• Journal of the Korean Society of Costume
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• v.33
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• pp.117-142
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• 1997

This study is on perfume case that is one of a great number of ornaments which was designed by out ancestors. We had developed the tradition and the history of perfume case bag fan-weight etc. These have the same function as the present perfume. case. There were basket-shaped perfume cases which were the smellest one among the personal girdle ornaments in the silla era. The various patterned perfume case were made of gold metal coral platinum or green jadeite etc. In the single-crop trinkets a embroidered perfume bag with the gold and silver thread whose forms perfectly match their functions appeared during the Yi Dynasty. There was also a perfume bag which was one of the daily necessities. A precious "jul perfume" was carried by noble women. A fan-weight perfume bag was attached to the fan to emphasize the intrinsic beauty of utility and function. It is necessary to know the function of prefume case. As perfume case is weared on the clothes it was given more decorative effects as well as the function of medicinal amulet with a sweet smell. Therefore it is very important for us to study perfume case that has various function as an ornament. So The purpose of this study is to investigate the practical and decorative side of perfume case with the general examines of perfume finding how to practice use through our life. The results were as follows; 1. The first use of perfume is perfume through smoke which is for ceremony of religion It removes human body odor by degrees and spreads a sweet odor. Also the materials for making perfume of early age is aromatic plants which will be used flour-made flowers stems. As the materials for making perfume use is increasing today we can invent alcohol perfume today 2. Our country the custom of perfume-used is wide. Among them men's perfume-used was very special phenomenon. For example men were wearing perfume bag in the Silla era. Because perfume represented wealth and noble in those days. They shew off social position personality through perfume-used. 3. One of early religion ceremony article there was the perfume. And perfume case was means for containing perfume. Gradually the perfume case was used widly as increasing needs of perfume in human life. 4. In the middle period of 'Koryo' Dynasty perfume cases had a close relationship with clothes but after Mongolian has been attacked 'Koryo' there were changes in wearing clothes therefore the position of perfume cases were transfered to coat string that was the origin of decoration style that they began. That is to say the perfume case has been influenced the position of perfume case shapes with changing of fashion. 5. The perfume case has been made manifest various function as an ornament. In the practical side First medical-perfume in perfume case has been played an important role in first-aid medicine in critical condition. Second it was amulet for self protection. That is the shape pattern color materials perfume of the perfume case was represented the amuletive nature. Third it was used as substitute article of perfume. Modern women use liquid-perfume as our ancestors used perfume case bag or jul perfume As started above. Also In the decorative side the perfume case has a beautiful formative arts by itself as well as a close relationship with clothes. That well as a close relationship with clothes. That is when the perfume case is worn on the clothes costume is showed aesthetices. That is the materials shapes color pattern of the perfume case we can see the visual beauty also the materials colors embroidered pattern knots tassel that are used the perfume case are increased the decorative beauty of costume. Sixth the symbol in pattern of the pattern case is shown ancetor's wealth and rank health longevity immortality many-born-boy in those days. Today the perfume case is not used with changing of costume by degrees, Accordingly I hope that the result of this study is an influened in devlopment of the perfume case design with matching the modern fashion.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• Applied Chemistry for Engineering
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• v.27 no.3
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• pp.227-238
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• 2016

This review article highlights different types of nano-sized catalysts for the selective alcohol oxidation to form aldehydes (or ketones) with supported or immobilized metal nanoparticles. Metal nanoparticle catalysts are obtained through dispersing metal nanoparticles over a solid support with a large surface area. The nanocatalysts have wide technological applications to industrial and academic fields such as organic synthesis, fuel cells, biodiesel production, oil cracking, energy conversion and storage, medicine, water treatment, solid rocket propellants, chemicals and dyes. One of main reactions for the nanocatalyst is an aerobic oxidation of alcohols to produce important intermediates for various applications. The oxidation of alcohols by supported nanocatalysts including gold, palladium, ruthenium, and vanadium is very economical, green and environmentally benign reaction leading to decrease byproducts and reduce the cost of reagents as opposed to stoichiometric reactions. In addition, the room temperature alcohol oxidation using nanocatalysts is introduced.

• Journal of Conservation Science
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• v.26 no.2
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• pp.157-169
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• 2010

This study focused on the material characteristics and archaeometric relationship between the molten glass and bronze materials within the crucibles and gilt-bronze Bodhisattva statue excavated from the Ssangbukri site in Buyeo, Korea. Yellowish green to red brown vitreous material in the crucibles was identified as lead glass which contained scarce amount of BaO, and low $Al_2O_3$ and CaO. Metallic molten material was identified as bronze of copper-tin-lead alloy with low amount of impurities that indicated well-refined materials. Also, cassiterite was used for raw metal ore of tin. The Bodhisattva statue consisted of major copper with trace impurities in the core metal, and gold amalgam in the gilded layer. Though lead isotopic analysis showed contradictory results in each lead glass, bronze and Bodhisattva statue that required further examination, it could be stated that the statue was made in the Ssangbukri site based on the high-level technical skills of bronze production.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Journal of Animal Science and Technology
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• v.53 no.5
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• pp.409-418
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• 2011

This study was conducted to investigate the effects of dietary probiotics and immunomodulator on growth performance, carcass characteristics, fecal $NH_3$ content and pathogenic bacteria counts in ileum and cecum and ileum of broiler chicken (Korean native chicken, HanHyup No. 3). A total of 120 (day-old) chicks were randomly divided into 5 treatments with 3 replicates and there were 8 birds per replicate. Dietary treatments consisted of five diets; the corn-soybean based control diet (C), the diet containing antibiotics (Avilamycin) 10 ppm (T1), the diet containing probiotics 1 [(Lactobacillus ($4.45{\times}10^6$) + yeast ($1.51{\times}10^6$) + Bacillus subtilis ($3.50{\times}10^5$)] at 0.5% level (T2), probiotics 2 [(Lactobacillus ($6.70{\times}10^7$) + yeast ($3.10{\times}10^6$)] at 0.5% level in diet (T3), and the diet containing probiotics 3 [T2 + ${\beta}$-glucan + organic acid] (T4) and raised for 9 weeks. There were no significant differences among treatments in weight gain, feed intake and feed conversion. Carcass ratios of broilers were higher in T3 and T4 than other treatments, however, the differences were non-significant. Internal organs and liver, heart weight were significantly increased in T4 (p<0.05) compared to other treatments. The fecal $NH_3$ gas content was decreased (p<0.05) in antibiotics fed group than others. However, probiotic fed groups were not different when compared with control. The number of Salmonella and E. coli in cecum were reduced in the group supplemented with probiotics and immunomodulator compared to the antibiotics (p<0.05). In this experiment, we showed that diets containing pro-biotics and immunomodulator were capable of an alternative to antibiotics.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• Journal of Intelligence and Information Systems
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• v.27 no.3
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• pp.139-156
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• 2021

The biggest reason for using a deep learning model in image classification is that it is possible to consider the relationship between each region by extracting each region's features from the overall information of the image. However, the CNN model may not be suitable for emotional image data without the image's regional features. To solve the difficulty of classifying emotion images, many researchers each year propose a CNN-based architecture suitable for emotion images. Studies on the relationship between color and human emotion were also conducted, and results were derived that different emotions are induced according to color. In studies using deep learning, there have been studies that apply color information to image subtraction classification. The case where the image's color information is additionally used than the case where the classification model is trained with only the image improves the accuracy of classifying image emotions. This study proposes two ways to increase the accuracy by incorporating the result value after the model classifies an image's emotion. Both methods improve accuracy by modifying the result value based on statistics using the color of the picture. When performing the test by finding the two-color combinations most distributed for all training data, the two-color combinations most distributed for each test data image were found. The result values were corrected according to the color combination distribution. This method weights the result value obtained after the model classifies an image's emotion by creating an expression based on the log function and the exponential function. Emotion6, classified into six emotions, and Artphoto classified into eight categories were used for the image data. Densenet169, Mnasnet, Resnet101, Resnet152, and Vgg19 architectures were used for the CNN model, and the performance evaluation was compared before and after applying the two-stage learning to the CNN model. Inspired by color psychology, which deals with the relationship between colors and emotions, when creating a model that classifies an image's sentiment, we studied how to improve accuracy by modifying the result values based on color. Sixteen colors were used: red, orange, yellow, green, blue, indigo, purple, turquoise, pink, magenta, brown, gray, silver, gold, white, and black. It has meaning. Using Scikit-learn's Clustering, the seven colors that are primarily distributed in the image are checked. Then, the RGB coordinate values of the colors from the image are compared with the RGB coordinate values of the 16 colors presented in the above data. That is, it was converted to the closest color. Suppose three or more color combinations are selected. In that case, too many color combinations occur, resulting in a problem in which the distribution is scattered, so a situation fewer influences the result value. Therefore, to solve this problem, two-color combinations were found and weighted to the model. Before training, the most distributed color combinations were found for all training data images. The distribution of color combinations for each class was stored in a Python dictionary format to be used during testing. During the test, the two-color combinations that are most distributed for each test data image are found. After that, we checked how the color combinations were distributed in the training data and corrected the result. We devised several equations to weight the result value from the model based on the extracted color as described above. The data set was randomly divided by 80:20, and the model was verified using 20% of the data as a test set. After splitting the remaining 80% of the data into five divisions to perform 5-fold cross-validation, the model was trained five times using different verification datasets. Finally, the performance was checked using the test dataset that was previously separated. Adam was used as the activation function, and the learning rate was set to 0.01. The training was performed as much as 20 epochs, and if the validation loss value did not decrease during five epochs of learning, the experiment was stopped. Early tapping was set to load the model with the best validation loss value. The classification accuracy was better when the extracted information using color properties was used together than the case using only the CNN architecture.