• 디자인학연구
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• 제11권1호
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• pp.11-20
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• 1998

상업공간에 있어서 디스플레이는 현대의 고도 산업사회에서는 대량생산, 대량유통체계의 판매촉진수단으로서 극히 중요한 분야로 대두되고 있다. 뿐만아니라 생활의 질적 향상으로 인해 다양화, 개성 화되고 있는 고객들의 요구를 만족시켜주기 위한 중요한 요소로서 그 역학이 한층 중요시되고 있다. 더욱이 상업건축물의 입면은 비주얼 머천다이징에 있어서 매장의 레이아웃을 비롯한 전시공간 설정 및 표현에 커다란 영향을 미치고 있다. 매장의 입면 유형은 정보를 제공하는 선전 소구 기능을 가짐과 동시에 외부공간구성의 중요한 요소로서의 역할을 하고 있다. 이와 같이 건축물의 입면을 이루고 있는 도입부공간은 매장의 일부이며 가로(街路)공간과도 관련되어 있어 그 기능적인 문제와 표현상의 문제를 다루는데 있어 매장과 가로의 양측 면의 관계를 고려하지 않을 수 없다. 본 연구는 내부와 외부의 절충공간으로서의 도입공간을 중심으로 매장에 있어 서 입면이 갖는 제반 특성을 파악하고 각 특성간의 상호관계를 규명하였으며, 매장의 입면유형이 매장환경에 미치는 제반요소인 구획, 유도계획, 배치계획 등과의 관계를 제 조명하려 하였다. 따라서 서울 명동소재의 패션전문매장이 현황조사를 통해 입면 유형과 비주얼 프리젠테이션과의 관계를 분석하고, 비주얼 머천다이징의 개념에 입각한 공간구성의 방향을 제시하였다.

• 문화기술의 융합
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• 제9권4호
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• pp.727-737
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• 2023

본 연구는 40~60대를 위한 골프웨어 설계 및 연구개발을 위한 기초자료를 제공하고자 연 1회 이상 라운딩 활동과 골프 연습 활동을 꾸준히 하고 있는 의도표집된 대상자 64명을 대상으로 골프웨어 구매 및 선호도 조사를 실시하였다. 그 결과, 골프웨어는 상설할인매장에서 구매하고 TV 및 인터넷광고를 통하여 정보를 활용하며, 구매빈도는 연간 1~2회로 연간 구입비 50만원~100만원 미만, 1회 지출 비용 20만원~50만원 미만이 가장 많았다. 골프웨어 구매 시 디자인을 먼저 고려하고 여성은 흰색, 남성은 검은색·회색을 가장 선호하였다. 남성은 PK 칼라의 단추여밈 스타일, 여성은 라운드 네크라인의 니트 스타일을 선호하는 편이었고 상의여유량은 여성은 세미 피티드, 피티드, 남성은 세미 피티드, 루즈한 핏을 선호하여 유의차를 보였다. 골프웨어 제작 시 고려사항으로 젊어 보이는 디자인에 대한 응답결과가 연령이 낮을수록 비율은 높아져 연령에 맞는 디자인을 우선시하여 골프활동을 위한 기능성을 반영한 골프웨어 설계가 필요할 것으로 사료되었다.

• 한국의류산업학회지
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• 제16권6호
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• pp.945-953
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• 2014

This study aims to develop protective pants to relieve impact from falls and to present basic data for the development. The survey results are as follows; First, 45% of the respondents were in their 60s and 55% of them were in their over 70s and older. Also, 64% of them have fallen once for the past year and 36% of them have fallen twice or more. The older they were, the more there were those who have fallen twice or more. This indicated the older people has experienced more fall accidents again after a initial fall accident. Second, as per accident situations, the survey showed that fall accidents happened the most in the winter and in the afternoon (12-18 pm). Also, it happened on a street mostly and they were wearing sneakers or hiking boots when they got a hurt slipped in a front or side by missing their step in a walk. The injury areas are mostly knee and ankle. They had the bruises or a sprain in their knee and ankle mostly. The rate of bone fracture was 19.5%. Therefore, the protection area to falls in lower body is the knee. But hip and hip joint should be protected with knee as well because those are usually be broken when it is damaged. Third, approximately 80% of those who were hospitalized for treatment had surgery. Patients who had surgery were rather in their over 70s than in their 60s. The older they were, the more serious their fracture was. The period of hospital or outpatient treatment is more than three weeks in many cases. They responded their health got worse after falls. Aftereffects of accidents were physical discomfort, anxiety and medical costs. Falls to the old makes physical damage, psychological damage, which cause reduced physical activity and the increased cost of health care with economic losses. So it results on a negative impact on the life of the old. Fourth, elderly females were rarely aware of impact protective clothing and they have never purchased such clothing. For impact protective pants, the major consideration was suitable design for their body types. They liked casual style with front or side pockets and simple designs without any patterns or decorations. As per pants materials, they responded that they need functionality, activity and elasticity. Among the functional points, insulation of cloths are considered importantly, so the heat reservance of material in the impact protective pants should be considered carefully.

• 감성과학
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• 제20권2호
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• pp.59-72
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• 2017

수많은 정보의 홍수 속에서 소비자는 자신의 감성에 맞는 스타일을 선택하기 원하므로 개인화 서비스에 대한 효용과 필요성이 꾸준히 증가하고 있다. 본 연구에서는 적극적 개인화 쇼핑몰의 샘플 동영상을 직접 제작하여 인터넷 쇼핑몰 이용자 대학생 170명에 대하여 이를 경험하도록 하였고 이에 따라 소비자 반응이 변하는 것을 측정하였다. 또 소비자의 개인화의 수준에 따라 소비자의 웹사이트 평가, 만족도/인터넷 행동, 제품품질평가 등 반응도 조사하였다. 또한 이를 선호쇼핑몰의 종류, 인터넷 쇼핑몰 접속 횟수에 따라 차이가 존재하는지를 조사하였다. 결과는 첫째, 적극적 개인화 쇼핑몰을 이미 경험해본 대학생 소비자의 경우 적극적 개인화 수준이 높게 나타났다. 선호 쇼핑몰의 종류에 따라서 소극적 개인화 수준이 달랐는데, 일반의류 쇼핑몰을 선호하는 사람들이 낮고 복합대형쇼핑몰과 소셜커머스를 선호하는 사람들은 소극적 개인화 점수가 높았다. 둘째, 대학생 소비자의 적극적 개인화 동영상 경험 전후에 따라서 만족도/인터넷행동, 제품품질 평가는 변화하지 않는 것으로 나타났으나, 소극적 개인화 점수는 감소하고 적극적 개인화 점수와 웹사이트 평가는 증가하는 것으로 나타났다. 셋째, 인터넷 쇼핑몰 접속 횟수는 만족도/인터넷행동, 웹사이트 평가와 정적 상관이 있는 반면에, 적극적 개인화 요소는 만족도/인터넷 행동, 웹사이트 평가와 부적 상관이 있었다.

• 패션비즈니스
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• 제19권1호
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• 패션비즈니스
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• 제11권6호
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• pp.101-114
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• 2007

This research aimed to identify the differences, in terms of the pattern, of using wool and jersey for designing jackets and to provide a theorized solution. The object of this study is development of women's tailored jacket pattern by the traits of fabrics with fabrics those are generally used to develop the power of manufacturing technique about fit of jacket. Basic bodies prototype, graphics of sleeves prototype and graphics of jacket pattern those a clothing company at present(on&on, a brand of Beaucre Merchandising Co.,Ltd) is using were used as basics of tailored jacket pattern. Three kinds of fabric(wool, polyester, jersey) were chosen, we made jackets in the same manufacturing process of the clothing company, modified and made up for the weak points and then we compared and analyzed differences of pattern by the traits of fabrics, the results are as follows: 1) We drafted basic tailored style jacket pattern, made a jacket with wool fabric, made wearing experiment, modified and made up for the weak points by the trend, then developed JacketⅠ for study; 2) With JacketⅠ for study as the basic, we made a jacket with polyester fabric, made wearing experiment, modified and made up for the weak points, then developed Jacket II for study; 3) With JacketⅠ for study as the basic, we made a jacket with jersey fabric, made wearing experiment, modified and made up for the weak points, then developed Jacket III for study; 4) We presented final degree of polymerization of pattern with Jacket I II III for study; 5) We compared and analyzed the differences of pattern with the degree of polymerization of pattern with Jacket I(Wool) for study and Jacket II(Polyester), there was no change of size overall except extra amount which happens because of the trait of the fabric in 20 items of body format pattern, there were differences of size in 3 items(height of a sleeve, width of a sleeve, length of a sleeve) among 5 items of sleeves pattern; 6) We compared and analyzed the differences of pattern with the degree of polymerization of pattern with Jacket I(Wool) for study and Jacket III(Jersey) for study, there were differences of size by the kinds of fabric in 11 items(neck point to shoulder point length, Bishoulder point length, back interscye length, front interscye length, armhole circumference, depth of armhole, chest circumference, bust circumference, waist circumference, hip circumference, waist dart) among 20 items of body format pattern, there were differences of size by the kinds of fabric in 5 items(height of a sleeve, circumference of a sleeve, width of a sleeve, length of a sleeve, width of bottom of a sleeve) among 5 items of sleeves pattern.

• 패션비즈니스
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• 제5권2호
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• pp.105-115
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• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• 패션비즈니스
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• 제2권3호
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 한국의류학회지
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• 제32권9호
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• pp.1333-1342
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• 2008

This study intended to evaluate the visual sensibility of textiles of knitting simulation through the painting function of SDS-ONE, a computer knitting system, with the use of various fancy yarns for hand knitting. For this study, six kinds of fancy yarns with difference manufacturing style and form were selected: loop yarn, tamtam yarn, fur1 yarn, fur2 yarn, ladder yarn, and tape yarn. In order to create a computer knitting simulation, paint function of SDS-ONE was employed to scan the fancy yarns for hand knitting with a scanner. Then, after the registration of the yarns as data, the yarn was brought in for knitting simulation in plain stitch with 3 gauge. After that a survey was conducted involving 60 female experts in their twenties. Using SPSS 12.0, factor analysis, reliability, Pearson correlation coefficient, ANOVA, Duncan test, and regression analysis were performed to analyze the collected data. First, according to the result of analyzing the visual sense factor, three factors of the 'inflexibleness/ruggedness sense', 'lightweight sense', and 'smoothness sense' was extracted. According to the result of analyzing the visual sensibility factor, three factors of the 'activity', 'grace', and 'purity' was extracted. Second, With regard to preference and purchase intention, the knitted fabric with tamtam yarn(H2) was preferred than the other samples, indicating that the respondents had intention to purchase it. As for word-of-mouth intention, H2 ranked the first place, implying the respondents had intention to recommend it to other people. Third, the examination of the use of products each knitting simulation knit found that sweater and muffler are the most appropriate knit products. And H2 was the most suitable sample for sweater and muffler products. This study tried to prove that knit textile can be visually evaluated through a computer knitting simulation without the actual knitting and then to provide accurate data to related companies or the academic circle.

• 복식
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• 제4권
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.