• The Journal of the Korean dental association
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• v.17 no.5 s.120
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• pp.345-350
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• 1979

The patient, 16 years female, complained of anterior cross-bite and retrusion of maxilla. Mandibular incisors occluded labially to maxillary incisors. Normally developed mandibular arch in normal elation to facial line, S-N-Pog was within normal range. Cross-bite of anterior teeth was corrected by means of Class III elastics under multibanded system. Space for alignment of crowding of upper anterior teeth was regained by means of cervical headgear and sliding yoke. She gained good alignment of anterior teeth and attractive facial profile after 2 years.

• Journal of the Korean Society of Costume
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• v.5
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• pp.219-235
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• 1981

Jik-Ryoung was originally desinged to be worn by lower-class people in the reign of King Woo(A.D 1387, Goryeo) when official dresses and headgear were redsigned according to Ming's (明) style. It was observed that Jik-Ryoung was the same Po(袍) as Dan-Ryoung(團領) except its straight collar. Nowadays we can find through documents and original forms of Jik-Ryoung itself that Jik-Ryoung prevailed from the beginning to the end of the Yi Dynasty. Lower class people wore this coat until King Sejo(世祖), but from that time the Jik-Ryoung could be worn only by the Noble class as street clothes and home wear as well. Middle class people wore this coat as an office wear. Its style had changed from narrow sleeves and Moo (무, a reinforcing cloth strip) at the beginning to widers and Moo after the middle years of the Dynasty and finally fixed its style to sewing upper parts of Moo together. While red, white, and blue were the common colors, silk, hemp, cotton, and ramie were preferred materials to be made of.

• Journal of Fashion Business
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• v.13 no.4
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• pp.112-123
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• 2009

The -purpose of this study is to examines the Cheoyongmu's costume of the paintings of Banquets during the Choseon dynasty focusing on the Comparison of the Cheoyongmu's costume in Akhakgwebeom. The method of the study is the literature analysis closely the occurrence, feature, and function of the Cheoyongmu by analyzing the costume process of transition of the eras was analyzed into the function and feature. The research was done by comparing and analyzing the difference of the costume in Akhakgwebeom. In term of difference, of the Cheoyongmu's costume of the paintings of Banquets and Akhakgwebeom had the shape and colour. In headgear, Samo(: 紗帽) or Bokdu was worn and the flower decoration on the Samo and Ui(:衣)was different pattern. The Gilgyong(:吉慶) was not worn. Hye(: 鞋) and Hwa(:靴) was worn and the colour of Hwa was different.

• Journal of the korean academy of Pediatric Dentistry
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• v.27 no.1
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• pp.98-102
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• 2000

Ectopic eruption is out of a normal position by local eruption disturbance in the developing permanent molar. The prevalence of ectopic eruption is reported to be the between 2 and 6%, most often associated maxillary first permanent molar whereas, the occurrence for the mandibular is quite rare. The etiologic factors of ectopic eruption are inadequate arch length, lack of growth in the posterior region of the jaw, mesially inclined eruption path of first permanent molars, abnormally large first permanent molars, hereditary factor and a stainless steel crown which has been improperly restored. Ectopic eruption can be treated by the use of brass wire, separating elastics, distal disking and Humphrey appliance and the use of removable appliance and cervical traction headgear after extraction of the second primary molar. This case was that lower right first permanent molar was mesially tilted state by locking on the stainless steel crown of a lower right second primary molar. The stainless steel crown was removed and Humphrey appliance was set. Like this case, ectopic eruption could be happened by the stainless steel crown which improperly restored. In restoration of the stainless steel crown, selection of proper size, trimming and contouring are very important.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.49-62
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• 1993

This study intends to find out the correspondence of the costumes of the terracotta warriors at the tomb of Qin Shi Huang to the dress of nomadic people. The Chinese took the dress of nomadic people into their costumes so that they might practise shooting arrows from horse back in the Age Of Wars. The terracotta warriors at the tomb of Qin Sin Huang provide us with substantial evidence that Qin Dynasty inherited the system of wearing the dress of nomadic people from Zhao. Figures of calvarys wear the jackets of nomadic people, but figures of other warriors wear Han jackets. This means that the aim of taking the dress of nomadic people is to be convenient in practising shooting arrows from horse back. Nomadic people adjusted their jackets to left, because they road on a horse from left for being the tunga only on the left. But calvarys adjusted their jackets to right. In those days, China didn't have a tunga. So there was no necessity for riding from left. And Chinese were accustomed to adjusted their jackets to right. This is the reason why calvarys adjusted their jackets to right, though they wear the dress of nomadic people. Soldiers wear trousers. Some have puttee, some have their leg bounds. All the soldiers tightened their coats or jackets with belts which were inhereted from nomadic people. They wear either shoes or short boots. The figures are classified according to rank, espicially in their hats and armours. General wears a cap adorned with pheasant' feathers, officer wears an unadorned cap, and men are hatless or in turbans. Calvary's headgear looks like a p'ing-chin-tse which was correspondence to the headgear of nomadic people. Soldiers wear armours according to duty, and armours are differentiated by rank. From the state of terracotta warriors, I think that the warriors were made from BC 246 to BC 210 which is equal to the date of making the tomb of Qin Shi Huang. Then the date of making the terracotta warriors was between 60 and 100 years since the king Wu Ling of the state of Zhao took the dress of nomadic people.

• The korean journal of orthodontics
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• v.41 no.3
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• pp.211-218
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• 2011

Objective: This case report describes orthodontic treatment of contracted mandibular arch using a trombone appliance. Methods: A 14-year-old girl with Class II division 2 malocclusion, retroclined maxillary incisors, and buccally displaced maxillary canines required dental expansion in 3 spatial directions to correct the contracted maxillary and mandibular arches. In the initial phase of treatment, the maxillary arch was expanded and distalized using a quad-helix appliance and cervical headgear. Following the expansion and leveling of the maxillary arch, a trombone appliance was used to expand the mandibular arch. On correction of the mandibular arch and provision of sufficient space to level the mandibular teeth, fixed orthodontic treatment phase was initiated. Results: A trombone appliance proved effective in correcting the contracted mandibular arch. Because of labiolingual and transversal expansion, the mandibular dental arch perimeter was increased by 7.4 mm; the misalignment of the mandibular teeth was corrected successfully. Conclusions: A trombone appliance may serve as an appropriate clinical alternative for treating moderate mandibular arch crowding caused by the contraction of the dental arch.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.5
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• pp.489-500
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• 2012

This work surveys the trend and dissolution characteristics in headdress that appear in Jean Paul Gaultier's collection. Along with a related literature review, a total of 903 headdress pieces shown in collections 40 times (excluding the common caps and hats) were analyzed, covering from 2001S/S to 2010 F/W of Jean Paul Gaultier's Haute Couture and Pret-a-Porter. The headdress trend indicated in his collections was divided into such subgroup forms of folklore, usage of natural things, usage of artificial things, religion, retro, scarf, variations in headgear, mask and veil, atypical type and abstract. Such an expression tendency was so unique and mixed characteristic that it was hard to define its form and structure thanks to enlargement and exaggeration, extremity in ornaments, and use of foreign materials, which led to creative dynamics. Gaultier's headdress also reflected the following characteristics: first, expression of difference indicative of time deconstruction; second, uncertainty of meanings via deconstruction; third, text interactivity via deconstruction of gender and material adopted; fourth, decentralization through dissolution of the Orient and the Occident.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.1021-1030
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• 2004

The purpose of this study was to develop and make the head form by setting the region of the head for detailed measurement of the head to make the type of closely fit hat and typifying the head form of Korean women's with each region of the head based on the measurements of each region of the head according characteristics. A total of 285 Korean women's in the age group of 18 to 35 years old. It were measured through the direct measurement method by selecting 67 measurement items. As a result of the findings obtained from cluster analysis could be classified into 3 type. Type 1($46\%$) is U-shaped form, that is high in head height on sides and circumference is smallest, whose facial region and occiput is flattest of three types. Type 2($22.4\%$) is inverted triangle form, that is flat in head ridge, low in head height on sides and wide in the frontal width. Type 3($31.6\%$) is oval form, that is largest in size, has the projected occiput and is of three-dimensional form.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.743-756
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• 2004

The purpose of this study is to set measurement parts which are important to identify the size and shape of the head in order to produce tightly fitted hats, and to identify detailed sizes and the major factors of head shape classifications of Korean women. A total of 285 Korean women's in the age group of 18 to 35 years old. It were measured through the direct measurement method by selecting 67 measurement items. Materials were analyzed by SPSS Ver.10 and technology statistics and factor analysis were performed according to the agenda. An attempt was made to conduct factor analysis of the measured region of the head in women's. Here, this study drew the head and the facial parts horizontal size as Factor 1, the head and facial parts vertical size as Factor 2, the circumference and width item as Factor 3, the factor representing the form of head height as Factor 4, the factor expressing the proportion of the facial form as Factor 5 and the factor about the frontal and back head form on the plan of the middle as Factor 6. Through this study, we will be able to systemize head measurement materials that can differentiate Korean's head from other peoples' and can use the results in developing head shape models according to Korean's head shape by selecting major head parts needed to identify the sizes and shapes.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.69-87
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• 2002

The Eastern Slavic. the mongolian and the Korean wedding ceremony proceed through those three stages :pre-wedding, and after-wedding. (n the pre-wedding stage, the marriage is arranged when the parents make a decision on a matchmaking proposal. In the main wedding, the bridegroom visits the bride, and the bride walks through the many different procedures, which represent the life and the responsibilities of married women. Expecially, the wedding ceremony is finished and culminated by making hairstyle and wearing of headgear for married woman to the bride. The wedding costume of the Eastern Slav, the Mongolian, and the Korean has been developed with their different characters of styling. The traditional costumes of the each native are worn with the addition of a splendid decorative expression. The Eastern Slavic bride wears Lubaha and Sarapan or a skirt and bridegroom's wedding costume consist with Lubaha and Shitany(trousers). The Mongolian bride wears Deel and Ozh(Ooj) the vest and bridegroom wears Deel and Hantaaz. The Eastern slavic, the mongolian and the Korean bride wears various and gorgous headgears which have reflected cultural values: their traditional views of a wedding ceremony, expected change of social roles for married people. The wedding ceremony of these 3 natives had been performed by the symbolic meaning of the union of the bride to the bridegroom's family.