• Korean Journal of Fisheries and Aquatic Sciences
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• v.31 no.3
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• pp.447-451
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• 1998

Functional properties such as anti-blood coagulation, angiotensin converting enzyme (ACE) inhibitory activity, fat binding capacity, foaming properties, emulsifying properties and chemical components of sulfated polysaccharides isolated from ascidian tunics were investigated. The sulfated polysaccharide mainly consisted of sulfate, uronic acid, protein, and chondroitin sulfate, among which chondroitin sulfate showed higher concentration while sulfate and uronic acid did lower. Compositional menosaccharides were arabinose, xylose, glucose, galactose, glucuronic acid, N-acetylgalactosamine and N-acetyglucosamine. Especially, galactose content was dominant among them. And emulsifiability and foaminess of the sulfated polysaccharide was higher than the control group. Anti-blood coagulation of sulfated polysaccharide showed with respect to APTT (Activated partial thromboplastin time). ACE inhibitory activity showed about $16.7\%$.

• Parasites, Hosts and Diseases
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• v.52 no.3
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• pp.305-310
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• 2014

Ascidian soft tunic syndrome (AsSTS) caused by Azumiobodo hoyamushi (A. hoyamushi) is a serious aquaculture problem that results in mass mortality of ascidians. Accordingly, the early and accurate detection of A. hoyamushi would contribute substantially to disease management and prevention of transmission. Recently, the loop-mediated isothermal amplification (LAMP) method was adopted for clinical diagnosis of a range of infectious diseases. Here, the authors describe a rapid and efficient LAMP-based method targeting the 18S rDNA gene for detection of A. hoyamushi using ascidian DNA for the diagnosis of AsSTS. A. hoyamushi LAMP assay amplified the DNA of 0.01 parasites per reaction and detected A. hoyamushi in 10 ng of ascidian DNA. To validate A. hoyamushi 18S rDNA LAMP assays, AsSTS-suspected and non-diseased ascidians were examined by microscopy, PCR, and by using the LAMP assay. When PCR was used as a gold standard, the LAMP assay showed good agreement in terms of sensitivity, positive predictive value (PPV), and negative predictive value (NPV). In the present study, a LAMP assay based on directly heat-treated samples was found to be as efficient as DNA extraction using a commercial kit for detecting A. hoyamushi. Taken together, this study shows the devised A. hoyamushi LAMP assay could be used to diagnose AsSTS in a straightforward, sensitive, and specific manner, that it could be used for forecasting, surveillance, and quarantine of AsSTS.

• Journal of the Korean Society of Food Science and Nutrition
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• v.39 no.3
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• pp.331-336
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• 2010

The antioxidant and angiotensin converting enzyme (ACE) inhibitory harvesting times were evaluated. During February and July of 2008, Styela clava were harvested once per month, and divided into flesh and tunic parts. Each collected part was extracted with water and 70% ethanol. DPPH radical scavenging activity (RSA) for flesh part was higher than that of tunic part, and water extract of flesh harvested at April showed the highest value (53.02% at 10 mg/mL). The highest ABTS RSA was found at water extract of flesh part harvested at March. Water extracts of flesh parts harvested from March to May showed relatively higher ACE inhibitory activity, and freezing did not affect ACE inhibitory activity. The results indicated that antioxidant and ACE inhibitory activity of S. clava were variable depending on harvesting time and parts.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.41 no.4
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• pp.237-242
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• 2008

The tunic of Styela clava(SCT) consists of a proteoglycan network. Regenerated cellulose films were prepared by solution casting and coagulation of SCT in N-methylmorpholine-N-oxide(NMMO)/$H_2O$(87/13 wt%). The crystalline structure of powdered SCT was primarily that of cellulose I. The crystalline structure of SCT films exhibited a cellulose II structure, similar to that of viscose rayon. Physical characterization of SCT films and fibers revealed an intrinsic viscosity($\eta$) of 6.35 dL/g, average molecular weight($M_w$) of 423,000 g/M, and fiber density of 1.50 $g/cm^3$ with a moisture regain and water absorption of 10.20% and 365%, respectively. The results were similar to those of cellulose films regenerated from wood pulp. Films prepared with 6 wt% SCT exhibited strong tensile strength, high water absorption, and a greater degree of elongation. Scanning electron micrographs(SEM) of film cross-sections showed a layered, sponge-like structure.

• Korean Journal of Human Ecology
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• v.12 no.3
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• pp.377-389
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• 2003

The purpose of this study is to obtain the symbolic meaning of the priestly costume through the Bible. Based on corroborative the Bible, this thesis analyzes the costume of priest. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This era falls on about from the 15th century before Christ. It was found that the breastpiece was a piece of the same multicolored linen as in the ephod, a span square when folded double. It symbolizes righteousness. It hung on the high priest's chest, supported by two golden chains attached to the shoulder clasps. It symbolizes love. On the breastpiece were twelve beautiful jewels, arranged in four rows of three jewels, each jewel symbolizing one of the tribes of Israel. The variety of jewels on the breastpiece suggests the variety of people. Urim is the Hebrew word for 'lights' and therefore would logically be associated with bright or white stones. Thummim is the Hebrew word for 'perfection'. The high priest's ephod was made of gold, and of blue, purple, and scarlet yam, and of finely twisted linen. The golden yam symbolizes faith. The robe of the ephod was made entirely of blue cloth. The blue color symbolizes an obligation and life. The robe of the ephod symbolizes calling and dignity. The woven tunic symbolizes holy duty.

• Journal of Fashion Business
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• v.6 no.6
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• pp.43-55
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• 2002

This study intends to consider the characteristics of Tudorian costume and find out how the thoughts and cultures in those days had influences on the costume trends of low and middle class. In terms of the Tudorian costume which generated new cultural mainstreams along with blossomed civil culture, this study focuses on the characteristics and trends of costume at low and middle class, which have been little addressed in studies on western costume history or related fields, turning from the costume of upper class based on wealthy noblemen who showed off its dignity and authority along with jewelry and gorgeous ornamental craftsmanship. This study used related pictures, museum material and other literatures as its reference. It first looked into the general characteristics of western costume and considered the characteristics of costumes popularized in professionals at middle class such as apprentice, yeomen and low-class people. Professional or other middle class almost typically used to wear tunic, doublet, shirts, coat or long gown. Black was mainly used as clothes color. Similarly to upper class, silk or velvet was very often used as material. People at low class enjoyed wear costumes with simple and easy style for working. They also preferred natural color and cotton or wool as material. This study intended to find out which type of costumes people at low and middle class enjoyed wearing, rather than compare costume between such two classes.

• Fashion & Textile Research Journal
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• v.3 no.2
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• pp.105-114
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• 2001

The result of this study is on textile expressed in the costume of the Kazakh tribe, Kirgiz tribe, Tajik tribe. Basically the material of costume is fur, cotton flannel, felt, silk, cotton outwear, velvet cloth and beads, silver, earing, bracelet is used frequently. The tribes did embroider on the shoes, made of sheepskin or calfskin and collar, belt, button, pocket with the sketch of national trait. Eventually their cultures of costume seem to be very similar because of the resemblances in circumstance of nature, religion, custom of life but definitely they show conservatism in itself and independent culture. In the basic structure of traditional costume by races, there is no big difference. Then, in men, the trousers and the shirts of tunic type become the basic with the style which is convenient to act. And, to wear vest, or jacket, or chaban, over it makes a little difference. In women also, same structure shows with the form to wear vest or outwear, on the basis of one piece. But, in a small hat, head wear, color contrast, and decoration element etc., strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion, and life habit etc., But, the discrimination is made in the detailed side. So, it can be said that they show the conservative nature of nationalities, and have preserved the unique identity of their own culture.

• Journal of Fashion Business
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• v.19 no.5
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• pp.199-212
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• 2015

Environmentally-friendly whole-cut designs can minimize carbon dioxide emissions which are harmful to the earth, and reduce energy, labor force and time in cutting or sewing clothes. The design and way of wearing clothing will be investigated by classifying whole-cut clothing appearing in the history of costume and past traditional outfits such as Drapery, a Pancho, Tunic, or Loincloth. According to the results from the analysis of whole-cut methods applied in design, they were classified as follows: whole-cut, utilizing square-panels as is, pleats, smoking, lip band, origami, cutting way, and subtraction-cutting whole-cut design. The whole-cut design utilizing square panel as it is can minimize the waste of energy and material but can also maximize the possibility of circulation by recycling. In utilizing an all square panel, it broke away from the existing whole-cut in the western pattern, namely, the pattern of clothes clinging to the body, and was found to have new aesthetic value with a new approach. Due to the whole-cut method having a restriction in the use of dart and line cutting in its designing process, there were only designs that did not show the body line, such as designs clinging to the body. Therefore we developed a design similar to those that cling to the body by whole-cut, In addition, the work produced was with high efficiency and variability, which produces simple designs but can be worn in a variety of ways.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.2
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• pp.208-219
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• 1999

The costume style of Turfan had changed three times which were the period of peculiar style the period of Kochang style the period of influence of T'ang's culture. Before the founding of Kochang country the costume style of Turfan was two piece style. It was a character of nomadic people's clothes. Tops were tunic and caftan. The method of adjust caftan were two types. The one is wrapping toward left so the right edge of the top covers the left. The other is wrapping toward right. Bottoms were pants and skirts. This period was characterized by the traditional style. I called in it the period of peculiar style After the founding of Kochang country style as Kochang style. In this period Silkroad was so activated that cultural exchanges between many people and materials passed through Turfan. Turfan's culture soaked up the products of civilization of chinese and western Turkestan. Chinese and western Turkestan's costume influencd under the direct control of T' ang dynasty. Such an aspects were reflected the Trufan's costume. The Trucan's costume had changed into the foreign style that was the T'ang's costume. It was the period of influence of T'ang culture.

• Acta Via Serica
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• v.6 no.2
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• pp.1-20
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• 2021

The Taq-i Bustan reliefs are representative works from the Sassanian dynasty of the 4th to 7th centuries. This study analyzes the costumes depicted in the Taq-i Bustan reliefs to gain understanding of the phenomena of cultural exchange between the East and West by observing the foreign cultural elements appearing in the Sassanian costumes of that time. Literature study and artifacts analysis were conducted in parallel. External elements appearing in Taq-i Bustan's costume were Greek-Roman and Central Asian. The tunics and trousers of the gods and the trousers of kings (Ardashir II, Shapur II and Shapur III) were made of thin fabric and showed many wrinkles, a characteristic of Greek and Roman clothing. On the spandrel above the arch of the great grotto of Khusrau II are depicted the goddesses of Victory, in a Greco-Bactrian style. Among the costume elements of Taq-i Bustan, there were also Central Asian elements observed. One Central Asian costume element was the round clasp ornament for tying the trousers. The side slits and hem of the tunic were presented in the style of the Sogd clothing of Central Asia in the 6th and 7th centuries, while the pearl rounded pattern was activated in Sogd, Kucha and Kizyl in the 7th and 8th centuries. These reliefs are considered important evidence of eastern influences in Sassanian culture.