• Journal of the Korean Society of Costume
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• v.26
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.

• Journal of the Korean Society for Library and Information Science
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• v.6
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• pp.137-163
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• 1979

The Purpose of this study is analyzed that (l) How the public Libraries under the Japanese Rule since the end of the Yi-Dynasty were recepted and generated by the people and (2) How they were organiged and managed. (3) Also it examined that how they affected the development of the libraries of today. 1. The following are the analyzed results: Three types of the public Libraries under the Japanese Rule for a period of 36 years engaged busily in colonization were Private's Public Libraries, Local Self-Government's Libraries and the Central Governmental Libraries, and were in order established. 2. They were eatablished by individuals, Confucian School Foundation, Young Men's Clubs, School Associations, Korean brethren residing abroad, or The Press Centering around the Local Self-Governments and the Japanese Government-General. 3. In 1932 of the period of the Japanese Rule, the number of Libraies gained the summit and reached 80 Libraries. The Public Libraries including the Central Governmental Libraries remained in existence until the end of the War had been kept up the functions of the Libraries, but the Private Libraries operated by the Koreans were very small and poor. As a result, most of them were closed up and some Libraries transferred their controls to the public. Until the end of the war, only a little over 10 Private Libraries were Kept up. From the aspects of it's organization system, the most of their libraries replaced their chief librarians with non-professional county-headmen or Local supporters. From the aspect of collections, they wate mainly consists of Japanese books for the proper quidance of the public thought based on the ideology of Japanese Rule to Korea and on the industrial promotion rather than books about Koreanology or Western books. At that time, the Library users were with the jobless men and students as the central figures. And the next ranking by the social position of readers was children, farmers, merchants, industrialists, public servants, miscellaneous and educators. Their reading tendencies laid stress on linguistics and literature, physical sciences and medicine, While the reading trend of military sciences and medicine, while the reading trend of military sciences and engineering were very inactive. This was because the Japanese Government-General had not kept the military collections on file. Besides, they were reluctant to make Korean's learn the professional knowledge and so the main reference materials of technology not provited. Most of the Libraries put practiced in circulation services were very important circulation in withinder of the reading room rather than in outside of the Library building. On the other hand, their circulation services has above came with many limitations. As stated above, the public Libraries' managements and activitives under the period of Japanese Rule were the way and means to achive the colonial and imperialistic purpose of the Japanese Empire.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.1-18
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• 2014

This study analyzes the styles of Baekje costumes by examining costume types and styles based on the research of old books and a comparative study of archaeological and historical Baekje art relics in Central Asia. The results of the study are as follows. 1. Through the comparative study of the records of old books, relic materials (Yangjikgongdo, Mural paintings of Takamatsuzuka Tumulus, Cheonsuguk Mandarasujang, Shosoin relics, and Haniwas), we can see that ancient Japanese costumes were influenced by the culture of Baekje costumes. 2. A comparative study of the records of relic materials of Baekje and Central Asia show that there were vigorous interchanges between the East and West. 3. Baekje costumes showed a great diversity in styles because they were based on Buyeo costumes developed in conjunction with vigorous overseas trade. 4. Baekje's upper garments are summarized as Boksam and Po for men and Yu, Banbi and Euisapo for women. Boksam and Yu styles varied as tunics and overlapped jackets with straight and round collars. Two types of sleeves coexisted. The sleeves of Hansung Baekje period were a diagonal lined style that was wide on the armhole and narrow on the wrist. The sleeves of Sabi Baekje period were a reversed diagonal lined style that is narrow on the armhole and wide on the wrist. Pants styles were summarized as Gon, Gunggo and Daegugo. There were not enough relics and references for the Baekje costumes; however, this study widens the possibility of the existence of various styles of Baekje costumes through inferences from available data.

• Journal of Korean Medical classics
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• v.10
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• pp.415-447
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• 1997

Obstetrics and Gynecology include gynecology which is concerned with the treatment for the disease based on physiology and pathology of women, and obstetrics which is concerned with pregnancy delivery. These obstetrics and gynecology can be said to da-te from the birth of human beings. This pap-er has carried on the studies about the deve-loping process of obstetrics and gynecology of Ming and Qing age. The results of this study are as follows: In Ming age, Many Obstetrics and Gynecology books including "Nukecuoyao"("女科撮要"), "Xiaozhufurenliangfang"("校注婦人良方"), "Wanshifurenke"("萬氏婦人科") and "Nukezhingzhizhunsheng"("女科證治准繩") were published Distinction in Ming age we-re equal development on theory and clinic t-aking a serious view of the differentiation of symptoms and signs, fashion of medicine th-ought of reactionism under the influence of "lixue"(理學). The refore Obstetrics and Gyn-ecology were influenced by these points. And for this example, as treatment contents on "Xiaozhufurenliangfang"("校注婦人良方") and the theory about "fetuse-energy"(胎氣) in "Furengui"("婦人規"), theoretic system with a view point's change of women's disease were established on Obstetrics and Gynecology. But it was restricted on a field of diagnosis under the influence of feudal "lixue"(理學), so the the number of obstetrics doc-tors who were mostly men at that time had fallen greatly and maternity who were short of expert medical knowledge appeared. In Qing age, an explosive increase in po-pulation called greater demand on medicine book and generation after generation extre-mely much Obstetrics and Gynecology books including "NukeChanhoubian"("女科産後編"), "Yetianshinuke"("葉天士女科"), and "Shenshinukejiyao"("沈氏女科輯要") were p-ublished, and it is studied that application of "eight extra-channel"(奇經八脈) theory and the study of drug attributive on extra-chan-nel were progressed. Besides, it is studied that existing traditional Obstetrics and Gyn-ecology changed newly under the influence of the school of combination of traditional Chinese medicine and western medicine which was appeared in the late Qing age.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• Korean Journal of Radiology
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• v.2 no.3
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• pp.132-137
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• 2001

Objective: The aim of our study was to describe and compare the radiologic findings of esophageal leiomyomas. Materials and Methods: The chest radiographic (n = 12), esophagographic (n = 12), CT (n = 12), and MR (n = 1) findings of surgically proven esophageal leiomyomas in 12 consecutive patients [ten men and two women aged 34 - 47 (mean, 39) years] were retrospectively reviewed. Results: The tumors, surgical specimens of which ranged from 9 to 90 mm in diameter, were located in the upper (n = 1), middle (n = 5), or lower esophagus (n = 6). In ten of the 12 patients, chest radiography revealed the tumors as mediastinal masses. Esophagography showed them as eccentric, smoothly elevated filling defects in 11 patients and a multilobulated encircling filling defect in one. In 11 of the 12 patients, enhanced CT scans revealed a smooth (n = 9) or lobulated (n = 2) tumor margin, and attenuation was homogeneously low (n = 7) or iso (n = 4). In one patient, the tumor signal seen on T2-weighted MR images was slightly high. Conclusion: Esophageal leiomyomas, located mainly in the middle or distal esophagus, are consistently shown by esophagography to be mainly eccentrically elevated filling defects and at CT, lesions showing homogeneous low or isoattenuation are demonstrated.

• Journal of the Korean Society of Costume
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• v.16
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.

• Journal of the Korean Society of Costume
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• v.14
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• pp.63-73
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• 1990

The thought of three religious, Confucianism, Buddhism, and Taoism, had been the mainaxis of Korean spirit of the past. This study is centered on Buddhist and Taoist costume. There have been a lot of studies on Korean costume from many viewpoints. However, there have been few approaches to the inner !"ide of it. That is to say, the research on spiritual back-ground or religious correlation has not done yet. And especially, we are wholly lacking the studies on Taoist costume. In this dissertation, I investigate how they had come to wear Buddhist costume and how it trans, on the basis of related documentary records and existing remains. I also inquiry Taoist costume which was worn at Taoist ceremony in our country, with the help of Korean books and documents and of the sources of Packwoonkwan in China. In the case of Topobyunjeung in Korean costume, in particular, we can catch the source of it only after studying the religious side of Taoist costume and Buddhist costume. As revealed in the theory of Topobyunjeung in Ojuyunmoonja-ngsango by Lee, Kyu Kyung, even old masters and great Confucianists could not know whether Topo, the ordinary clothes of the Sadaeboo, originated from Taoist costume or Buddhist costume. There have been many opinions about the origin, but even now it is true that no one has made it clear. Therefore in this dissertatio I demonstrate mainly how Topo and Hakchangeui appeared in Korean costume through Taoist costume. It is said that Taoists, Buddhists, and literary men wore Topo, Chickchul, and Chickshin in Song dynasty of China. Topo was a clerical robe of Taoists and was also an ordinary clothes. Chick-chul was a clerical robe of Buddhists, and Chick-shin was worn by Zen priests in Won dynaty. Over the Po, Buddhist wore a large robe, namely Kasa, and Taoist wore Packhakchang like Wooeui, when they attended at the religious ceremony. And they regarded such manner of dressing as ceremonial full-dress attire. The style of Topo in China was Saryunggyogeo. The is th say that they put the black Yeon along Sajoo, which are Young, Soogoo, Keum, and Keo, and that they wore Sajodae around their waists so as to let the band down in front of them. Our existing type of Topo is that of Chickryung-gyoin. The characteristics of the type are its Koreum hung on the dress, no Yeon along Sajoo, and Soopok at the back of the dress. And when they put on the dress, they wear Saejodae around their waists. These characteristics considered, we can find the source of Topo from the Po of Chickshin among Buddhist costume. Other types of Topo are those that were transformed elegantly according to our national manners and customs in our country. So-called Wooeui in Chiness Taoism is Hakchang. Originally it was made by weaving for of cranes or other feathered birds. Its remarkable feature is the wide sleeves. Later they called such a robe with wide sleeves Hakchang. Our hakchangeui has Yeon along Sajoo and a belt around waist. We can guess that the features of Topo and wide-sleeved Hakchang mingled and turned into Hakchangeui. Or it might also be that Topa worn by Taoist was regarded as Hakchang and Topa which has Yeon along Sajoo was regarded as Hakchangeui in our country. Such type of Hakchang worn by Taoists was well shown in the Buddhist and Taoist paintings among "The Pictures of Hills, Waters, and Folks" in the latter half of the 16th century. In China Hakchang with a belt around waist could not be seen. Comparing our style of Hakchangeui with the Chinese style, we can recognize the former was similar to that of Chinese Topa. From this, we gather that Topa was regarded as Hakchang, Wooeui worn by Taoists, Ascetics and True Men in Korea. Furthermore I also gather that our Hakchangeui, which has Tongjeong, Koreurn and a belt around waist, was a transformed style in our own country. From the above, we can realize that in costume the three religions, Confucianism, Buddhism, and Taoism, cannot be treated separately although they are different each other in the essential thought. We have to recognize that Korean Costume was established under the closely connected correlation among the religions and that it was transfigured and accepted according to the cultural characteristics. This study is significant in that it is the first attempt to understand Korean costume through the religous approach, which has never been made in our Korean costume studies. We are demanded even more wide and profound investigation on the religious side of costume throughout the general field of costume studies.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Journal of the Korean Society of Costume
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• v.30
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• pp.69-84
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• 1996

The main current of ancient Korean thought is based on Yuk(易) : which solves the principle of creation of universe letter(文字) which is the principle of geometry and three elements thought of circle square . It's related to the creation principle of the universe and regarded as a sign that demons-trates shows the way to read the mathematical principle. The original form of Korean clothes(Han-Bock, 韓服) is represents the structure of hu-man body which reflects a small universe. So a good structure and meaning of the human body is well read in the formation of Korean clothes(Han-Bock, 韓服) and that is a good symbolization of the clothes(Han-Bock, 韓服) as the space of small universe. The good formation of Korean clothes(Han-Bock, 韓服) could be shown by cutting out straight bending twisting and turning each straitly cutting piece is applied to its trans-tormation. Geametical formation with obvious sym-metric dividing of front-back left-right and top-bottom is well shown in Korean clothes by twisting Yuk(易) or m bius strips. So we can find out whole formation by representing only either 'front and back' or 'left and right' and also sa-pok(사폭) of man's trousers seop(섶) of jeo-go-ri(short jacket 저고리) kyut-ma-gi(곁마기) of Sam-hwai-jang jeo-go-ri (삼회장 저고리), mu(무) of jig-ryung(straight collar and long and wide sleeved robe, 直領) trouser wide and ga-rae-ba-dae(가래바대) of dan-cok-kok(woman's under trousers). The formation line of Korean clothes(Han-Bock, 韓服) is based on theprinciple of unlimited m bius strips by twisting of turning direction from universal principle and original basic form is not changd even by turning in-side out. Unity of the whole and part in Korean clothes(Han-Bock, 韓服) could be found in nonorientable thought(非始原思想) which represents the unity and dependence kil(길) of jeo-go-ri(short jacket, 저고리) and po(long and wide sleeved robe, 袍). Selva-gewise(식서방향) of sleeves and seam of out-side of kil(길) and outside of seop(섶) are directed to outside of seop(섶) inside of seop(섶) is to kil and direction of inseam of kheut-dong(끝동) and kyut-ma-gi(곁마기) is directed to sleeves. Korean clothes(Han-Bock, 韓服) is usually made by cutting fabric for several parts and sewing them and the way to make Korean clothes is deeply related to the theory of chon-pu-kyung jong-il and il-seok -sam-geuk. As the development of men's consciousness is pro-gressed from total separation to separation and superseparation. Sewing process of korean clothes(Han-Bock, 韓服) can be make single dimension to double or triple dimension of korean clothes(Han-Bock, 韓服) silhoutte bacause it can be include principle of topology as noneuclity.