• 한국육종학회지
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• 제42권3호
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• pp.267-271
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• 2010

'대흑'은 밥밑용 특성이 우수한 단경 내재해 다수성 신품종 육성을 목표로 대립 장류용 품종인 대황콩과 단경 내도복 내재해 다수성 계통인 밀양 79호를 1997년 인공교배하여 계통 육종법으로 선발한 YS1298-2B-20-5-1-1-1 계통이다. 계통명은 '밀양158호'이고 품종등록번호는 No. 3009이며 주요특성은 다음과 같다. 1. '대흑'의 신육형은 유한신육형이며 화색은 자색이고 엽형은 환형이다. 모용 및 성숙기의 협은 갈색이며 종피색과 제색은 흑색이고 종실 자엽색은 황색이다. 입형은 편구형으로 성숙기가 지나면 협의 자연개열이 다소 나타난다. 2. 성숙기는 10월 1일로 일품검정콩보다 2일 늦으며, 경장은 51 cm로 2 cm 길고 개체당 협수는 같고, 100립중은 34.3 g으로 '일품검정콩' 보다 6.4 g 무거운 대립종이다. 3. 도복에 비교적 강하며, 포장 재배기간중의 모자이크 바이러스병은 다소 발생하였으나 괴저병에는 강하였으며, SMV 균주로 즙액 접종한 결과 바이러스병에 저항성을 보였고, 미이라병에도 강한 편이었다. 4. 종실 성분중 조단백 함량은 43.5%로 '일품검정콩'과 비슷하였으며 조지방 함량은 다소 높았고 총당 함량은 9.1%로 0.2% 낮았다. 기능 성분 중 안토시아닌 색소 및 아이소플라 본 함량은 '일품검정콩'보다 각각 11.2 mg/g 및 $635{\mu}g/g$으로 1.5 mg/g 및 $68{\mu}g/g$ 높았다. 5. 콩차 가공적성에서 콩차 색소의 용출정도인 530 nm에서의 흡광도는 2.13으로 높았고, DPPH radical 소거능인 콩차의 항산화활성은 비슷하나 총페놀함량은 $1,263{\mu}g/m{\ell}$으로 '일품검정콩'보다 $321{\mu}g/m{\ell}$ 높았다. 5. 수량성은 '05~'07년 3개년간 실시한 지역적응시험 결과 전국 6개소 평균수량은 ha당 2.26톤으로서 표준품종 '일품검정콩'과 비슷하였다. 6. 적응지역은 전국이며 적정 파종기는 단작지대는 5월 중 하순, 2모작지대는 6월 상중순경으로 조기 파종시에는 바이러스병 발생에 유의하며, 불마름병에 약하므로 병 발생이 심한 지역은 재배를 피하여야 하다.

• 사물인터넷융복합논문지
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• 제6권4호
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• pp.33-38
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• 2020

2007년에 천연 염료 관련 자원, 색상, 염색 원단 등 천연 염색 정보를 쉽게 제공 할 수 있도록 모바일 어플리케이션을 설계 한 것으로 알려졌다. 천연 염색과 IoT의 연관성, 응용 등에 대한 연구가 아직 부족한만큼 다양성 천연 염색에 의한 염색 패턴 변화에 관한 정보가 필요하다. 본 연구에서는, 천연 염료, 예를 들어 Lithospermum erythrorhizon가 한국에서 전통적으로 많이 사용되어온 실크에 대하여 염색 정보를 구축하고자 했다. L. erythrorhizon에서 염료의 추출은 pH4에서 수행되었다. L. erythrorhizon의 건조 된 뿌리는 짙은 갈색을 띤 자주색을 보였다. 매염제가 없는 실크 직물은 일반적으로 보라색 염색 패턴을 보였다. 타르타르산 나트륨과 구연산으로 염색 한 실크 직물은 투명한 갈색으로 염색되었다. 흥미롭게도 황산 철 (II)의 매염제 인 실크 직물은 검은 색이 아닌 밝은 회색으로 염색되었다. 알루미늄 포타슘 설페이트의 매염제를 L. erythrorhizon 추출 염료로 처리 한 결과 매염제를 처리하지 않았을 때와 거의 동일했다. 염색도를 수치로 평가 한 결과, 중크롬산 칼륨의 매염제의 처리는 약 50% 어둡고, 황산 철 (II)에 의한 염색은 약 75% 어두웠다. 이러한 결과는 L. erythrorhizon을 이용한 다양한 염색 색 적용 연구에 도움이되며, 염색 정도와 pH 농도, 색도변화라는 염색변수에 의한 염색 컨트롤러와 데이터베이스 시스템 구축에관한 정보를 제공 할 것이다.

• 대한한방내과학회지
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• 제35권1호
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• pp.1-11
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• 2014

Objectives : To investigate the effects of Sa-am acupuncture on muscle architecture and elastic properties of the spastic elbow flexor and to evaluate the correlation between clinical findings and parameters of real-time sonoelastography (RTS) in patients with chronic post-stroke hemiparesis. Materials and Methods : Seven patients (five males, two females) with chronic post-stroke hemiparesis were included. Sa-am acupuncture of Ganseunggyeok (肝勝格: LU8 LR4 補, HT8 LR2 瀉) was applied to the unaffected side 3 times a week for 4 weeks. During each acupuncture treatment period, patients were requested to exercise their affected arm, and spasticity and functional recovery outcomes of the affected arm were evaluated before and after Sa-am acupuncture treatment. Clinical outcomes were assessed using motricity index (MI), modified Ashworth scale (MAS), Fugl-Meyer assessment scale (FMA) and modified Barthel index (MBI) for elbow flexor spasticity. RTS images indicate the relative hardness of the examined muscles ranged from red (hard) to purple (soft) for color-scale, and from black (hard) to white (soft) for hue scale. Color and hue histograms of the biceps brachii and brachialis were analyzed using Image J software, and median red, blue, and hue pixel intensity were obtained. Results : MI and FMA score significantly increased and MAS score significantly decreased (p<0.05). F-wave maximal amplitude of affected abductor pollicis brevis significantly decreased (p<0.05). Muscle thickness of affected brachialis significantly increased (p<0.05). Red and green pixel intensity of affected brachialis significantly decreased (p<0.05). Conclusions : Our study revealed that Sa-am acupuncture is effective as a useful and safe treatment for spasticity in chronic post-stroke hemiparesis.

• 복식문화연구
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• 제16권3호
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• pp.518-532
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• 2008

The purposes of this study were to investigate the relationships between women's self-image and the preference and the wearing frequency of knit-wears, and to examine the characteristics of the design elements that influence the preferred knit-wear images. The subjects were 277 female college students and working women living in metropolitan area of Seoul. The data were analyzed by using descriptive analysis, factor analysis, Cronbach's $\alpha$-reliability coefficient, Pearson's correlation coefficient, and multiple regression analysis. Four dimensions of women's self-images were derived by factor analysis; elegance, conservativeness, individuality, and maturity. Women with conservative self-image preferred simple knit-wears and women with high rate for individuality preferred splendid and sporty knit-wears. Women with elegant self-image disliked sporty knit-wears. Women with conservative self-image preferred white, and those who rated their self-image to be individuality preferred various colors including yellow, blue, green, purple, pink, and sky-blue. Women with mature self-image preferred black and beige. Women with individuality as their self-image preferred jacquard pattern and abstract pattern. There was a higher wearing frequency for all four seasons for women with conservative self-image, and there was higher wearing frequency in the winter for those with elegant self-images. Women who preferred simple knit-wears showed preference for single color with no prints and low chroma color, and those who preferred sporty knit-wears showed preference for elastic materials. Women who preferred neat and elegant knit-wears showed preference for argyle check pattern.

• 한국의상디자인학회지
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• 제17권2호
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• 복식문화연구
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• 제19권2호
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• pp.309-315
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• 2011

Due to rapid growth of nail art industry, various materials and expression tools are have been developed. Increasing number of consumers favor diverse nail art techniques including painting and artificial tips in addition to basic care such as cuticle trimming or coloring. Accordingly, the diversity of polish colors has been settled as a concept of total fashion in addition to the clothes and accessories. As the result, nails may be damaged or discolored. A study the nail discoloration by using polish was purposed that contribute to the development of nail protective products. The tests were conducted with 20 college students for six months from March 3 to Aug. 28, 2009, using digital camera as the measurement apparatus. The students were classified into two groups which applied bright polish (white, beige, pink series) and dark polish (purple, blue, black series), and then divided into the groups applied and not applied the base coat which is known to be effective in preventing nail discoloration, and the groups applied and not applied tonic. The students applied polish for one week, and removed the polish with remover and photographed to examine the degree of nail discoloration. Dark colored polished resulted in earlier coloration and discoloration than the bright colored ones. Base coat could prevent coloration and the color changes of hyponychium and eponychium were lighter than the cases not applied with base coat. Tonic could delay coloration and reduced the color changes of hyponychium showing that tonic was effective for preventing coloration and discoloration of nail in addition to nutrition.

• 복식
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• 제67권3호
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• pp.99-114
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• 2017

The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions according to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their techniques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization period by the Dutch in Bali during 1910-1942 added economic values to the textiles. The independence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the identity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are 'fixed' with the restriction of the colors red, black, and white. The colors of modern era are 'festive' with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is 'royal statement' and Songket cloth is a 'cultural heritage.' Nusa Penida Island produces Cepuk cloths and is a 'protective guardian.' Satria sub-district produces Prada cloths and appears to be an 'opulence charm.' Lastly, Tenganan Village produces Geringsing cloth which possesses a 'legendary legacy.' To sum up, Balinese sacred cloth essence is a balance of tradition and modern.

• 한국의류학회지
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• 제21권1호
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.

• 한국의상디자인학회지
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• 제20권4호
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.

• 한국조명전기설비학회지:조명전기설비
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• 제11권3호
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• pp.63-70
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• 1997

본 연구는 대학생들의 색기호를 알아 보고 색명에 대한 인지도를 파악하는데 목적을 두고 있다. 본 연구결과에 의해 다음과 같은 점을 알게 되어었다. 첫째, 대학생들이 선호하는 색은 파랑>보라>흰색·녹색 순이며 혐오하는 색은 무채색>황토색>빨강의 순이다. 둘째, 가구색으로는 갈색계통을 선호하고 빨강을 혐오하며, 의복색으로는 흰색을 선호하고 빨강을 혐오한다. 셋째, 계절의 이미지색으로 봄은 노랑, 여름은 파랑, 가을은 갈색, 겨울은 흰색이라고 생각하며 자신의 이미지 색은 푸른색이 가장 많았다. 넷째, 색명에 대한 인지도는 검정색>회색>빨강>녹색 순으로 인지도가 높으며 남색>다홍>연지>감청이 인지도가 낮았다. 또한 무채색계열>중성색계열>난색계열>한색계열의 순으로 색명 인지도가 높음이 밝혀졌다.