• Journal of the Korean Wood Science and Technology
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• 제41권1호
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• pp.51-57
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• 2013

직물형 유리섬유 조합에 따른 보강 집성재의 볼트 접합부 전단 성능을 알아보기 위하여 인장형 전단시험을 실시하였다. 보강재는 직물형 유리섬유로서 유리섬유 배열 형태는 평직형과 능직형을 사용하였다. 보강 집성재는 5층으로 직물형 유리섬유의 삽입 위치와 조합 형태를 달리하여 층재 사이에 삽입 적층시켜 제작하였다. 인장형 전단 시험편은 강판 삽입형로서 끝면거리 7D에 직경 12, 16 mm의 볼트로 접합하였다. 체적비 1% 직물형 유리섬유 보강 집성재의 경우 12 mm 볼트 접합부의 항복 전단내력은 집성재 외층부보다 내층부를 보강한 시험편에서 10% 큰 값을 나타내었다. 체적비 2% 직물형 유리섬유 보강 집성재의 항복 전단내력은 12 mm 볼트 접합부의 경우 각층재 사이에 삽입 적층시킨 시험편이 보강하지 않은 접합부보다 약 22% 향상되었으며, 16 mm 볼트 접합부의 항복 전단내력은 약 20% 향상되었다.

• 생물환경조절학회지
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• 제23권1호
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• pp.31-38
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• 2014

본 연구의 첫 실험에서는 발근제 처리가 'Bluecrop', 'Duke', 'Sunrise' 하이부시 블루베리 품종의 숙지삽 발근과 추후 생장에 미치는 영향을 조사하였다. 삽수의 기부 1-cm에 IBA와 NAA 0, 500, $1000mg{\cdot}L^{-1}$ 용액에 5초간 침지하였고 또한 루톤 분제도 처리하였다. 삽목 90일 후 'Bluecrop'과 'Sunrise'품종의 발근율과 근중은 NAA $500mg{\cdot}L^{-1}$ 처리에 의해서 증가한 반면 'Duke' 품종에서는 IBA $500mg{\cdot}L^{-1}$가 뿌리 생장에 효과적이었다. 이러한 발근제 처리에 의한 삽수 부정근의 초기 발달에서 증가는 개별포트에서 추후 생육의 증가로 이어졌다. 두 번째 실험에서는 삽상의 차광처리(30~90%)가 위 블루베리 품종들의 숙지삽의 발근과 생장에 미치는 영향을 조사하였다. 30% 차광은 무차광 대조구와 비교했을 때 모든 품종에서 발근율, 뿌리와 줄기의 생장을 증가시켰다. 그러나 특별히 분무시설이 없는 삽상에서 차광을 50% 이상으로 했을 때 하이부시 블루베리의 숙지삽의 발근과 생장은 상당히 억제되었다.

• 복식
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• 제19권
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• 복식
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• 제24권
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.

• 전자공학회논문지
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• 제54권3호
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• pp.78-86
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• 2017

본 논문에서는 은폐 물체 탐지를 위해 인체에 무해한 음향신호 중 파라메트릭 배열을 이용한 음향 탐지 시스템을 제안한다. 제안된 탐지 시스템은 파라메트릭 배열 현상으로부터 생성되는 고 지향성 Chirp 신호를 송신신호로 사용하고, Dechirp 처리 과정을 통해 수신신호의 신호 대 잡음비를 개선하여 거리 분해능을 향상시키는 기법을 사용한다. 제안된 파라메트릭 배열 시스템의 송신센서는 $8{\times}2$ 배열로 구축하였으며, 센서 배열의 빔 폭은 수평방향 약 $7^{\circ}$와 수직방향 약 $26^{\circ}$를 형성한다. 제안된 시스템을 검증하기 위해 물체 탐지 및 가시화를 위한 2축 구동 제어 선형 스테이지를 구축하였으며, 이를 이용하여 은폐된 물체에 대한 A-scan, B-scan 및 C-scan 실험을 진행하였다. 실험 결과, 천에 은폐된 동판과 파이프를 탐지하고 형상을 확인하였으며, 가시화된 형상에서 동판은 $0.015m^2$, 파이프는 $0.046m^2$의 오차를 보여주었다.

• 한국작물학회:학술대회논문집
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• 한국작물학회 2017년도 9th Asian Crop Science Association conference
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• pp.241-241
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• 2017

Sweet potatoes (Ipomoea batatas (L.) LAMK.,) have been cultivated in Central and South America for about 2000 years and are now grown mainly in Asia and South America. Sweet potatoes are annual in the temperate region, but are classified as perennial in the tropical region. In 2000, the cultivation area of sweet potatoes decreased to about 16,000 ha in 2000, but the cultivation area increased slightly in recent 20,000 ha in Korea. Sweet potatoes do not show higher maximum dry matter production of 120 ~ 150g per plant, and the leaf area index (LAI), which maximizes dry matter production, is known as 3.0 ~ 4.0. As the leaf area increase, the penetration of light into the canopy becomes poor, and sufficient photosynthesis cannot be achieved in the lower leaves, on the other hand the respiration increase, which results in poor dry matter production. This study was conducted to know the responses of sweet potatoes to intensive shading treatment of 80% shading. This experiment was conducted for about 42 days from September 6, 2016 to October 18, 2016 at Gyeongsang National University Experimental Farm, Jinju, Korea. The plant canopy was shaded with black nylon 80% shade cloth suspended 1.2 m above the ground. The photosynthetic rate, stomatal conductance, chlorophyll fluorescence, SPAD and NDVI were measured in 3 replicates every 7 days after shading initiation. After the fresh weight was measured, the samples were dried at $80^{\circ}C$ in a dry oven and measured. By the 80% shading treatment, chlorophyll fluorescence of the treated plants was slightly higher than that of the control, the SPAD value was higher by 3.4 and NDVI value was higher by 0.01. However, photosynthetic rate and stomatal conductance were lower than those of the control. The stomatal conductance of the control were two times higher than those of the control and the photosynthetic rate of the control was four times higher than that of the control. In control, plant showed a tendency to steadily increase in fresh weight and dry weight. However, in the case of shading treatment, the tendency to increase in the fresh and dry weight of tuberous roots was not clear. The fresh weight of shoot showed a tendency to increase steadily while the difference between treatment and control was not large, but tended to decrease after frost.

• 한국게임학회 논문지
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• 제7권1호
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• pp.31-42
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• 2007

피부, 옷 등 실세계의 대부분의 물질들은 반투명한 재질로 되어있고, 부드러운 외양을 띄고 있다. 본 논문에서는 GPU 기반의 계층화 알고리즘을 통해, 양극 확산 (dipole diffusion) 기법에 기반한 표면 내에서의 빛의 산란에 의한 조명을 근사하여 반투명한 재질을 실시간에 렌더링하는 기법을 제안한다. 무수히 많은 수의 픽셀 빛 입자들은 GPU를 활용하여 쿼드트리로 계층화된다. 렌더링될 각 픽셀마다, 많은 빛 입자를 대신하여 좋은 화질로 근사할 수 있는 집합들을 선택하고, 이것을 사용하여 조명을 계산한다. 우리는 또한, 고해상도 이미지를 효율적으로 렌더링하기 위해 공간적 일관성과 early-z 컬링을 이용한 계층적 화면 보간 기법을 소개한다. 이를 위하여, 화면 정보를 GPU 상에서 계층화한다. 우리는 공간적 유사도가 높은 픽셀들을 하나의 픽셀로 렌더링함으로써 적응적으로 보간한다. 실험을 통해 빛 계층화를 통해 반투명한 물체를 실시간에 렌더링할 수 있음을 확인하였다. 화면 보간 기법은 동급 화질에서 렌더링 비용을 $2{\sim}4$배 정도 감소시켰다. 모든 과정은 GPU를 사용한 이미지 공간 상에서 빠르게 수행되며, 어떠한 긴 전처리과정도 필요하지 않는다.

• 복식
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• 제1권
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• pp.101-117
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• 1977

This thesis is a study of the Simui(深衣) system which was a dress regulation peculiar to old China with skirt and coat. The origin of Simui is a very long time, that is, before Ju dynasty in China. Its wearing range had a large circle irrespective of rank and good or bad luck. This was a ordinary dress to the Emperor or the lords, a below court attire or a below sacrificial rites attire to the illustrious officials, and good luck dress to the common people. But this was a funeral rites attire or coming-of-age ceremony attire in domestic behaviour. In the times of Song dynasty, lots of confucian scholars had put on this simui because of Juhi's recommendation for domestic behaviour. This Simui had been put on through all the times of China and was the original text of all the dress. Especially the court attire and silkworm working dress of Empress, and the court attire and underwear court attire of Emperor is also made out of this Simui, therefore this is a origin of the ceremonial dress which formed into long coat. In Korea it is said that this Simui was brought in prior to the middle of Goryeo dynasty. But we can't tell the correct transmitted age. According to the following records in Goryeo History, "King had put on the Simui as a sacrificial rite attire in the times of Yejong". It is sure that this Simui was brought in prior to the times of Yejong. In fact, lots of confucian scholars had put on the Simui since the introduction of confucianism in the end of Goryeo dynasty and after that time this was taken by many confucian scholars through Yi dynasty. Korean Simui system was complied with Chinese system through confucian domestic behaviour, This was respected for court dress of confucian scholars, as it were, Chumri, (an ordinary dress of scholars), Nansam (a uniform of upper student), and Hakchangui (a uniform of confucian student). There are many deta about Simui system in the book of Yeki, chapter Okcho and Simui, and other many canfucian books. But we didn't demonstrate the theory about it till now. Especially there are diversifies of opinions about the phrase of "Sok Im Ku Byun" in Yeki. Simui was cut in separate and then was stitched together in one piece. Generally its shape had round sleeve and angled lapel, its length reaches to the anklebone. And it has a line around the lapel, the sleeve band, and the edge of skirt. It is called Simui because the body can be wrapped deeply in broad width and large sleeve. The Simui was made of white fine linen and was cut by the natural size of body. Every part of Simui had a profound meaning; the round sleeve in compliance with regulation can keep a courtesy when a walker moves his hands and the angled lapel like a carpenter's square in compliance with square keeps them front loosing their Justice and a string of the back also keeps them loosing from their righteousness and the flat lower part of Simui makes their heart and mind calm. This Simui was usually attendant on a head cover and belt made cloth, and black shoes. This thesis was made a study of documents and portrait from Yi dynasty, for the actual object was not obtained.

• 복식
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• 제20권
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• pp.125-135
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• 1993

The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume de-sign, and thirdly to examin the characteristics of movement as shown in modern costume de-sign. For this study, we selected and analyzed some costume designs among those introduced in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L'Officiel that have been issued since 1988. As this research is carried out only through the analysis of pictures, it is not ac-companied by a study on material itself. The result of this study is that the ex-pression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the cloth-ing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual move-ment. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension of the costume. And the illusionistic movement is expressed by the de-sign to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the cos-tume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediated visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the en-largement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monot-ony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of 'movement'. finally, as this paper deals with the ex-pression of movement as shown in the costume design which prevailed after 1988, it is desir-able hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the ex-pression of movement in our Korean designer's and foreign designer's works.

• 복식
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• 제22권
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• pp.205-224
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• 1994

It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.