• Title/Summary/Keyword: plate making

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Effect of Core Morphology on the Decomposition of CCI₄ over the Surface of Core/Shell Structured Fe₂O₃/MgO Composite Metal Oxides

  • 김해진;강진;박동곤;권호진;Kenneth J. Klabunde
    • Bulletin of the Korean Chemical Society
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    • v.18 no.8
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    • pp.831-840
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    • 1997
  • Core/shell structured composite metal oxides of Fe2O3/MgO were prepared by thermal decomposition of Fe(acac)3 adsorbed on the surface of MgO cores. The morphology of the composites conformed to that of the MgO used as the cores. Broad powder X-ray diffraction peaks shifted toward larger d, large BET surface area (∼350 m2/g), and the size of crystalline domains in nano range (4 nm), all corroborate to the nanocrystallinity of the Fe2O3/MgO composite which was prepared by using nanocrystalline MgO as the core. By use of microcrystalline MgO as the core, microcrystalline Fe2O3/MgO composite was prepared, and it had small BET surface area of less than 35 m2/g. AFM measurements on nanocrystalline Fe2O3/MgO showed a collection of spherical aggregates (∼80 nm dia) with a very rough surface. On the contrary, microcrystalline Fe2O3/MgO was a collection of plate-like flat crystallites with a smooth surface. The nitrogen adsorption-desorption behavior indicated that microcrystalline Fe2O3/MgO was nonporous, whereas nanocrystalline Fe2O3/MgO was mesoporous. Bimodal distribution of the pore size became unimodal as the layer of Fe2O3 was applied to nanocrystalline MgO. The macropores in a wide distribution which the nanocrystalline MgO had were absent in the nanocrystalline Fe2O3/MgO. The decomposition of CCl4 was largily enhanced by the overlayer of Fe2O3 on nanocrystalline MgO making the reaction between nanocrystalline Fe2O3/MgO and CCl4 be nearly stoichiometric. The reaction products were environmentally benign MgCl2 and CO2. Such an enhancement was not attainable with the microcrystalline samples. Even for the nanocrystalline MgO, the enhancement was not attained, if not with the Fe2O3 layer. Without the layer of Fe2O3, it was observed that the nanocrystalline domain of the MgO transformed into microcrystalline one as the decomposition of CCl4 proceeded on its surface. It appeared that the layer of Fe2O3 on the particles of nanocrystalline Fe2O3/MgO blocked the transformation of the nanocrystalline domain into microcrystalline one. Therefore, in order to attain stoichiometric reaction between CCl4 and Fe2O3/MgO core/shell structured composite metal oxide, the morphology of the core MgO has to be nanocrystalline, and also the nanocrystalline domains has to be sustained until the core was exhausted into MgCl2.

Effect of a Mixture with Silkworm Cocoon Powder, Cordyceps Powder, and Conjugated Linoleic Acid (CLA) on the Physicochemical Properties of Imitation Crab Containing Recovered Protein from Spent Laying Hens (생리활성 물질인 공액리놀랜산(CLA), 누에고치분말, 동충하초분말의 혼합 첨가가 폐계육 회수단백질이 함유된 게맛살의 이화학적 특성에 미치는 영향)

  • Im, Dong-Gyun;Jin, Sang-Keun;Hur, Sun-Jin;Shin, Teak-Soon
    • Journal of Life Science
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    • v.28 no.2
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    • pp.229-239
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    • 2018
  • As customers pay more attention to choosing food that will support their health, many people in the academic and industrial world have focused on developing foods made with bioactive components. Thus, the use of bioactive components rather than synthetic materials has increased. Because there are no limits to how bioactive components can be used, customers assume they are highly reliable and healthy to consume. In the present study, imitation crab stick samples were made from Alaska Pollack with breast recovered protein from spent laying hens and silkworm cocoon powder (10 g) (T1), Alaska Pollack with breast recovered protein from spent laying hens and silkworm cocoon powder (5 g) + cordyceps powder (5 g) (T2), and Alaska Pollack with breast recovered protein from spent laying hens and cordyceps powder (5 g) + conjugated linoleic acid (CLA) (5 g) (T3). The pH and shear force increased after 2 weeks of storage in all three samples. Shear force was significantly higher in the T3 sample in comparison to the T1 and T2 samples. In meat color, redness ($a^{\ast}$) and whiteness (W) increased as the storage periods increased in all three samples, whereas yellowness ($b^{\ast}$) decreased during storage. The T2 sample was significantly higher in redness ($a^{\ast}$), yellowness ($b^{\ast}$), and deformation than the other two samples. The addition of bioactive components did not influence the texture properties in any of the samples. Lipid oxidation (thiobarbituric acid reactive substances [TBARS]) and microorganism count (total plate count [TPC]) were significantly higher in the T1 sample than the two other samples, whereas protein degradation (volatile basic nitrogen [VBN]) was higher in the T2 sample than the other samples. Total amino acid content decreased in the T1 and T3 samples as the storage period increased. Consequently, the T3 sample of Alaska Pollack with breast recovered protein from spent laying hens and cordyceps powder (5 g) + conjugated linoleic acid (CLA) was found to have the necessary functionality to be considered for use in making imitation crab sticks.

Antibacterial and Antioxidant Potential of Methanol Extract of Viburnum sargentii Seeds (Viburnum sargentii 종자 메탄올 추출물의 항균 및 항산화 활성에 대한 연구)

  • Patil, Maheshkumar Prakash;Seong, Yeong-Ae;Kang, Min-jae;Singh, Alka Ashok;Niyonizigiye, Irvine;Kim, Gun-Do;Lee, Jong-Kyu
    • Journal of Life Science
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    • v.29 no.6
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    • pp.671-678
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    • 2019
  • Antibacterial and antioxidant activities of plant sources have attracted a wide range of interest across the world over the last decade. This is due to the growing concern for safe and alternative sources of antibacterial and antioxidant agents. In this study, we focused on the antibacterial and antioxidant activities and the chemical composition of a methanol extract from Viburnum sargentii seeds. The chemical composition was determined by gas chromatography-mass spectroscopy (GC-MS), and the antibacterial activity was screened by a disc diffusion assay. The minimum inhibitory concentration (MIC) and minimum bactericidal concentration (MBC) were determined using the microbroth dilution and spread plate method, respectively. The V. sargentii extract showed growth inhibition activity on all tested Gram-positive (Listeria monocytogenes, Staphylococcus aureus, and Staphylococcus saprophyticus) and Gram-negative (Escherichia coli, Pseudomonas putida, and Proteus vulgaris) pathogenic bacteria. The MIC and MBC ranged from 0.156~1.25 mg/ml for Gram-positive and 0.625~5.0 mg/ml for Gram-negative tested bacteria. The GC-MS results revealed the presence of several phytochemicals such as ${\beta}-sitosterol$ and vitamin E, which are known for their pharmacological applications. The antioxidant activities of V. sargentii extract were investigated by three different methods: the 2,2-diphenyl-1-picrylhydrazyl free radical scavenging assay, the reducing power assay, and the total antioxidant capacity assay. The results showed a concentration-dependent antioxidant potential for all three used methods. In sum, our findings suggest that the methanol extract of V. sargentii seeds has the potential to inhibit the growth of pathogenic bacteria and provide antioxidant compounds, making it therefore worthy of further investigation.

Types of tweezers and their culture of use (족집게(鑷)의 유형과 사용 문화)

  • KIM, Jihyeon
    • Korean Journal of Heritage: History & Science
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    • v.54 no.3
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    • pp.4-23
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    • 2021
  • The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.

Study of the Production Techniques Used in the Goryeo-period Gilt-Bronze Case for Acupuncture in the Collection of the Royal Museums of Art and History, Belgium (벨기에 왕립예술역사박물관 소장 고려시대 금동침통의 과학적 보존처리를 통한 제작기법 연구)

  • Lee, Jaesung;Park, Younghwan
    • Conservation Science in Museum
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    • v.27
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    • pp.147-164
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    • 2022
  • Over 200,000 Korean cultural heritage items are currently located abroad. They have made their way to 22 countries under different circumstances and with unique backgrounds. While some of them continue to contribute to promoting Korean culture around the world, others cannot be exhibited due to damage or poor condition. In view of these circumstances, the Overseas Korean Cultural Heritage Foundation (OKCHF) has since 2013 provided museums and art galleries abroad with support for the conservation, restoration, and utilization of the Korean cultural heritage items that they house. As a part of these efforts and on the occasion of the 120th anniversary of the diplomatic relationship between the Republic of Korea and the Kingdom of Belgium in 2021, a gilt-bronze case for acupuncture needles dating to the Goryeo period (918-1392) from the collection of the Royal Museums of Art and History (RMAH), Belgium was brought to Korea for conservation treatment. The primary purpose of this conservation treatment was to restore the original form of the relic and slow to the degree possible the progress of corrosion. The conservation treatment of the gilt-bronze case followed the fundamental order of conservation treatment: removal of corrosive substances, stabilization, and reinforcement. Since this was the first case of restoring metallic cultural properties under the abovementioned support program by the OKCHF, special methodologies distinct from those available in overseas institutions were required. Diverse scientific methods (e.g., X-ray inspection, CT scanning, 3D microscopy) were applied to identify the metalcraft techniques used in the Goryeo period. The analysis found that several designs, including lotus and scrollwork, were exquisitely engraved on the surface of the case by making dots using a round-edged chisel. A bronze plate engraved with designs was rolled into a cylindrical form. The ends were overlapped by 2 to 3 centimeters and then attached to each other by silver soldering. The overlapping ends were welded flat with nearly no gaps. As the final process in the production, the case was lavishly gilt with gold powder using amalgam gilding. The conservation treatment of the gilt-bronze case for acupunctural needles in the RMAH collection restored the original form of the relic and arrested further corrosion. Above all, it revived the historic and academic value of the overseas Korean cultural heritage through scientific analysis.

Jeong Jeongryeol-je Choonhyangga's full transmission and differentiation according to the pansori schools or versions (정정렬제 춘향가의 전승 및 유파·바디에 따른 분화)

  • Song, Mi-Kyoung
    • (The) Research of the performance art and culture
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    • no.39
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    • pp.415-455
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    • 2019
  • This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.

A Study on the Excavated Sab(a funeral fan) from Lime-filled Tomb and Lime-layered Tomb during the Joseon Dynasty (조선시대 회격·회곽묘 출토 삽(翣)에 대한 고찰)

  • Yi, Seung Hae;An, Bo Yeon
    • Korean Journal of Heritage: History & Science
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    • v.41 no.2
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    • pp.43-59
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    • 2008
  • Sap(?, a funeral fan) is a funeral ceremonial object used in association with a Confucian ceremonial custom, which was crafted by making a wooden frame, attaching a white cloth or a thick paper onto it, drawing pictures on it, and making a holder for a handle. According to Liji(Records of Rites), Sap was used since the Zhou Dynasty, and these Chinese Sap examples are no big different than the Korean Sap examples, which were described in Joseon Wangjo Sillok(Annals of the Joseon Dynasty), Gukjo Oryeui(the Five Rites of the State), and Sarye Pyeollam(Handbook on Four Rituals). This study explored Sap excavated in lime-filled tombs and lime-layered tombs of aristocrats dating back to Joseon, as well as their historical records to examine Sap's characteristics according to their examples, manufacturing methods, and use time. The number and designs of Sap varied according to the deceased' social status aristocrats used mainly one pair of 亞-shaped Bulsap, and a pair of Hwasap with a cloud design depicted on it. A Sap was wrapped twice with Chojuji paper or Jeojuji paper, and for the third time with Yeonchangji paper. Then, it was covered with a white ramie, a hemp, a cotton, a silk satin, etc. Bobul(an axe shape and 亞-shape design) was drawn on both sides of Sap, and a rising current of cloud was drawn at the peripheral area mainly with red or scarlet pigments. Sap, which were excavated from aristocrats'lime-filled and lime-layered tombs, are the type of Sap which were separated from its handle. These excavated Sap are those whose long handles were burnt during the death carriage procession, leaving Sap, which later were erected on both sides of the coffin. The manufacturing process of excavated relics can be inferred by examining them. The excavated relics are classified into those with three points and those with two points according to the number of point. Of the three-point type(Type I), there is the kind of relic that was woven into something like a basket by using a whole wood plate or cutting bamboo into flat shapes. The three-point Sap was concentrated comparatively in the early half of Joseon, and was manufactured with various methods compared with its rather unified overall shape. In the meantime, the two-point Sap was manufactured with a relatively formatted method; its body was manufactured in the form of a rectangle or a reverse trapezoid, and then its upper parts with two points hanging from them were connected, and the top surface was made into a curve(Type II) or a straight line(Type III) differentiating it from the three-point type. This manufacturing method, compared with that of the three-point type, is simple, but is not greatly different from the three-point type manufacturing method. In particular, the method of crafting the top surface into a straight line has been used until today. Of the examined 30 Sap examples, those whose production years were made known from the buried persons'death years inscribed on the tomb stones, were reexamined, indicating that type I was concentrated in the first half of the $16^{th}$ century. Type II spanned from the second half of the $16^{th}$ century to the second half of the $17^{th}$ century, and type III spanned from the first half of the $17^{th}$ century to the first half of the $18^{th}$ century. The shape of Sap is deemed to have changed from type I to type II and again from type II to type III In the $17^{th}$ century, which was a time of change, types II and III coexisted. Of the three types of Sap, types II and III re similar because they have two points; thus a noteworthy transit time is thought to have been the middle of the $16^{th}$ century. Type I compared with types II and III is thought to have required more efforts and skills in the production process, and as time passed, the shape and manufacturing methods of Sap are presumed to have been further simplified according to the principle of economy. The simplification of funeral ceremonies is presumed to have been furthered after Imjinwaeran(Japanese invasion of Joseon, 1592~1598), given that as shown in the Annals of King Seonjo, state funerals were suspended several times. In the case of Sap, simplification began from the second half of the $16^{th}$ century, and even in the $18^{th}$ century, rather than separately crafting Sap, Sap was directly drawn on the coffin cover and the coffin. However, in this simplification of form, regulations on the use of Sap specified in Liji were observed, and thus the ceremony was rationally simplified.

A Study on the Costume Style of Civil Servants' Stone Images Erected at Tombs of the Kings for Yi-dynasty (조선왕조(朝鮮王朝) 왕릉(王陵) 문인석상(文人石像)의 복식형태(服飾形態)에 관한 연구)

  • Kwon, Yong-Ok
    • Journal of the Korean Society of Costume
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    • v.4
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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.

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