• Journal of the Korean Society of Costume
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• v.38
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.

• Journal of Conservation Science
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• v.36 no.6
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• pp.562-577
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• 2020

In this study, to conserve the clay seated Vairocana Buddha triad in Seonunsa temple, Gochang (Treasure 1752), the primary materials employed for creating the clay Buddha statues were scientifically analyzed. By analyzing the soil layer constituting the Buddha statues, it is observed that the said layer comprises sand having particle size greater than that of medium sand and soil having particle size smaller than that of fine sand, which were used in a ratio of 7:3, along with the bast fibers of paper mulberry (Broussonetia kazinoki). Hence, the aforementioned soil layer is composed of a mixture of sand and weathered soil, along with bast fibers to prevent scattering. By analyzing the tree species, it is found that the wooden materials constituting the bottom board and the interior of Buddha's sleeves of the Amitabha Buddha statue, Vairocana Buddha statue, and Medicine Buddha statue are hard pines (Pinus spp.). Additionally, three layers are found in the cross section of the gold layer. Furthermore, each of the hair sections of the Buddha statues is composed of earthy materials such as quartz, albite, microcline, mica, and magnetite, and the hair surface was painted by incorporating black materials containing magnetite.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.

• Journal of the Korean Society of Radiology
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• v.15 no.7
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• pp.975-982
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• 2021

The purpose of this study is to evaluate the effect on the phantom for magnetic resonance imaging located nearby by partially shielding RF with a mesh made thinner than hair composed of copper, black metal, and polyester using metallic materials of titanium, which are commonly used for esophageal stents and implants in the body. Magnetic resonance images according to field of view (FOV) were analyzed in the Spin Echo T1 weighted images of TR 500 ms, TE 20 ms, NEX 1, and slice thickness 5mm using a Cardiac coil of 3T Achieva X-series. Aliasing artifact did not occur in FOV 304 mm × 304 mm, but it occurred in 250 mm × 250 mm and 170 mm × 170 mm. In FOV 170 mm × 170 mm, when a mesh was not used, the SNR was measured with 78.23, and when separated by standing a mesh in the middle, it was 215.05, and when completely shielded with a mesh, the SNR was 366.44. In addition, when completely shielded with a mesh, the aliasing artifact was also removed, and signal intensities on the left, middle and right of the image were also able to obtain homogeneous images compared to the previous two cases. In conclusion, if RF is partially shielded with a mesh, aliasing artifact can be removed, and magnetic resonance images with excellent image resolution and homogeneity can be obtained using a small FOV.

• Proceedings of the Korean Vacuum Society Conference
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• 2012.08a
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• pp.224-224
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• 2012

For decades, carbon fiber has expanded their application fields from reinforced composites to energy storage and transfer technologies such as electrodes for super-capacitors and lithium ion batteries and gas diffusion layers for proton exchange membrane fuel cell. Especially in fuel cell, water repellency of gas diffusion layer has become very important property for preventing flooding which is induced by condensed water could damage the fuel cell performance. In this work, we fabricated superhydrophobic network of carbon fiber with high aspect ratio hair-like nanostructure by preferential oxygen plasma etching. Superhydrophobic carbon fiber surfaces were achieved by hydrophobic material coating with a siloxane-based hydrocarbon film, which increased the water contact angle from $147^{\circ}$ to $163^{\circ}$ and decreased the contact angle hysteresis from $71^{\circ}$ to below $5^{\circ}$, sufficient to cause droplet roll-off from the surface in millimeter scale water droplet deposition test. Also, we have explored that the condensation behavior (nucleation and growth) of water droplet on the superhydrophobic carbon fiber were significantly retarded due to the high-aspect-ratio nanostructures under super-saturated vapor conditions. It is implied that superhydrophobic carbon fiber can provide a passage for vapor or gas flow in wet environments such as a gas diffusion layer requiring the effective water removal in the operation of proton exchange membrane fuel cell. Moreover, such nanostructuring of carbon-based materials can be extended to carbon fiber, carbon black or carbon films for applications as a cathode in lithium batteries or carbon fiber composites.

• The Journal of Art Theory & Practice
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• no.15
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.701-712
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• 2012

This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.2 s.150
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• pp.316-325
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• 2006

The colors of apparel are getting more important to give the differentiated character on fiber and fabrics. This study was to extract the favorable colors that become to facial color types. Research was carried out to classify the facial colors into several similar facial color groups. With JX-777, 2 points of face: forehead and cheek, were measured and classified into 3 facial color types. Sample size was 418 Korean adult males and other 15 of new males subjects. New chosen 3 subjects who had the classified facial color types, wore silver gown and black hat on his head to minimize the interaction of the clothe color an hair. The 40 standardized color samples were used to extract the favorable colors. 187 respondents answered the degree of becomingness of color samples on 3 facial color types. Data were analyzed by K-means cluster analysis, ANOVA and Duncan multiple range test using SPSS Win. 12. Findings were as follows: 1. 418 subjects who had YR colors were classified into 3 kinds of facial color groups. Type 1 was 4.59YR 5.89/5.12, Type 2 was 5.61 YR 5.41/4.79 and Type 3 was 4.38YR 6.49/4.89 respectively. 2. Favorable colors for Type 1 were 2 colors that belonged to ' a ' group from among colors that were divided into a, b, c group and 18 colors that belonged to ' a ' group from among colors that were divided into a, b group by Duncan post hoc test. 3. Type 2 showed that this type had many unfavorable colors. Unfavorable colors were 16 colors that belonged to ' c ' by Duncan test. 5. Favorable colors for Type 3 were 14 colors that belonged to ' a ' from among colors that were divided into a, b, c and 16 colors that belonged to ' a ' from among colors that were divided into a, b by Duncan test.