• 복식문화연구
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• 제11권6호
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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.

• 대한가정학회지
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• 제35권2호
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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.

• 한국의류학회지
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• 제33권12호
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• pp.1883-1896
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• 2009

이 논문은 조선후기 보자기에 적용된 다양한 장식 특성을 연구한 것이다. 보자기는 물건을 싸거나 음식을 덮는 등 일차적으로는 실생활에 활용하기 위한 실용적 목적으로 제작되었지만, 보자기 제작은 전래된 상징적 문양의 표현을 통한 현세적 기원의 행위이기도 했으며, 또한 조선의 엄격한 유교 윤리 하에서 여성의 창작 욕구가 자유롭게 발현된 생활 속 여흥의 일부이기도 했다. 한국의 보자기에는 조각 잇기, 자수, 회염, 인염, 오려내기 세공 등 다양한 장식 기법이 활용되었다. 조각 잇기 기법이 활용된 조각보에서는 조선 여인들의 절약습관이 돋보이는데 이는 특히 자원의 재활용을 중시하는 오늘날의 가치와도 일맥상통하는 바가 있다. 자수가 놓인 수보에서는 상징적 문양의 표현을 통한 여인들의 소박한 바램이 읽혀진다. 한국 보자기는 회염이나 인염으로 장식되기도 했는데, 이들은 한국 복식 유물에서는 보기 어려운 장식 기법들이다. 농담을 조절한 다양한 색채의 당채 기법이나 단일색의 먹물 채색, 여러 종류의 도안이 새겨진 목판을 이용한 인염 기법 등이 이용되었다. 음식물이 묻지 않게 하기 위해 때로는 기름 종이로 보자기를 만들기도 했는데, 이러한 식지보에는 오려내기 세공이 장식 기법으로 활용되었다. 오려내기 기법의 원리는 스텐실 염색과 비슷하여 이를 또한 섬유제품 디자인에 활용할 수도 있다.

• 복식
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• 제66권7호
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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).

• 한국생활과학회지
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• 제9권4호
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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.

• 복식
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• 제66권6호
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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.

• 한국식품조리과학회지
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• 제24권5호
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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.

• 한국의류학회지
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• 제31권3호
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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.

• 복식
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• 제47권
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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.

• 복식
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• 제67권3호
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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.