• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• Korean Journal of Clinical Laboratory Science
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• v.44 no.1
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• pp.17-23
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• 2012

This study is assessed the urinary hippuric acid (HA) concentration in toluene-exposed workers. Toluene is widely used in the coating, printing, painting and petroleum industries. We analyzed the hippuric acid level of toluene-exposed workers (males: 198, females: 63) from 2008 to 2010 and examined the relationship between hippuric acid and the characteristics of their work. The measurements of the urinary hippuric acid were confirmed by high-performance liquid chromatography. Among the subjects, males had on average more work experience than females (males: 9.17 years, females: 4.45 years), but females showed a higher hippuric acid concentration levels than males (males: 0.26 g/L, females: 0.75 g/L). The mean of the HA concentration according to the age group was 0.19 g/L in 30's, 0.30 g/L in 40's, 0.54 g/L in 50's, 1.36 g/L in 60's. Those in their 60's had the highest concentration. The mean of HA concentration according to the type of work was 0.70 g/L for the coating, 0.52 g/L for the painting, and 0.16 g/L for the printing industries, revealing that the workers in the coating industry had the highest concentration. By the highest order, the mean of HA concentration by working period was as follows; less than 5 years, ${\leq}5\;years{\sim}<10\;years$. The factors that influence the HA concentration are not only how long one is exposed to toluene but also the type of work, worker's age, and their gender.

• Journal of the Korean Institute of Gas
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• v.5 no.1
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• pp.52-59
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• 2001

Factors to cause accidents were investigated through a systematic analysis of leakage accidents in welded LP-gas cylinder between 199 and 1999. As a result It was showed that most of leakage accident occurred at the pin-hole due to the localized corrosion on welded zone in cylinder. Accordingly, in this paper, we suggested that the problems of heat treatment condition in two-piece welded cylinder and substitute proposal for preventing the tearing of T zone in three-piece welded cylinder. Furthermore, corrosion rate on the weldment and base metal of welded LP-gas cylinder was evaluated using the electrochemical tests in acid rain and $3.5\%NaCl$ solution, Also, the poor adhesion and defects of film which was produced by electrostatic powder spray painting, while the LP-gas cylinder was manufactured, were analyzed using SEM(Scanning Electron Microscopy). And we proposed a optimum coating thickness of the cylinder.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.83-90
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• 2010

Emotional interest in the 1970s, Japan started from the technical and engineering beyond the scope, period late structuralist entering the world has been the subject of interest, as well as in academic research is becoming the main theory. In addition, communication between various disciplines such as humanities through the study of consilience and fusion, the human life to continue as a subject, its importance has risen. So this study are to design for the study of emotion through the human heart in space and how the expression of emotions and can be validated in a study. GSD to evaluate the action (verb) and emotional words (adjective) related to two variables to measure the degree of correlation coefficient was an experiment to find out. Picasso painting, it is 'difficult to understand', 'special', 'interesting', 'not interested', 'confused', 'fun', 'anxious', 'dark', 'cool', 'hard' to have relevance, such as the distribution of emotional words, and as a result of the move was a lot of work. This result can be obtained through the arcane resistance of the cubist paintings that make a lot of body movements. In Renoir painting 'stable', 'warm', 'soft', 'easy to understand', 'bright', 'boring', 'curious', such as emotional words ranged to have a relationship with this behavior is less motion in space. This result can be obtained through the understanding of the Impressionist paintings that are less body movements. As a result, space design, emotional design in the evaluation (GSD) for the empirical analysis that evaluated the feasibility and future of the emotional space of the design could be based in the area is considered.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.71-82
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• 2011

This study set out to investigate the identity of everyday headgear, which is often found in many paintings of Tongshinsa, Joseon diplomatic missions to Japan, in the 18th century. That resembles Yu-geon儒巾, but on the top of the headgear are lappets like a roof. The study proceeded as follows: 1) The painting of Tongshjnsa parade in 1711 was used to analyze wearers of everyday headgear because titles of position are shown for each one. 2) Personal records of Tongshinsa in the 18th century were analyzed to examine the cases of everyday headgear. 3) Cases of everyday headgear in literature around the 18th century were examined. Those researches revealed three findings: 1) The names of everyday headgear with a roof shaped top are Gohu-gwan高厚冠 and Yeonyeop-gwan蓮葉冠. 2) Among Tongshinsa, wearers of Gohu-gwan or Yeonyeop-gwan are medical staff, interpreters, painters, and secretaries. However, it doesn't seem to have been distinction between the two types according to social class and position. 3) People wore everyday headgear, that resembled the two types in appearance, such as Mjnja-geon民字巾, Sunyang-geon純陽巾, Hwayang-geon華陽巾, Jeon-geon戰巾, or Jang-geon將巾 in China and Joseon around the 18th century. Among them, Sunyang-geon and Hwayang-geon seem to have had the closest relationship with Gohu-gwan and Yeonyeop-gwan in terms of shape and character of wearers. The analysis of the research findings led to the two following conclusions: 1) Gohu-gwan and Yeonyeop-gwan were worn as one of everyday headgear to represent appearances of a scholar. 2) Gohu-gwan and Yeonyeop-gwan could be changed versions of the similar everyday headgear or different names of them.

• Journal of the Korean housing association
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• v.22 no.4
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• pp.83-92
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• 2011

Apartment is settled down as a main housing type and massive supply has been conducted since 1990's. The government has focused on the housing supply to improve the housing number and cut its price. On the contrary, the management of the housing has been neglected to get an early deterioration. Since 1995's, various ways have been made to improve and maintain the building function and performance. Among these, the long-term repair plan has played a main role to manage the housing condition and plan the repair schedule for preparing the massive cost of repair such as a roof proof, elevator change. The long-tern repair plan provides the repair time and repair rate according to various construction types. Most of the management agent apply the repair standard into the field area. But the repair time could not reflect the present condition and bring into the wrong maintenance. Therefore, the repair time for the long-term maintenance plan would be revised and reflected from the material and technology development. |n this study, it aimed at improvement for the repair time in various construction types which are provided in the long-term repair plan. For this, the 22 management agents are surveyed directly. This study shows that the repair time of the painting are correspondent to the repair time of the long-term plan irregardless of the painting materials. Most of other areas would correspondently similar to the long-term plan. This study could not include the building location, material and other haracteristics. Therefore, the further study would be needed to reflect the building and materials attributes to get the detailed repair time.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.122-134
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• 2016

The Mural Tomb of Xu Xianxiu(AD 571), a high ranking official in Northern Qi period, is located in Taiyuan, Shanxi province, China. Despite having been raided, it was still discovered to contain over 530 pieces, such as artifacts and murals, in excellent state of preservation. These murals are noteworthy for their high level of detail compared to other murals from the same era, and are important for understanding the historical context of active East-West and Han-Hu cultural exchange in the $6^{th}$ to $7^{th}$ century. The murals of Xu Xianxiu's tomb depict round-collared and narrow-sleeved garments as well as straight collared robes typical of the Xianbei tribe's attire. Notable are the ermine fur overcoat and a headwear with flares on the left and right thought to be unique to the Xianbei. The wife and female servants show female attire of the Xianbei at the time; this attire can be characterized by narrow-sleeved long gowns and asymmetrical flying-bird buns. Despite the anti-Han policy of Northern Qi, influences such as the right sided gathering of the robes and embellished hair styles remain. The procession also depicts the three-cornered headdress and long-tailed hood of the Xianbei men, which have been recorded in documents. The large rounded pearl pattern containing the palmette, the divine animal, and bodhisattva's head motifs show the influence of the Western China [Xi'yu]. Considering that Northern Qi had more active interactions with the three ancient kingdoms of Korea than with the Southern Kingdoms[Nanchao], the findings of this study call for further research on the correlation between the attire of ancient Korea and Northern Qi.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.9 no.1
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• pp.112-124
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• 1999

The purposes of this study were to provide the data for composition of ethylene glycol ethers and 2-ethoxyethyl acetate(EEA) exposure assessment of workers in various industrial operations. In this study, 80 thinners were analyzed to identify their composition and the air concentration of 2-ethoxyethyl acetate(EEA) and urinary 2-ethoxyacetic acid(EAA) were measured. In this study the subjects were the total of 183 drawn from 98 workers who were occupationally exposed to EEA and 85 workers who were not. The results were as follows: 1. There were found average 4.2 components in each thinner. 2. There were 90 components(26.9%) in ethylene glycol ethers of total of 334 detected organic solvents 3. Ethoxyethyl acetate, ethoxyethanol, buthoxyethanol, methoxy-ethanol were found in 30(37.5%), 27(33.8%), 19(23.8%), 2thinners(2.5%), respectively and their contents were average 18.5%. 4. Benzene was found 8 thinners(10.0%) of the total 80 surveyed. 5. In the electronic painting workers EEA exposure concentration was the highest, as showed 2.88ppm(0.01~15.1ppm), cases of exceeded threshold limit value(TLV=5ppm) were 7(10.6%) workers among the total of 98 exposed workers. 6. The geometric mean of urinary EEA in exposed workers was 1.61 mg/gcreatinine, and was higher than that of workers who were not exposed. In the electronic painting workers and offset printers, the geometric mean of urinary EAA was the highest showing 2.8 mg/gcreatinine. 7. The correlation coefficient between urinary concentration of EAA and air concentration of EEA was 0.90(P<0.05). The present results suggest that composition of ethylene glycol ethers in thinners must be evaluated when industrial hygiene surveys and biological monitoring are performed.