• 아시안잔디학회지
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• 제23권1호
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• pp.23-34
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• 2009

톨 훼스큐 종자의 발아율, 발아패턴 및 발아특성은 생육환경과 품종에 따라 차이가 크게 나타났다. 자연 실온 환경에서 발아력은 ISTA 변온과 약간 다르게 나타났고 최종 발아율은 $85.25{\sim}97.00%$ 사이로 다양하였다. 톨 훼스큐의 발아패턴은 최초 발아의 경우 ISTA 변온에 비해 $2{\sim}3$일 정도 늦은 치상 후 $7{\sim}9$일 사이에 시작되었다. 최초 발아 시기는 공시 품종 간 1일 정도 차이가 있었으며, Arid III 및 Olympic Gold 품종이 $7{\sim}8$일 사이로 다소 빨랐다. 발아율 50%에 도달한 기간은 최초 발아 후 $3{\sim}4$일 경과 후인 치상 후 $11{\sim}12$일 사이로 나타났으며, 이것은 ISTA 변온에 비해 $3{\sim}4$일 정도 늦은 것이었다. 또한 실무적으로 요구되는 발아율 76% 도달기간은 ISTA 변온에 비해 품종에 따라 $1.55{\sim}4.77$일 정도 늦은 치상 후 $12.38{\sim}14.29$일 사이로 나타났다. 공시 품종 중 75% 발아율 도달 기간이 가장 빠른 품종은 Olympic Gold 품종이었고, 반대로 가장 느린 종류는 Tar Heel II 품종이었다. 톨 훼스큐 품종 간 발아특성 및 발아패턴의 결과를 종합적으로 고려할 때 Olympic Gold 품종이 가장 우수한 것으로 사료되었다. 본 실험을 통해 밝혀진 품종 간 생리 생태적 특성과 ISTA 변은 및 자연 실온 조건 간 비교 자료는 골프장 등 잔디밭 조성 시 실무적인 기초 자료로 유용하게 활용될 수 있을 것이다.

• 복식
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• 제59권9호
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• pp.1-15
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• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.

• 복식
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• 제52권7호
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• pp.1-11
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• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• 대한치과보철학회지
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• 제42권6호
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• pp.654-663
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• 2004

Statement of problem. According to the fracture pattern in several reports, fractures most frequently occur in the interface between the ceromer and the substructure. Purpose. The aim of this in vitro study was to compare the macro shear bond strength and microshear bond strength of a ceromer bonded to a fiber reinforced composite (FRC) as well as metal alloys. Material and methods. Ten of the following substructures, type II gold alloy, Co-Cr alloy, Ni-Cr alloy, and FRC (Vectris) substructures with a 12 mm in diameter, were imbedded in acrylic resin and ground with 400, and 1, 000-grit sandpaper. The metal primer and wetting agent were applied to the sandblasted bonding area of the metal specimens and the FRC specimens, respectively. The ceromer was placed onto a 6 mm diameter and 3 mm height mold in the macro-shear test and 1 mm diameter and 2 mm height mold in the micro-shear test, and then polymerized. The macro- and micro-shear bond strength were measured using a universal testing machine and a micro-shear tester, respectively. The macro- and micro-shear strength were analyzed with ANOVA and a post-hoc Scheffe adjustment ($\alpha$ = .05). The fracture surfaces of the crowns were then examined by scanning electron microscopy to determine the mode of failure. Chi-square test was used to identify the differences in the failure mode. Results. The macro-shear strength and the micro-shear strength differed significantly with the types of substructure (P<.001). Although the ceromer/FRC group showed the highest macroand micro-shear strength, the micro-shear strength was not significantly different from that of the base metal alloy groups. The base metal alloy substructure groups showed the lowest mean macro-shear strength. However, the gold alloy substructure group exhibited the least micro-shear strength. The micro-shear strength was higher than the macro-shear strength excluding the gold alloy substructure group. Adhesive failure was most frequent type of fracture in the ceromer specimens bonded to the gold alloys. Cohesive failure at the ceromer layer was more common in the base metals and FRC substructures. Conclusion. The Vectris substructure had higher shear strength than the other substructures. Although the shear strength of the ceromer bonded to the base metals was lower than that of the gold alloy, the micro-shear strength of the base metals were superior to that of the gold alloy.

• 복식
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• 제58권8호
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• pp.13-29
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• 2008

This study analyzes the patterns of Baekje accessories, including pattern kinds, symbolic meanings and pattern types. And also this study shows the characteristics of accessory patterns and gives a chance for reflecting upon the patterns of Baekje costume. This study is qualitative research using documentary records related with the accessories of Baekje and evacuated data. The results of the study are as the followings: First, the kinds of patterns were classified four groups, floral, animal, geometrical and other patterns. Also, the symbolic meanings of its were authority, prolificacy, longevity and protection against evil spirit. Floral pattern was expressed most frequently. Second, the types of patterns were classified two groups, individual and compound type. Both of them was variously expressed. Third, The major material was copper with gold. Most work techniques were boring and hammering. The patterns were the composition of floral or animal patterns as a main design and geometrical patterns as a section or border design. Forth, the expressive characteristics of Baekje accessory patterns were to prefer floral patterns and to express symmetrical composition of patterns, therefore the patterns of Baekje accessories showed their esthetic sense like elegance, mild, serenity, a sense of stability and the sense of balance. In conclusion, the expressive characteristics of Baekje accessory patterns would be expressed on the Baekje costume.

• 복식
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• 제61권2호
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• pp.88-101
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• 2011

This study emphasizes on the characteristics of the excavated fabrics from the tomb of Kimwhoak in the late 16th and early 17th centuries. All of 118 kinds of fabrics are used in excavated costume from the tomb of Kimwhoak. Classified by its materials, it is divided into small groups as follows: 63 pieces of spun silk tabby(53.6%), 14 of spun yarn silk(11.9%), 13 of thin filament silk tabby(11.0%), 8 of thin silk tabby(6.8%), 4 of satin without pattern(3.4%), 3 of filament silk tabby(2.5%), 3 of twill without pattern(2.5%), 2 of satin damask(1.7%), 2 of mixture fabric with silk and cotton(1.7%), and 2 of ramie fabric(1.7%), 1 of simple gauze without pattern(0.8%), 1 of damask with supplementary gold thread(0.8), 1 of cotton(0.8%), 1 of etc(0.8%). Classified by ways of weaving: 106 pieces of plain weave(89%), 6 of satin weave(5%), 3 of twill weave (3%), 1 of gauze weave(1%), 1 of compound weave(1%) and etc(1%). In point of patterns, the most of textiles are without pattern, there are only two of them are patterned textile. such as lotus patterns with vine, peony patterns with vine. Their patterns are very similar to those of other tombs in the same age.

• 복식
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• 제44권
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• 대한가정학회지
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• 제45권2호
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• 복식
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• 제67권2호
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• pp.88-100
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• 2017

This study is for the textiles of at Sun Am Temple and characteristic of embroidery. Tak Ui was composed of orange body and green upper cover, and had no strings. The body plate was covered with embroidery, with Gauze base, and upper part was appliqued, by cutting dragon pattern, cloud pattern on satin damask. The thread for embroidery was silk floss, silk twisted thread, rapped gold thread, and rapped silk thread. For padding, it was used cotton thread in the part of dragon's scales. It was used satin stitch, outline stitch, split stitch, couching, and counted stitch, etc. as method of embroidery. In particular, it embroidered counted stitch of diamond shape consecutively on the whole of Tak Ui, it does so with counted stitch of same effect of weaving Brocade in the part of cloud. Besides, it is one of the characteristic for couching rapped silk thread. Such lead embroidery is the popular method in the Ming dynasty of China, in the 16~17 century. The design of Tak Ui is dragon, cloud, and wave in the theme. In the center, 'Seong-su-man-nyeon' was placed on the heads of dragon. This is similar to Dragon Robe of Four-petalled medallion patterns, period of Ming dynasty in China. Therefore, it confirmed that Tak Ui was remodeled the embroidered textiles, made for royal robe, originally, with Tak Ui at temple.

• 한국의류학회지
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• 제26권7호
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.