• 대한가정학회지
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• 제45권1호
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• pp.63-73
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• 2007

Korean children's clothes have unique aesthetic characteristics distinguished from other countries'. Our folk beliefs handed down from ancient times always contained fortune - seeking thoughts and particularly mothers' earnest wishes for the happiness of their children were sublimated into the symbolic beauty of their children's clothes. The present study examined children's clothes in the royal family and among the people for 50 years of the transitional period from the late Joseon Dynasty to modern times, by classifying them into ritual dress for new-born babies, festival dress and everyday dress. Male children's clothes included caps such as Bokgeon(복건), Hogeon(호건) and Gulle(굴레) topcoats such as Durumagi(두루마기), Sagyusam(사규삼) Koija(쾌자) and Jeonbok(전복) and others such as Magoja(마고자), Baeja(배자), Joggi(조끼) and Bajijeogori(바지저고리), Female children's clothes included caps and head ornaments such as Gulle, Jobawi(조바위) and Daenggi(댕기) and others such as Durumagi, Jegori and Chima(치마). What is interesting is that old clothes handed down to the present are mostly boys' and few of them are girls'. This is probably because of the strong preference for boys rather than girls that continued until the end of the 20th century. Ordinary people dressed their new - born babies with simple white clothes until Samchilil (the 21st day) or Baekil (the 100thday) but, for these occasions, the royal family prepared clothes as formal as those for the $1^{st}$ birthday among the public. Rainbow-striped garments were more popular among the public than in the royal family. As rainbow colors were known to Korean people to dispel evil power and bring in fortunes, rainbow - striped garments were essential for the $1^{st}$ birthday and festive days. However, they were seldom used in ordinarytimes, and most boys and girls wore plain jackets and plain topcoats. When children's clothes in noble families were compared with royal family's ones, either handed down to the present or found in old literature, no significant difference was observed in the basic composition of everyday dress. In particular, it was found that Andong Kim's family had dressed their children with very formal dress such as Dopo and Sagyusam. Among children's clothes, the most gorgeous one was that worn on the $1^{st}$ birthday, and those for other occasions or festive days were similar or simpler. Colors, patterns and designs used in decorating children's clothes mostly had the meanings of seeking fortunes for children such as long life, wealth and prosperity.

• 한국의류학회지
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• 제15권2호
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• pp.77-87
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• 1991

The purpose of this study were to investigate the bed climate and the physiological responses in sleep on the traditional Korean floor heating system called Ondol. Ondol has been the most widely used heating system in Korea, yet there has been a no systematic studies examined its environmental effects on human body. Experimental room was constructed to match the typical thermal environment of Ondol. (floor surface temperature; $32\~33^{\circ}C$, air temperature; $22.5{\pm}1.0^{\circ}C$, relative humidity; $64.0{\pm}4.0\%$RH, air velocity; 0.25 m/sec.) Three different combinations of bedclothes were chosen for the experiment based on the study results showing that they were the most widely used types in Korea. Type 1 was the combination of a cotton-padded mattress with a cotton-padded Korean style blanket. Type 2 was a cotton-padded mattress with a cotton-guilted Korean style blanket. Type 3 was a cotton-padded matless with a polyacryl blanket. Thermal resistance of each of these combina-tions in the bedclothes was measured using thermal manikin. Two adult female was chosen for the seven hour sleeping experiment which was known to be the average sleeping hours of Korean adult female. The bed climate was measured with the temperature under the mattress, the surface temper-ature of the mattress, and the air temperature and the relative humidity of the space between the mattress and blanket. The skin temperature, rectal temperature of the subjects and the bed climate were measured eight times, one hour before the experiment and every hour during the experiment. The weight loss and the subjective sensation were measured for the each subjects before and after the experiment. The procedure was repeated twice with two subjects and three types of bedclothes, yielding twelve combinations of results. The results were as follows; 1. With the surface temperature of $32\~33^{\circ}C$ of Ondol, air temperature was $22.5{\pm}1.0^{\circ}C$ with $64.0{\pm}4.0\%$ RH. The bed climates were $39.2{\pm}40.8^{\circ}C$ under the mattress, $35.3\~36.2^{\circ}C$ on the mattress, and $26.9\~32.0^{\circ}C$ with $56.0\~71.3\%$ RH between the mattress and the blanket. 2. Mean skim temperature during sleep was 34.2"C with local skin temperature of $34.0\~35.5^{\circ}C$. The skin temperatures of abdomen, thigh, foot were higher than the other parts of the body. 3. The skin temperature of chest, thigh, leg and back varied significantly according to the combinations of bedclothes. With the cotton-padded blanket, the skin temperature was the highest, while with the cotton-guilted blanket showed lowest. 4. Examining the relationship between the mean skin temperature and the local skin temper-ature, the chest temperature showed the highest correlation with the former. Therefore, the chest temperature can be recommended to represent the skin temperature in measuring the bed climate. 5. The subjective bed climates were $39.0\~40.4^{\circ}C$ under the mattress, $35.2\~35.9^{\circ}C$ on the mattress, $29.8\~31.6^{\circ}C$ with $56.8\~68.4\%$ RH between the mattress and blanket. In sum, from this experiment we not only obtained the reliable value of bed climates on Ondol, but also showed that the bed climates and the physiological responses were affected differently according to the materials of bed clothes.

• 복식
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• 제4권
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• 자원환경지질
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• 제35권4호
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• pp.325-337
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• 2002

백운 폐광산 주변에 방치된 폐석으로 인한 하천수 및 하상퇴적물의 중금속오염정도를 알아보고자 하였다. 광산활동과 관련되어 발생하는 주변 하천수의 Al 및 Pb, Zn, Cu, Cd, Mn, Fe 등의 중금속 및 기타 이온의 부화현상은 하천수의 TDS를 높이며 또한, 수질을 악화시키는 요인이 된다. 백운광산 주변의 하천수는 Ca와 SO$_4$가 주를 이루는 Ca-SO$_4$형을 보이며, 부분적으로 황화광물의 화학적 풍화로 인한 중금속부화현상을 보인다. 광산을 경유해서 흐르는 하천수는 알카리 및 알카리 토류원소에 의한 중화작용의 영향으로 pH는 6.S-7.1의 약산성내지 중성을 띤다 폐갱구로부터 홀러나오는 갱내수 또한 약산성 내지 중성을 띠며, 광산내의 광석과 맥석광물과의 화학적 풍화로 인해 높은 원소함량을 보인다. 백운 폐광산 주변의 하천수는 갱내수가 유입되는 지역에서 높은 농도를 보이다 하류로 갈수록 농도가 급격히 낮아진다. 이온농도가 낮아지고 pH가 중성을 띠는 것은 자연적으로 오염을 조정해주는 희석 및 침전, 흡착 등으로 인한 완충작용의 결과이다. 토양내에서 중금속의 이동성이나 생물학적 이용능력을 알아보기 위하여 단계별 추출법을 이용하여 하상퇴적물에서 Cd, Cu, Zn, Pb의 존재형태를 5가지 단계로 분류하였다: 이온교환형태, 탄산염형태, 철-망간 산화물형태, 유기물형태, 잔류상형태. 대부분의 퇴적물에서 Cu(21-92%) 및 Zn(28-89%), Pb(23-94%)는 잔류상형태가 우세하였으며, Cd는 퇴적물에서 다른 원소에 비해 낮은 농도(2.7-52.8 mg/kg)를 보여주었으나 대부분 불안정한 형태(68-97%)가 우세하였다. 상류 퇴적물에서는 폐석으로 인해 Pb의 농도가 높게 나타나며, 하류 퇴적물은 Zn이 높은 농도를 보여, Zn 과 불안정한 형태가 우세한 Cd이 이동성이 높은 원소임을 알 수 있었다.thing construction. The presentation coverages and relative difficulties of textbooks were, however, diverse. It is somewhat noticeable that, while fewer professors majoring in clothing construction participated in writing, generally more pages were allocated to clothing construction than other areas. While presentations on anthropometrics method, construction theory, draft theory, usage of sewing machine and fitting theory were insufficient most textbooks were dealing with drafting of basic slopers and sewing procedure, etc. Making-up techniques on the apparels items such as Korean traditional men's pants, pajamas, shirt vest skirt, pants, apron and Korean pouch were handled closely in each textbook.different from the one in the l980s worn by the demonstrators of popular movements and democratic movements, and it emerged as a new symbol with the characteristics of cultural movement like community consciousness and nature affiliation.

• 복식
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• 제36권
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• 복식
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• 제38권
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• 패션비즈니스
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• 제5권2호
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• 보존과학회지
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• 제28권1호
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• pp.21-27
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• 2012

조선시대 양반가의 장례시 매장방식은 회곽묘제를 사용하였으며, 그 유물들이 현대에 형태를 유지한 채로 출토되는 경우가 종종 있다. 그러나 그 내부에서 발견되는 섬유유물들은 예전에는 염직물이었을 것으로 예상되나 오랫동안 시즙과 수분에 의해 오염되어 고유의 색상 및 물성에 변화를 일으킬 수 있다. 이러한 오염은 출토 후에도 계속적으로 유물의 변퇴색 및 열화에 영향을 미칠 것으로 예상되므로 적합한 세척이 요구된다. 따라서 본 연구는 습식세척 후 출토염직물의 색변화를 최소화할 적합한 세정조건을 조사하기 위하여 적색계 7종, 청색계 1종, 황색계 6종, 녹색계 4종, 자색계 4종의 천연염색 염색포(견과 면)을 만들어서 이를 돈육과 함께 6개월간 냉장보관한 후 꺼내어 물, 음이온계면활성제(SDS), 비이온계면활성제(TritonX-100), 천연계면활성제(Saponin) 등 4종의 세정액를 이용하여 $20^{\circ}C$와 $40^{\circ}C$의 온도에서 습식세척하여 염직품들의 색상변화에 대한 영향을 조사하였다. 그 결과 색상의 변화는 세정온도, 섬유소재, 세정제, 이용한 염료의 종류에 따라 차이를 나타내었다.

• 한국전통조경학회지
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• 제34권4호
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• pp.14-25
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• 2016

본 연구의 목적은 정조가 애호한 화훼는 무엇이며 그 태도와 그 이유, 여기에 반영된 의미를 밝히는데 있다. 연구의 범위는 완호(玩好)의 대상물로서의 특정 '화훼'에 한정하였다. 연구의 방법은 사료에 담긴 내용과 의미를 고찰하고 해석하는 기술(description)적 연구로 진행하였다. 정조의 일생은 매우 절제된 생활태도로 일관했다. 그의 의식주는 소박했으며 음악, 잡기, 여색 등에도 관심을 보이지 않았다. 정조는 기화요초(琪花瑤草)에도 관심을 두지 않았다. 이러한 정조의 태도로 인해 특정 화훼에 대한 자신의 취향을 드러낸 일이 많지 않다. 정조는 여러 종류 꽃들을 잘 알고 있었으며 꽃을 소재로 문학 혹은 회화 등 예술적 표현에 있어서도 막힘이 없었다. 정조 스스로 자신이 애호하는 꽃으로 밝힌 것은 석류가 유일하다. 그러나 정조에게 있어서 석류는 단순한 완상(玩賞)의 대상물로서의 화훼가 아니었다. 석류는 벼농사의 절기를 알려주는 '지표식물(indicator plant)'로서의 의미를 갖는다. 따라서 이를 가까이 두고 수시로 접함으로서 농사의 절기를 일깨우는 매체가 되도록 했는데 그 수량도 단지 몇 그루에 그쳤다. 이 밖에 정조는 즉위 초반에 자신에 대한 암살기도 등 안위가 위협받는 상황 속에서 석류화분 5, 600개를 팔진도(八陣圖)의 돌무더기 형태로 배열하여 처소에 대한 방호물(barricade)로 활용하기도 했다. 정조의 이와 같은 석류화분 활용은 관상 등 시각적 활용과는 전혀 무관한 것으로 매우 독특한 사례라고 할 수 있다. 여러 기록을 볼 때 석류는 재위기간 전반에 걸쳐 정조와 함께한 꽃이라는 점을 확인할 수 있었다. 정조가 이렇듯 장기간에 걸쳐 석류를 가까이 한 이유도 미적 향유(享有) 등 통념적인 화훼에 대한 완상(玩賞) 행태와 차별성이 있다는 점이 주목된다. 본 연구의 한계는 국역된 자료에 의존하여 연구가 진행되었다는 점이다. 새로운 사료의 번역 성과에 따라 보다 심도 있는 후속 연구가 필요할 것이다.

• 한국환경보건학회:학술대회논문집
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• 한국환경보건학회 2003년도 Challenges and Achievements in Environmental Health
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• pp.24-25
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• 2003

Lead is ubiquitous in the human environment as a result of industrialization. China's rapid industrialization and traffic growth have increased the potential for lead emissions. Lead poisoning in children is one of the most common public health problems today, and it is entirely preventable. Children are more vulnerable to lead pollution and lead in their bodies can affect their nervous, circulatory, and digestive systems. Children are exposed to lead from different sources (such as paint, gasoline, and solder) and through different pathways (such as air, food, water, dust, and soil). Although all children are exposed to some lead from food, air, dust, and soil, some children are exposed to high dose sources of lead. Significant sources of lead for China's children include industrial emissions (often close to housing and schools), leaded gasoline, and occupational exposure that occurs when parents wear lead-contaminated clothing home from work, burning of coal for home heat and cooking, contaminated food, and some traditional medicines. To assess the blood lead level in children in China, a large-scale study was conducted in 19 cities among 9 provinces during 1997 to 2000. There were 6502 children, aged 3-5 years, were recruited in the study The result indicates that the mean blood lead level was 8.83ug/dl 3-5 year old living in city area. The mean blood lead level of boys was higher than that of girls (9.1l ug/dl vs 8.73ug/dl). Almost 30 percent childrens blood lead level exceeded 10ug/dl. The average blood lead level was higher than that of in 1985 (8.83ug/dl vs 8.lug/dl). An epidemiological study was carried on the children living around the cottage industries recycling the lead from battery. Nine hundreds fifty nine children, aged 5-12 years, living in lead polluted villages where the lead smelters located near the residential area and 207 control children live in unpolluted area were recruited in the study. The lead levels in air, soil, drinking water and crops were measured. The blood lead and ZnPP level were tested for all subjects. The results show that the local environment was polluted. The lead levels both in the air and crops were much higher than that of in control area. In the polluted area, the average blood level was 49.6ug/dl (rang 19.5-89.3ug/dl). Whereas, in the unpolluted area, the average blood level was 12.4ug/dl (rang 4.6-24.8ug/dl). This study indicates that in some countryside area, some cottage industries induce seriously lead pollution and cause children health problem. For the introducing of unleaded gasoline in some large cities, such as Beijing and Shanghai, the blood lead level showed a declined trend since 1997. By 2000, the use of leaded gasoline in motor vehicles has been prohibited in China. The most recent data available show that levels of lead in blood among children in Shanghai decreased from 8.3ug/dl in 1997 to 7.6ug/dl in 1999. The prevalence rate of children lead poisoning (blood lead >10ug/dl) was also decreased from 37.8% to 24.8%. In children living in downtown area, the blood lead level reduced dramatically. To explore the relationship between gene polymorphisms and individual susceptibility of lead poisoning, a molecular epidemiological study was conducted among children living in lead polluted environment. The result showed that the subjects with ALAD2 allele has higher ZPP level, and the subjects with VDR B allele has larger head circumference than only with b allele. In the present study, we demonstrated that ALAD genotypes modify lead effects on heme metabolism and VDR gene variants influence the skull development in highly exposed children. The polymorphism of ALAD and VDR genes might be the molecular inherited factor modifying the susceptibility of lead poisoning. Recently, Chinese government pays more attention to lead pollution and lead poisoning in children problem. The leaded gasoline was prohibited used in motor vehicles since 2000. The government has decided to have a clampdown on the high-polluted lead smelters for recycling the lead from battery in countryside. It is hopeful that the risk of lead poisoning in children will be decreased in the further