370
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• 2017

국립일제강제동원역사관에서 보존처리를 의뢰한 상의 2벌의 재질 분석을 실시하여 당시 의복의 특징을 파악하고, 보존처리를 위한 기초 데이터 구축을 목적으로 한다. 시료의 섬유 짜임 관찰을 위해 실체현미경을 사용하였다. 또한, 섬유 동정을 위해 푸리에변환 적외선 분광광도계(FT-IR), 전자현미경(SEM-EDS)을 이용하였다. 의복 A는 겨드랑이의 구멍, 문양이 있는 레이온제의 흰색 동정, 전체적으로 문양이 없는 소재 등으로 유추하여 보아 여성이 입었던 일본식 속옷 형식의 상의(半襦袢)로 보인다. 몸통 부분의 현미경 관찰 결과 단면 기공이 관찰되며 전체적으로 섬유 꼬임이 관찰 되며, 재질 분석 결과 면이었다. 흰색 동정은 섬유 길이 방향으로 세로선이 관찰되며 단면에 기공은 관찰되지 않으며 재질 분석 결과 레이온 이었다. 의복 B는 오사카 지창에서 검수하고 직인한 작업자용 상의로 보인다. 현미경 관찰 결과, 섬유 꼬임과 단면 기공이 관찰 되었으며, 재질 분석 결과 면이었다. 단추는 분석 결과 초기 플라스틱의 하나인 요소수지로 보인다.

• 한국의류산업학회지
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• 제14권5호
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.