• 복식
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• 제22권
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• pp.159-176
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• 1994

This study's purpose is to find the ancient costume of the folk song's words on Dunhuang manuscripts in the background wass-carvings sculptures and several art works. Dunhuang had played the part of major route between ancient China and Europe. It is located on kam-suksong the west of China. 1. In the aspect of costume arrangement hair Styling is represented by Naegagyo, Wangyesa, Kyongburak, Bonkwyun, Pogurak, Chonsonja, Namgaja, Tongson-ga, Ojesa, Chanboja in Dunhuang manuscripts. tugue is sim-ilar to Sabyokkwanja in Naegagyo as of that time these kinds of Kwan-ja was very popular. It was told that emperor's wife concubine and maid of honor would wear kwnaja favorably. And the kinds of Tugeu is PuyongKwyunkye, Aangunkye, Chunkye from Kyuwanjon except Sangunkye, Ounkye in Dunhuangsa. 2. Jangdaegy is guoted from Kyuw-anjon -A series of the chinese history book-tells us about women's make-up . The narmes of make-up are Hongjang Unjan--g, Yiljang chwejang, Tam-ajang Murgjang, Sanagjang, Light-make up are referred in Naegagyo is included as packjang Besides we can find other make-up skills Huphwaro and Rujang from the Kaewonch onbon-wisa which was Yangkwibi's episodes. We can find the a corpus of song's words about cosmetic custom in Kor-ea. Which is 'Haecho' folk song in the souther-en costal regions 'Jinggum' folk song in Kim-hae regions and so on.... It's words is similar to Dunhuangsa in China. 3. Bichun inherited to China with India Bud-dism art in the middle of Dunhuang wall-pain-tings is one of the important Buddist saint. Sometimes it is painted with Giakchun Its arms of fly-dnacing in heaven with colored belt on body has almost the form of play on the musical instrument, We can see seasily the form in the painting of Buddist ser-mon. It was progressed and changed with the background of chinese traditional culture. When Dang's period came the color was chan-ged lighting dark blue has rhythmical and viv-id power of life. 4. Among the corpus of song's words which express the singers' system and rites of their tradition or habits. Dunhuang manuscripts des-cribes on behalf of the folk song's words in tra-ditional costume. This is following: (1) Naegagyo o sabyokwanja o Chyrasam o Rashang (2) Wangyesa o Sokryugun o Costume for fisher man (3) Bungajang of the chanboja o Ajang (4) Pongkwyun o Chongui (5) Tongsongs o Junofore (6) Namgaja o thin-Rasam (7) Yuchungnang o Hongsam o Sokryugun : The color of red costume (8) Kyongburak o Hongrasam o Sokryugun : Costume for charming woman Therefore traditional costume could be extracted according to the Dunhuang folk song's words out of culture such as learning rit-es three-obedience four-virtues and in-struction. As the same time it reflects ancient China's characteristics directly. I would endeavor to development for the history of the costume furher creative design and participat-ed in research activity with concerns forward continuously.

• 한국축산식품학회지
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• 제29권6호
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• pp.695-701
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• 2009

본 연구는 축산물가공장 작업환경에 설정된 CCP의 유효성을 평가하기 위하여, 원료도체에서부터 포장에 이르는 전 공정에서 Escherichia coli를 검출하고 PFGE genotyping으로 genetic strain의 흐름을 분석하여 CCP의 적합성을 평가하였다. 시료채취를 위한 작업장은 도축장에서 냉장차량으로 원료도체를 공급받는 독립형 소규모 HACCP 가공장(100두 처리/일)과 축산물종합처리장내 HACCP 가공장(500두 처리/일)을 각각 1곳씩 선정하였다. 시료는 원료도체, 시설 및 장비(발골기, 박피기, 작업대, 벨트, 칼, 면장갑), 환경(벽, 바닥)과 작업공정상의 발골육, 부분육, 최종육을 무균적으로 채취하였다. 작업공정에서 E. coli의 높은 분리율(59.6%)과 작업환경 전반에서의 고른 검출로 E. coli가 축산물가공장 위생지표균으로의 활용 가능성을 확인할 수 있었다. 분리된 E. coli의 genotype 분포는 작업장내 미생물 오염의 흐름을 보여주었다. 소규모가공장의 경우 오염된 원료육 반입이 작업공정을 오염시키고 공정중의 교차오염 발생으로 최종육에 영향을 주었고, 축산물종합처리장내 작업장은 원료육 오염보다는 작업환경에 상존하는 오염미생물의 교차오염이 최종육에 영향을 주는 양상이었다. 따라서 포장육가공장과 같이 작업공정에 멸균처리 과정이 없는 경우는 선행요건에 해당되는 원료반입과 작업환경의 세척 및 소독이 CCP로 관리되거나 이에 준하는 특별관리가 필요하였다. 결과적으로, 작업공정에서의 E. coli 검출과 genotyping은 작업공정상의 미생물 오염의 흐름을 파악하는데 유용하였으며, 이러한 방법은 HACCP 작업장의 미생물 오염원 분석과 설정된 생물학적 critical control point의 적합성 평가에 효과적이었다.

• 복식
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• 제35권
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• 자원환경지질
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• 제39권2호
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• pp.163-171
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• 2006

본 연구는 단열지질조사를 통한 대상지역의 지하수 단열 모델을 규명하여 지하수를 개발한 사례이다. 경기도 문산 동쪽에 위치하고 있는 산업시설물에서는 시설물 유지에 필요한 용수 수급용 지하수개발이 요구되었다. 지하수 개발 대상 지역은 $0.15Km^2$ 면적으로 제한되어 있었을 뿐만 아니라, 지하 매설물, 건물 등의 시설물을 피하여 선정, 개발해야 되는 매우 어려운 지리적 조건을 가지고 있었다. 지하수 개발 대상지역은 지하 매설물이 설치되어 있어 지구물리탐사가 불가한 곳으로 지질조사에만 의존하여 지하수개발을 수행하였다. 편마암의 엽리와 암상조사로 엽리 궤적도를 작성하며 조사대상지역에 발달하고 있는 남북방향 습곡축의 향사형 습곡이 인지되었다. 동서방향의 지질단면 분석에서는 아이스크림 스푼 모양의 F2 향사형 중첩습곡이 해석된다. 광역조사에서 인지된 $N20^{\circ}E,\;N30^{\circ}W$, NS 주향의 단층연장 상에 위치하는 평평한 조사대상지역에 수반성 인장단열들의 존재 가능성을 예측하였다. 우수향 운동감각을 갖고 있는 $N20^{\circ}E$ 단층 은 F2 향사형 습곡에 발달하고 있는 두 조의 요곡성 공액형인 P-전단단층으로 해석된다. NE 주향 지질단면상에서, $N20^{\circ}E$ 단층과 엽리 간의 교각으로 약 100m 심도에서 지하수저장이 가능한 삼각 프리즘형태의 공간형성이 가능함을 알 수 있어, 중첩습곡의 서쪽 날개 쪽이 지하수개발 가능지역으로 예측하였다 또한 $N40^{\circ}E$ 단층도 지하수공급원이 될 수 있다. 단열지질조사와 단면해석을 기초로 하여 $N20^{\circ}E$와 $N40^{\circ}E$ 단층을 따라서 지하수 개발가능 위치를 선정하였으며, $N20^{\circ}E$ 단층선 상에 위치한 한 지점을 선정한 결과 이곳에서 145 ton/day의 지하수를 개발하였다. 결론적으로 개발에 성공한 지하수는 중첩습곡에 수반된 요곡단층과 엽리 교차로 형성된 지하수 저장고의 불투수 공간으로부터 공급된 것으로 해석되었다.