• 복식문화연구
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• 제16권2호
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• pp.319-332
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• 2008

The purpose of this study is to analyze Kapa, the traditional bark cloth of Hawaii, including materials, method of manufacture, and colors and patterns, and to show the characteristics of Kapa to identify traditional culture of Hawaii as well as the unique culture of cloth of Hawaii in tropical area. The method of study is qualitative research using documentary records about Kapa. The cultivated Wauke proved to be the best material for bark cloth in Hawaii. The manufacture of Kapa was made by beating divided into two stages. The dyes for coloring were very different due to the existence of various plants. Indigenous Hawaiians showed the unique textures like grooving and watermarks, and the various designs in their Kapa. The characteristics of Hawaiian Kapa appear the symbol of some colors, the preference of geometrical patterns, the various uses of Kapa, and perfumed Kapa. Through these characteristics of Hawaiian Kapa, the traditional culture of indigenous Hawaiian can be understood very well. This study will help people understand indigenous bark cloth of tropical areas including Hawaii.

• 복식
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• 제17권
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• pp.137-148
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• 1991

The use of bark cloth, made of the inner bark of certain trees, was widespread along tropical zones from the Africa to the Hawaii encompassing the globe. They include Malaysia, Indonesia, New Guinea, Polynesian Islands and South America. Among them the Hawaiian bark cloth, named Kapa(pronounced as tapa) was rated as the best quality and most admired. It has variety in designs and colors as well as the most sophistcated production methods. The distinct processes of kapa making are composed of two stages. The first is called first beating and it is a preparatory stage to beat the sea-water soaked bast. It was done with a round beater on a stone anvil. The second beating process was carried out with the squared beater and wooden anvil. The strips from the first beating was soaked again in the water and then beaten lightly to break up fibers. The craftmen laid a bundle of strips over the anvil and beat it into pieces of kapa. The second beater of Hawaii was the most characteristic one among bark cloth producing countries. On their surfaces were the engraved patterns, which were creation of theirs. These distinguished designs enabled them to produce the kapa with the thinner and finer texture and an elaboration of impressed designs known as "watermaks". The Hawaiian culture was self-sufficient one : Everything they used was of their own creation until 19th century. Among their inventions of printing designs on kapa are three most important and distinguished processes. They are the overlaying, the cord snapping and the block printing techniques. Their inventiveness as well as self sufficient environment made it possible to develop their fine art of the kapa making. It is said that the mass producing and cheap western technology of loom forced them to gradually abandon their traditional art and as a result this fine and valuable legacy of Hawaiian traditional kapa making technique is all but disappeared. However it is encouraging and heart warming to find that some of the people as well as specialized researchers pined together to form a group to try to reproduce the old kapa and study the traditional art. They consider the kapa as an expression of the ethnic identity with Hawaii's heritage as well as valuable art of human history.

• 한국자원식물학회지
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• 제26권1호
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• pp.52-59
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• 2013

본 연구는 실내 조경 및 분화용 소재로 활용가치가 높은 물가양털이끼(Brachythecium rivulare)와 쥐꼬리이끼(Myuroclada maximowiczii)의 적정 재배법을 개발하기 위하여 수행하였다. 원예상토 위에 천을 덮어 재배하는 것이 재배용기에 천이나 토양만 사용하는 방법에 비해 이끼 2종의 생육이 왕성하고, 수확이 편리하였다. 재배 토양은 바크나 피트모스 보다는 원예상토를 사용하였을 때 생육 및 수확의 편이성이 우수하였다. 식재할 때는 이끼를 분주하는 것 보다 믹서기로 분쇄하여 재배용기 위에 산포하는 방법이 이끼 2종의 배우체 발생과 수확 편이도 개선에 효과적이었다. 또한 재배용기($27{\times}17{\times}3cm$)에 물가양털이끼는 2.0 g, 쥐꼬리이끼는 4.0 g을 식재하였을 때, 생육이 가장 왕성하였고 수확이 편리하였다. 양액(N:P:K=20:20:20)을 농도별로 처리하였을 때 물가양털이끼는 무처리구에 비해 전반적으로 생육이 억제되었고, 고농도로 갈수록 생체중의 증가량이 감소하였다. 그러나 쥐꼬리이끼는 $0.25g{\cdot}L^{-1}$ 처리구에서 생체중의 증가량이 가장 많았다. 따라서 물가양털이끼와 쥐꼬리이끼는 원예상토 위에 천을 덮어서 만든 재배용기에 각 2.0, 4.0 g의 이끼를 분쇄하여 산포한 다음 충분한 수분을 공급하고, 쥐꼬리이끼는 재배기간 동안 저농도의 양액을 처리해주는 것이 적합한 재배법으로 생각된다.

• 복식
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• 제58권8호
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• pp.120-136
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• 2008

This study examined sewing methods used to reinforce the opening of clothes of the Joseon period. Through the analysis of a total of 117 clothing items of the Joseon period, the following results were obtained. 1. Most costumes of the Joseon period had the opening. The purpose of the opening was to allow one to put on and take off a costume, act comfortably, and turn a costume Inside out. The opening was located on the Side, Conte. Back, fgwi(Side opening of pants), Wristband, Armhole, and Godae(the bark part of the collar). 2. As the opening tended to get easily worn out, it was often reinforced. The 1911owing three methods were used to reinforce the opening of clothing items of the Joseon period: a method to attach a cloth such as Dang, Binding, and Badae; a method using a variety of knots; and a method by sewing stitches such as a sort of cross stitch called Satteugi, Prick stitch, and Loop. 3. The most frequently used reinforcing method was the one that used a knot(34 items), followed by the one by sewing Satteugi(27 items), and the one using Dang(25items). The most frequently detected location of the opening was Side(59 items), followed by Agui(37 items), Wristband(19 items), and Center Back(13 items). 4. The reinforced opening made a costume more endurable and elastic, decorative and neat.