• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.826-834
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• 2003

This research is to reveal an aspect of costume culture and a phase of the cloths in the relationship of the Chosun dynasty, by considering the exported goods from the Chosun dynasty of the trading goods derived by the trade diplomacy between the two countries in the Chosun dynasty-Japan relationship in the 15th and 16th. The research findings, by analyzing various literatures and related documents, follow. The research results are as follow. The exchange was the form of presenting a return present in return for a tribute to the Chosun dynasty from the Japanese envoy, which has a polycentric characteristic. Pusanpo, Naipo, and Yumpo were designated as the open ports, which played a pivotal role in the Korea-Japan exchange. The imported goods were somok, peppers, drug-stuffs, gold, bronze, sulfur, etc. The exported goods were books and cloths, such as hemp cloths, cotton cloths, silk, etc. The majority of exported goods was cloths, particularly cotton cloths. Meanwhile, in the 15th and the 16th century, with expanding of active trade towards Japan, the amount of export increased rapidly. As a result of the increase of exporting cotton cloths, the raw cottons production was increased and cotton cloth manufacturing was developed. However, it also expanded a dual structure of cotton cloths between the cotton cloths for exports and the cotton cloths for domestic markets. This dual structure of cotton cloth was lead to the deterioration of cotton cloths and had an effect on the price increases of domestic markets.

• Journal of the Korean Home Economics Association
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• v.35 no.2
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• pp.19-32
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• 1997

The purpose of this research is to find out ways of disposing unused cloths focusing on the environmental protection. To achieve its aim, previous researches are studied and simultaneously a survey has been done for housewives in Taejeon city. Collected data have been analyzed by the SPSS program. The result of this research is as follows. On the questions concerning planned clothes buying, meaningful differences are obtained according to their ages, degrees of education, occupations, patterns of housing. On the period wearing cloths, meaningful difference is shown only by the age. the first reason for disposing of unused cloths is that the cloths become unfit for the body, second is that the designs or colors become so old that the consumer does not like it any more. On the ways of currently disposing of unused cloths are very much different from on the ways of desirable disposal of unused cloths. On the questions of recycling, the experience of wearing used cloths given by others is high. On the question of 'what would you do if you were given used cloths?', the commonest answer is 'I would wear them because it would be beneficial economically.', 'I wouldn't wear them.', 'I would wear them because it would be any help for resource frugality or pollution prevention'. On the question of the experience of getting used cloths voluntarily, 38.1 percentage of pollees has answered yes, 62 percentage no.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.34-49
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• 2016

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).

• Korean Journal of Human Ecology
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• v.9 no.4
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• pp.459-469
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• 2000

The purpose of this study is to investigate the Myokmok, a kind of shroud. This study classifies Myokmok by its size, shape, cloths and color. Korean Myokmok through literatures are as follows. The size of Myokmok was one Ch'ok(尺) two Ch'on(寸). The surface of Myokmok were mostly black and the lining was mostly red. The cloths of Myokmok were Paek(帛) and Chu(紬). Myokmok through relics was various in size and the cloths were Kongdan(貢緞), Myongchu(明紬) and the color was various. Actual conditions of current Myokmok were various. The size, shape and cloths were more variable than the literatures and relics. In the Chinese Myokmok through literatures, the size were one Ch'ok two Ch'on, one Ch'ok and one Ch'ok five Ch'on. The cloths of Myokmok were Paek and Kyon(絹). The surface of Myokmok were mostly black and the lining was mostly red. Myokmok in Munkonggaryoieuichul was tide by the strings of four corners. The size of the Chinese Myokmok was various. The shape of the current Myokmok was various than the literatures and relics.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.67-78
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• 2016

Research on ancient Indonesian 'sacred cloths' is essential since it shows a different perspective into Indonesian identity. Based on its function, the 'sacred cloths' are either made as a medium for religious ceremonies or as a medium for the living and the dead. The consuetude of preparing and creating the 'sacred cloths' are done to achieve the finest 'sacred cloths' worthy to be presented to God. The research aims to analyze the characteristics of ancient Indonesian textiles and to focus on the 'sacred cloths.' The research is divided into two parts, and this paper is the first part. The paper analyzes the characteristics of ancient Indonesian textiles by focusing on the period, religion, region, and color of the 'sacred cloths.' The subsequent research analyzes the characteristics of ancient Indonesian textiles by focusing on the techniques and the patterns of the 'sacred cloths.' In this first part of the main research, the analysis reveals that animism developed in various ways in Indonesia from 500 BC to AD 1800. It was also as kingdoms of Buddhist, Hinduism, and Islam. The changes of religion may differ according to its region. Indonesian regions are divided into six big regions that produce textiles. These islands are Sumatra, Borneo, Java, Celebes, Nusa Tenggara, and Bali. By space and time, the colors of Indonesian textiles represent the ideology of one religion. Indonesia produces primary colors of red, yellow, and blue(RYB). The colors are produced by extracting leaves of Indigo, Indian Mulberry root shell, Sappanwood's branches, Candlenut fruit, Turmeric root, and Mangosteen rind. Indonesia is a religious country, therefore the meaning of creating each 'sacred cloth' shows piety of the maker and the wearer.

• Korean journal of food and cookery science
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• v.24 no.5
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• pp.706-712
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• 2008

This study was conducted to evaluate the sanitation level and use of dish cloths, chopping board, and drawer in the refrigerator in 50 university students' houses located in Seoul and Kyonggido. The survey questionnaire evaluated general information, frequency of the washing, cleaning method, drying method and the associated factors. The highest percentage of the cleaning and drying methods of dish cloths were “boiling(76.0%)”, and “dry in the kitchen or on the sink(78.0%)”, respectively. For the chopping board and drawer in the refrigerator, the highest percentage of cleaning method was “use detergent” and drying method was “dry in the kitchen”. The mean of coliforms for dish cloths, chopping board, and drawer in the refrigerator was 4.46${\pm}$1.95 log CFU/100 $cm^2$, 3.92${\pm}$1.64 log CFU/100 $cm^2$, 3.48${\pm}$2.01 log CFU/ 100 $cm^2$, respectively. Salmonella spp. were not detected from all samples. But E. coli were detected from dish cloths(4.0%) and S. aureus were detected from dish cloths(16.0%), chopping board(12.0%), and drawer in the refrigerator(8.0%). The results of microbiological test of kitchen utensils indicated that the sanitary conditions of dish cloths, chopping board, drawer in the refrigerator should be improve promptly.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.3 s.162
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• pp.433-439
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• 2007

The effects of nonionic surfactants on detergency and water wetting/retention properties of soiled cotton cloths were reported. Two different soiled cloths were used. soiled cotton cloth 1 was made in the lab. with carbon black, tripalmitin, n-dodecane & palmitic acid on Korea Apparel Testing & Research Institute(KATRI) cotton testcloth and soiled cotton cloth 2(EMPA 101) was purchased from Testfabrics, Inc., USA. The following nonionic surfactants; l.e., Span 20, Tween 20, 40, 60, 80, 21, 61, 81, 65, & 85, were used in the study. The water retention ratio(W/H) values of soiled cotton cloths were decreased, whereas the water contact angle values of soiled cloth were not changed markedly compared with those of unsoiled testcloths. The wetting and water retention of soiled cotton cloth 1 was improved with addition of nonoinic surfactants. The surfactants which have more hydrophilic characterictics or unsaturated hydrophobe tails were effective in improving wetting and water retention properties of soiled cotton cloth 1. The water contact angle values of soiled cotton cloths were extremely low with Span 20, presumably due to the high adsorption density or the surfactant. The detergency of soiled cloths were low in Span 20 and high in Tween 20, 40, 60 & 80 0.1g/dl surfactant solutions. Nonionic surfactants having higher ethylene oxide contents resulted in better detergency. In the range studied, the wetting and water retention of soiled cotton cloths did not show any particular relation to the detergency, whereas the surfactant characteristics, especially HLB values, influenced the detergency of soiled cotton cloths.

• Journal of the Korean Society of Costume
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• v.47
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• pp.33-46
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• 1999

The purpose of this study is to investigate the Aksu(握手) a kind of shroud This study classifies Aksu by its size shape cloths and color. Korean Aksu through literatures are as follows: The length of Aksu was one Ch'ok(尺) two Ch'on(寸) and the width of Aksu was five Ch'on. The surface pf Alsi were mostly black and the liniing was mostly red. The cloths of Aksu were Paek(帛) and Chu(紬). Aksu through relics was various in size and the cloths were Kongdan(貢緞) Myongchu(明紬) and Sa(紗) and the color was various. Actual conditions of current Aksu were various. The size shape cloths and color were more variable than the literatures and relics. The band of Aksu was all two. n the Chinese Aksu through literatures the length was one Ch'ok two Ch'on and the width waf five Ch'on The cloths of Aksu were Paek and Kyon. The surface of Aksu were mostly black and the lining was mostly red. Aksu in Munkonggaryoieuichul(文公家禮儀節) was tide by the strings of four corners. The Size of the Korean Aksu was the same as Chinese Aksu. The shape of the current Aksu was various than the literatures and relics.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.99-114
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• 2017

The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions according to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their techniques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization period by the Dutch in Bali during 1910-1942 added economic values to the textiles. The independence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the identity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are 'fixed' with the restriction of the colors red, black, and white. The colors of modern era are 'festive' with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is 'royal statement' and Songket cloth is a 'cultural heritage.' Nusa Penida Island produces Cepuk cloths and is a 'protective guardian.' Satria sub-district produces Prada cloths and appears to be an 'opulence charm.' Lastly, Tenganan Village produces Geringsing cloth which possesses a 'legendary legacy.' To sum up, Balinese sacred cloth essence is a balance of tradition and modern.