• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Journal of The Korean Association For Science Education
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• v.32 no.1
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• pp.64-81
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• 2012

The purpose of this study was to analyse middle school students' images and perceptions about scientist, technician and engineer and to compare the images of male students with those of female students. Fralick et al.(2009)'s "Draw a scientist at work and draw an engineer at work" was modified and administered to 110 middle school 3rd grade students (43 male students, 67 female students) from 5 middle schools. They drew the figures at work and took explanation of what the person was doing in a drawing. The results of this study were as follows; First, the representative image of scientist was the man with glasses and lab gown performing the chemical experiment. There were no significant differences between the male students and female students in terms of the scientist images. Second, the representative image of technician was the man who was fixing a car and working with his hands. The technicians were illustrated as working with tools such as wrench, hammer and so on. There were no significant differences between the male students and female students in terms of the technician images. Third, the students involved in this study frequently perceived male engineers as working indoors. But perceptions about performance of engineers were significantly different between male students and female students. A majority of male students recognized that engineers should design, invent and create the products, however many female students perceived the engineers as car mechanics. Fourth, the students perceived differently the scientists' task compared with the technicians', but they had difficulty in distinguishing the scientists' task from the engineers' task.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Korean Journal of Ecology and Environment
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• v.37 no.4 s.109
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• pp.423-430
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• 2004

This study intended to understand movements of turbid water in selective with drawal reservoirs before and after summer monsoon. Mean rainfall during November-May was low, compared to that during June-October. The reservoir water was discharged through watergates when previous rainfall and inflow exceeded 50 mm and $80\;m^3s^{-1}$, respectively. Intake towers were generally used except for the period of the high runoff. Average turbidity in gown-reservoir showed a difference of 29.9 NTU between premonsoon and postmonsoon. Diameter of particles of turbid water ranged between 0.435 and $482.9\;{\mu}m$. Fine particles such as clay were much denser than the larger particle. In the whole stations, clay component was relatively higher with a proportion of that in the particle distribution. Particle composition of turbid water showed that clay consisted of 94.4-98.9% and silt made of 1.1-5.6%. Analysis on turbid water movements derived from particle distribution showed a linear increase from the deep layer toward the surface layer in lower area of a reservoir. This was closely related with the hydraulic behavior of the reservoir, and heavily affected by the discharges through selective withdrawal towers and watergates. Turbid water originated from stream sediments in the middle area then resuspended in the down-reservoir causing a movement between the surface and middle layers of the reservoir. Therefore, such phenomenon needs to be understood for reservoir water quality management.

• Journal of the Korean Society of Costume
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• v.32
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Korean Journal of Weed Science
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• v.1 no.1
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• pp.21-29
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• 1981

Nationwide survey of weed population in paddy rice field was conducted from 1760 fields all around Republic of Korea in 1981. The weed species observed include 2 species of grasses, 7 species of sedges, and 18 species of broadleaf weeds, and the dominant weed species were Monochoria vaginalis, Sagitraria trifolia, Potamogeton distinstus, Sagittaria pygmea and Cyperus serotinus. More and many weeds were growing in single cropped field than double cropped field. In single cropped fields, weed population was reduced when autumn plowing was conducted. In double cropped fields, more weeds were growing in barley or wheat grown fields than vegetable gown fields. Among the five paddy soil types, more weeds were growing in saline soils and poorly drained soils than others. The proportion of annual and perennial weeds in national average was 44% and 56%, and perennials became more dominant in central part of the peninsula. Autumn plowing and double cropping appeared to reduce the perennial weed population, however, the increased perennial weed population, presumably due to continuous use of herbicides which controls mostly annuals, seemed to an urgent problem to be solved.

• Applied Biological Chemistry
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• v.38 no.2
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• pp.123-128
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• 1995

Several factors affecting on transformation efficiency were studied to establish a Agrobacterium rhizogenes mediated system for the transformation of Populus species, and We could obtaine tansgenic plantlets expressing the introduced gene. Leaf sections were more sensitive than stem sections to kanamycin and thought to be better material for transformant screening. The bacterial density did not affect on the efficiency of transformation over the range of $4{\times}10^5{\sim}7{\times}10^9\;cfu$. The optimum period for co-cultivation was one day or shorter. Both of the optimum concentrations of cefotaxime and ampicillin in the medium were $250\;{\mu}g/ml$ for elimination of bacteria from the inoculated leaf sections. The addition of acetosyringone in the bacterial culture medium increased transformation rate, and the highest rate was obtained at $50\;{\mu}M$ of acetosyringone. The transformed galls could be selectively induced and gown on the growth regulator-free medium or on the medium containing $100\;{\mu}g/ml$ or higher contrition of kanamycin. The roots were induced from the galls incited by A. rhizogenes within 3 weeks on the growth regulator-free medium as well as on the medium containing growth regulators. The plantlets were regenerated from the galls cultured for 6 weeks on the medium containing 0.05 mg/ml of NAA and 0.5 mg/ml of BA. The expressions of the introduced opine gene in the transformed galls and plantlets were confirmed by the analysis of agropine and mannopine.

• Journal of Fashion Business
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• v.2 no.3
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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.

• The Journal of Korean Philosophical History
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• no.50
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• pp.235-268
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• 2016

Gwon Geuk-jung wrote Juyeokchamdonggyejuhae(hereinafter Juhae) and established his Internal Alchemy(Nae-dan) Theory systematically in the former half of the 17th century. In its annotations, there are many quotes about Taoist books and figures, which leads to an estimation that the Chinese Taoist ideology must have exercised its influences on the formation of his Internal Alchemy Theory. It is thus needed to compare it with the Chinese Taoist ideology to have a clear picture of its characteristics and significance. The first step of the comparative research involved the estimation of Taoist books that Gown must have consulted and the examination of circumstances around Taoist books circulated in Joseon through the quotes in his Juhae, which were categorized into the ones that began with a book title, those that began with a name, and those that began in "In an old poem." They were compared with those of Dojang, and the results show that Gwon must have consulted various annotation books of Chamdonggye including Chamdonggyebalhui and various Taoist books including Gyujungjinam and Geumdandaeyo. The investigator then looked into Taoist books circulated in Joseon at the time when Gwon wrote Juhae and found a circumstance of circulation of annotation books of Chamdonggye by three families including Yu Yeom and collections of Taoist books including Doseojeonjip and Sujinshipseo. They were then compared with the Taoist books in the quotes of the author, and the results show that most of his quotes contained the Taoist books of Doseojeonjip. That is, the specific circumstances of books circulated in the former half of Joseon were clearly revealed in the quotes of Juhae. Of the Taoist books found in his quotes, Jin Chi-heo was most quoted, being followed by Jang Baek-dan, Seol Do-gwang, Jin Nam, Baek Ok-seom, and So Jeong-ji. It thus seems that Gwon was under the huge influence of Internal Alchemy Theory of Jin Chi-heo and Nam Jong.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.655-665
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• 2022

This study evaluated the validity of a newly developed mobility protocol examining the comfort functions and requirements of personal protective equipment (PPE) for COVID-19 healthcare workers. Eight males (age: 24.7 ± 3.0 y, height: 173.4 ± 2.3 cm, and body weight 69.9 ± 3.7 kg) participated in the following three PPE conditions: (1) Plastic gown ensemble, (2) Level D ensemble, and (3) Powered air purifying respirator (PAPR) ensemble. The mobility protocol consisted of 10 different tasks in addition to donning and doffing. The 10 tasks were repeated twice at an air temperature of 25oC with 74% RH. The results showed significant differences among the three PPE conditions in mean skin temperature, local skin temperatures (the forehead, thigh, calf, and foot), clothing microclimate (the chest and back), thermal sensation, thermal comfort, and humidity sensation, while there were no significant differences in heart rate or total sweat rate. At rest, the subjects felt less warm and more comfortable in the PAPR than in the Level D condition (P<0.05). However, subjective perceptions in the PAPR and Level D conditions became similar as the tasks progressed and mean skin and leg temperature became greater for the PAPR than the Level D condition (P<0.05). An interview was conducted just after completing the mobility test protocol, and suggestions for improving each PPE item were obtained. To sum up, the mobility test protocol was valid for evaluating the comfort functions of PPE for healthcare workers and obtaining requirements for improving the mobility of each PPE item.