• 한국의류학회지
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• 제3권1호
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• 생명과학회지
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• 제26권6호
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• pp.633-639
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• 2016

고분자(polymer), 금속(metal), 세라믹(ceramic), 합성물(composite) 등과 같은 바이오소소재(Biomaterials)는 그들의 물리화학적 성질 때문에 의료용섬유(medical fibers), 인공혈관(artificial blood vessels), 인공관절(artificial joints), 임플란트(implants), 연조직(soft tissue), 인공성형물(plastic surgery materials) 등 의료용으로 많이 사용되며, 개발연구도 활발히 진행되고 있다. 그러나, 필름(film)이나 판(plate)형태의 바이오소재에 대한 생체적합성(biocompatibility)이나 독성(toxicity)을 포유동물세포를 이용하여 평가하는 것은 적절한 평가용 장치가 없기 때문에 매우 어려운 상황이다. 따라서 이러한 문제를 해결하기 위해서, 본 연구에서는 고분자필름이나 금속판에 유용하게 적용할 수 있는 실리콘링, 상판(top panel), 하판(bottom panel)으로 구성된 새로운 포유동물배양시스템을 개발하고, 이를 실제 적용하고자 하였다. 개발된 시스템은 평가하고자 하는 시료를 상판과 하판사이에 조립하는 샌드위치시스템을 기반으로 한다. 세포배양장치의 조립 후, SK-MEL-2세포를 3가지 시료; Styela Clava Tunic (SCT)- PF, NaHCO₃-added SCT (SCTN)-PF, magnesium MP (MMP)에 적용하고 37℃ 이산화탄소 배양기에서 24시간과 48시간 동안 배양하였다. MTT분석결과에서, 세포생존율(cell viability)은 24시간과 48시간 동안 SCT-PF배양그룹에서 정상적으로 유지되었지만 48시간 동안 SCTN-PF배양그룹에서는 급격하게 감소되었다. 더불어, MMP배양그룹에서 세포생존율은 24시간과 48시간 배양 후에 대조군과 유사하게 유지되었다. 이러한 결과는 본 연구에서 새롭게 개발된 샌드위치형태의 포유동물세포배양장치는 고분자필름이나 금속판형태의 바이오소재에 대한 독성이나 생체적합성을 평가하기 위한 우수한 잠재력을 보유하고 있음을 제시하고 있다.

• 한국염색가공학회지
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• 제30권2호
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• pp.117-129
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• 2018

Cellulose has been widely applied into various medical fields including scaffolding, tissue engineering and tissue formation. In this study, we manufactured cellulose medical fiber from Styela clava tunics(SCT-CS) and analyzed the tensile strength, elongation at break, fluid uptake and surface morphology. And then, the biocompatibility and toxicity of SCT-CS were measured in Sprague-Dawley(SD) rats after the implantation for 30, 60 and 90 days. The level of tensile strength and fluid uptake were lower in SCT-CS than chromic catgut(CCG), while elongation at break level were maintained the higher in SCT-CS. Also, the roughness with pronounced surface patterns as a result of in vivo degradation was significantly greater in CCG than this of SCT-CS although these levels gradually appeared with time in both groups. After implantation for 90 days, SCT-CS and CCG was successfully implanted around muscle of thigh without any significant immune response. Furthermore, no significant alterations were measured in serum parameters and the specific pathological features induced by most toxic compounds for liver and kidney toxicity. Therefore, these results suggest that SCT-CS showing good biocompatibility and non-toxicity can be successfully prepared from cellulose powder of SCT as well as has the potential for use as a powerful biomaterial for medical sutures.

• 한국발생생물학회지:발생과생식
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• 제5권2호
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• pp.137-144
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• 2001

본 연구는 동해남부해역의 수하식 우렁쉥이 양식장에서 양식되고 있는 2년산 우렁쉥이, Halocynrhia roretzi의 생식세포 및 생식소 발달과 성숙 조사를 위하여 1996년 5월부터 1997년 4월에 걸쳐 조사되었다. 우렁쉥이는 자웅동체형으로 난생이었다. 난소는 체벽에 평행하게 붙어 좌측에 6~8개, 우측에 8~10개의 가는 생식수관을 가진 구조이며, 정소는 난소 사이에 불규칙 한 많은 낭상 구조를 가진 복합 생식소이었다. 난원세포는 직경이 11.7~15.6 ${\mu}m$이었고, 초기성장기의 난모세포는 직경 39.6~47.6 ${\mu}m$이었으며, 핵경은 10.0~25.0 ${\mu}m$이었다. 난소를 대부분 차지하는 난황형성중인 난모세포는 158.6~210.0 ${\mu}m$에 이르렀다. 성숙 난모세포는 210.0~230.9 ${\mu}m$로 피질부에서 test cell들이 관찰되었다. 정소는 한 개의 정소낭에 여러 개의 곡정세관이 밀집되어 그 내부 생식상피를 따라 일반적인 정자형성과정을 보이고 있었다. 첫 산란은 수온이 1$0^{\circ}C$이하로 떨어진, 3년생이 되는 1997년 1월에서 2월에 주로 이루어졌다.

• 식물분류학회지
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• 제37권3호
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• pp.275-308
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• 2007

한국산 부추속 16종 5변종의 총 21분류군에 대하여 성적특성, 지하부의 구조 및 형태, 지상부의 생자양상, 엽신과 화경의 모양 및 내부구조, 화피, 화사 및 암술의 형태 등의 외부형태형질을 재검토하였다. 그 결과를 토대로 각 분류형질의 특수화 및 진화경향성을 고찰하였고, 분류군들간의 유연관계와 계통을 추론하였다. 진화경향성이 있는 형질은 근경과 인경을 포함한 지하부, 잎, 화경, 화서, 화사 및 자방의 모양 등이었다. 근경의 형태는 비후형에서 미세형으로 발달하였고, 인경의 외피는 얇은 막질에서 그물상 섬유질로 진화한 것으로 여겨졌다. 막질의 초상엽은 달래에서만 관찰된 파생형질이였으며, 엽신은 단면이 둥글고 유관속이 환상으로 배열하는 것에서 각진 형태를 거쳐 단면이 납작하고 넓어지면서 유관속이 1열로 배열하는 것으로 분화한 것으로 추정되었다. 화경의 개화 전 생장은 직립하는 것이, 그리고 화사는 치편이 발달하지 않은 것이 원시적이며 자방은 실 당 2개의 배주를 가지는 것에서 1개씩 가지는 것으로 진화한 것으로 여겨졌다. 한편 성적특성, 지하부의 구조, 막질의 초상엽의 존재유무 및 잎의 내부구조는 아속 수준에서, 지하경 및 인경의 형태, 잎의 모양, 화경 및 소화경의 모양은 아속 내 절 수준에서 분류체계를 결정해 주는 좋은 식별형질이었다. 화피와 화사의 모양 및 배열은 자방 및 주두의 모양과 함께 종을 구분해 주는 좋은 식별형질이었다.

• 복식문화연구
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• 제6권3호
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• pp.56-72
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• 1998

Vest is a general term for a sleeveless upper garment and it derives from a kolobus of a sleeveless tunic style that was started to be worn as a substitution of a chiton by the peasantry in Greek period. The kolobus started to be called a colobium or a tunica from Roman period and the former was named for a vest style tunica which was worn by the people of the lower classes in early Roman period. Similarly, a German colobium of North Europe which was worn during the same period was the same kind of clothe as the Roman colobium. The colobium came to be worn over a dalmatica as an outer garment by early Christians when it was the Middle Ages, who succeeded the tradition of colobium as they went through ancient Rome, Creek and Byzantine days. North Germans also succeeded the colobium tradition of ancient Germans as it was and so continued to wear it in tight style. The simple vest style of colobium was getting vanished from the mid of the Middle Agnes and a new style of vest named jupon was started to be worn by soldiers. The jupon was to protect soldiers' bodies from either were cold weather or enemies wearing under armors as it was made with double cotton pad by quilt. From 14th century, the jupon began to be worn by not only soldiers but also the humble of lower classes. All the jupon which were made in quilting and padding of that time began to be named a pourpoint by the humble. When Renaissance in 16th century came, the pourpoint began to be developed to an exaggerating body-line style. The neckline of pourpoint was getting highly influenced by Spain and a peacecod-belly of it emphasized the exaggerated masculine beauty of Renaissance by padding in round. The sleeves were puffed out and the whole purpoint was made to expose an inner chemise by slashing vertically or obliquely. But in 17th century, the pourpoint has been changed into more simple style without padding, puffing out and slashing influenced by the citizens' clothes of Netherlands. The pourpoint came to be more comfortable bulky style with short sleeves or sleeveless and straight side lines. The pourpoint in mid 17th century turned to be a bolero jacket style by gradually being tightened. It had been then changed into a vest style with sleeves and worn under an overcoat with the name of vest in the end of 17th century. The early vest was 2∼3 inches les in length than the overcoat and had long sleeves and many ornamental buttons on front. It was also made as a home wear to be worn it alone at home. In 18th century, the length of the vest became shorter compared with that of 17th century and the most important decorative item in clothes. It again came to have complete sleeveless vest style and had very short length reaching waist in the end of 18th century. When it was in 19th century, the vest had developed into more various style and colors and style had been applied to be worn by individuals with their tastes. Around the end of 19th century, the increasing tendency to be casual by industrialization influenced on clothes in all aspects of life and so the male vest has been gradually changed into more casual style. Nowadays, it has been developing into various uses in modern male clothes to show their characters.

• KSBB Journal
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• 제21권3호
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• pp.194-198
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• 2006

본 연구는 초임계 이산화탄소와 에탄올 보조용매를 사용하여 천연물질에 존재하는 기능성 물질을 효율적으로 분리하여 식품 및 의약산업에 이용할 수 있는 천연 기능성 소재를 제공할 수 있는 가능성을 보여 주었다. 초임계 이산화탄소와 보조용매 에탄올 3 mL/min를 사용하여 멍게로부터 ${\beta}$-carotene을 추출하기 위한 최적의 조건은 $35^{\circ}C$, 350 bar이었으며, 추출물질을 흡착하는 흡착칼럼으로부터 ${\beta}$-carotene을 회수하기 위한 rinse 용매는 methanol이 우수한 결과를 나타내었다. 따라서 초임계 이산화탄소를 사용한 멍게 껍질로부터 ${\beta}$-carotene 추출 공정이 상업화될 경우 기존의 재래식 유기용매 추출법에서 회수한 것에 비해 잔존 유기용매가 없고 환경 친화적 공정으로 식품, 의악품 산업 등의 고품질 원료 소재로 이용될 수 있을 것으로 사료된다.

• 환경생물
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• 제32권3호
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• pp.216-224
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• 2014

미더덕의 집단폐사가 주로 발생하는 여름철 고수온 및 빈산소에 의한 생물학적 지표를 찾아 대량폐사 원인구명을 위한 기초자료로 활용하기 위하여 수온상승 및 용존산소농도 감소에 따른 미더덕의 생존율, 생리적 반응 및 조직학적 변화 등을 조사하였다. 수온상승에 따른 생존율은 수온 $23^{\circ}C$에서 63.3%, $26^{\circ}C$에서 56.6%였으며, 수온 $29^{\circ}C$에서 노출 6일째 모두 사망하여 노출 6일 동안의 반수치사 수온은(6day-$LT^{50}$)은 $24.58^{\circ}C$ ($19.48{\sim}35.48^{\circ}C$)였다. 용존산소 농도 감소에 따른 생존율은 노출 11일째 용존산소농도 $4.0mg\;L^{-1}$에서 20%였으며, $2.0mg\;L^{-1}$에서는 모두 사망하였고, 반수치사 용존산소 농도 (11day-$LC^{50}$)는 $3.88mg\;L^{-1}$($3.29{\sim}4.57mg\;L^{-1}$)였다. 산소소비율과 암모니아질소 배설률은 임계수온 및 임계용존산소 농도이하에서 감소하였다. 수온 상승 및 용존산소 농도 감소에 따른 미더덕의 새낭, 소화관 및 피낭의 병리조직학적 결과는 각 기관을 구성하고 있는 상피세포층의 증식, 응축 및 괴사, 식세포 및 혈구침윤, 섬모탈락, 근섬유 변성 등의 변성이 공통적으로 관찰되었다. 미더덕은 수온 $24^{\circ}C$이상, 용존산소 $3.8mg\;L^{-1}$이하에서 조직학적 병변, 대사율 감소 등으로 환경변화에 매우 민감한 생물이므로 여름철에 양성되고 있는 미더덕의 양식장관리에 세심한 관리가 요구된다.