• The Research Journal of the Costume Culture
• /
• v.8 no.3
• /
• pp.493-511
• /
• 2000

The objective of this study was to trace and to examine costume terminologies recorded in Pak Tong Sa Eun Hae. Names of costumes and costume related terms were collected from P마 Tong Sa Eun Hae. Books and various references from China and Korea were used for this study. Costume terms were examined from the Chinese and Korean. Classifications of costume terminologies from the data were made for the analysis : man and woman's costume, accessories, names of fabrics, colors, and decorative motifs used, professional costume, special occasion dresses and so on. Conclusions and summary of results and findings can be summerized as follows : It revealed that manes of man's costume and other costume related words were a large in number compared with those of woman. Only one name of woman's costume appeared in the text : It was kind of long vests. However, names of accessories such as a hat, a hat decorated with jewels and phoenix design, a hair pin, earings, bracelets, finger rings, a soft belt were shown in the text. While many costume names of man included in the text were of garments such as a kind of long vest, a short vest, an outer robe, a kind of long coat with pleated skirt, leg coverings, outer jacket and so on. Also names of undergarments such as an under skirt, a belly covering, and drawers were found in the text. Fabric names were mostly silks such as brocade, twill, sarcenet, damasks and plain silks. Blue was the most widely appeared fabric color in the text and red was the second. Design motifs of fabric design were of dragon, flowers, eight precious things, clouds which were characteristic design motifs of the Chinese. It was found that some of the Chinese costume terminologies were translated into the Korean although many Chinese costume terms were used as the original Chinese.

• Journal of the Korean Ceramic Society
• /
• v.42 no.6 s.277
• /
• pp.425-431
• /
• 2005

Line Shaped Solid Oxide Fuel Cell (SOFC) with multilayered structure has been fabricated via direct-writing process. The cell is electrolyte of Ni-YSZ cermet anode, YSZ electrolyte and LSM cathode. They were processed into pastes for the direct writing process. Syringe filled with each electrode and electrolyte paste was loaded into the computer-controlled robe-dispensing machine and the paste was dispensed through cylindrical nozzle of 0.21 mm in diameter under the air pressure of 0.1 tow onto a moving plate with 1.22 mm/s. First of all, the anode paste was dispensed on the PSZ porous substrate, and then the electrolyte paste was dispensed. The anode/electrolyte and the PSZ substrate were co-fired at $1350^{\circ}C$ in air atmosphere for 3 h. The cathode layer was similarly dispensed and sintered at $1200^{\circ}C$ for 1 h. All the electrode/electrolyte lines were visually aligned during the direct writing process. The effective reaction area of fabricated SOFC was $0.03 cm^2$, and the thickness of anode, electrolyte and cathode was 20 $\mu$m, 15 $\mu$m, and 10 $\mu$m, respectively. The single line-shaped SOFC fabricated by direct-writing process exhibited OCV of 0.95 V and maximum power density of $0.35W/cm^2$ at $810^{\circ}C$.

• Journal of the Korean Society of Costume
• /
• v.66 no.5
• /
• pp.149-162
• /
• 2016

This study examines the costume artifacts discovered in the burial site of Choi Kyung Sun(1561~1622), which was moved from Gangwon in Gangrung Province. About 30 artifacts, including costumes, were recovered from Choi Kyung Sun's grave. The collection of men's coats discovered in the grave consisted of a Dallyeong (Official's robe), Jing-nyeong(Man's coat), Jungchi-mak(Man's coat), Cheolrik(Man's coat), Chang-ui(Man's coat), Gwang-su-ju-ui(Man's coat), and Do-po(Man's coat). Han-sam(Undershirts), Jeo-go-ri(Jacket), and trousers were also recovered, along with several items made of textiles, such as the cloth used to shroud and wrap the body. The costume artifacts recovered from Choi Kyung Sun's grave have several characteristics that distinguish them from other early 17th-century costume artifacts. Firstly, the body had a hairband made from horsehair. Secondly, the men's trousers were of the type worn before the Japanese Invasion(1592~1597). Thirdly, the style of the coats' sleeves, when compared with artifacts from other regions, was from an earlier era. Through these costume artifacts, it can be inferred that people who lived in the Gangwon Province, which was far away from Seoul, continuously wore outfits from before the Japanese Invasion, and trends spread slowly.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.10
• /
• pp.1424-1435
• /
• 2002

This study is about women's veils from Chosen period housed in various museums and see how they reflect the escalating inequality between the two sexes based on Confucianism and its social ramifications including the strict rules that kept women from freely communicating or staying in same quarters with men from tender age. I first visited various museums to see what kind of veils they had in their collections and then looked at reproductions, museum catalogues, and other studies to get a better understanding of the designs, colors, and fabrics of the veils in each collection and came to following conclusions:. 1. I looked at 26 veils of 7 different sues both in person and in museum catalogues, and they included a Neouls,3 Myunsas, l2Jahngots,4 Chuneuis,1 Sahkgat 3Junmos, and 1 Garima. Various documents attest to the existence of one more style of veil,1. e. skirt-shaped veil, but there was no specimen of the type. 2. Museums had various types of veils for women, but most of them dated from late Chosun period. 3. Female veils in Chosun period had dearly-defined characteristics depending on their wearers. Each type had its own fabric color, and form, so one could tell the status of the wearer just by looking at it 4. The veils that I found at museums around the country had following characteristics: . Neoul was worn by high-class women and it covered up the face better than other types of veils. Myunsa was also caned Myunsapo, and it featured brilliant gold foils to mark the salted status of the wearer. Jahngot was originally a robe for both sexes but it turned into a type of veil for low-class females in late am period and there were more Jangots in museum collections than my other type of veils. Chuneui has various styles and it has a cotton lining so low-class women wore it to both cover the face and to stay worn Sahkgat was worn by low-class women for its convenience. Junmo was elaborately decorated and showy, and it was worn by courtesans. Garima was worn by courtesans or professional women in medicine, and unlike other type of veils, it showed the face of the wearer.

• Journal of the Korean Society of Radiology
• /
• v.12 no.5
• /
• pp.693-698
• /
• 2018

Currently, shields for shielding medical radiation during medical examinations in the medical environment are lead robe and lead glass. Lead, the main component of this shielding, has limitations in lead poisoning and light weight, and high price. Iodine, which is used as contrast medium instead of lead shield, is expected to be effective as a shield because it has radiation absorbing properties. The purpose of this study was to evaluate the effectiveness of shielding by using acrylic plate filled with CT contrast agent for clinical use instead of conventional lead glass. As a result, it was found that the acrylic plate filled with the CT contrast agent showed a shielding effect of 7 times or more when the scattering ray dose was not shielded. Therefore, CT contrast agent composed of iodine is expected to be used as a shield instead of conventional lead glass.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.8 no.3
• /
• pp.59-71
• /
• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• Journal of the Korean Society of Costume
• /
• v.60 no.8
• /
• pp.132-150
• /
• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• Journal of the Korean Society of Costume
• /
• v.62 no.2
• /
• pp.1-12
• /
• 2012

Cloths wrapped around the body have been the basis of the dress of people all over the world for centuries. This study is to research detailed modifiable fashion styling methods in history and to give ideas to people such as fashion professionals who are interested in fashion styling so that they can create modifiable fashion styling easily in fashion fields. The characteristics of modifiable fashion styling methods from ancient to middle ages are as follows. The first modifiable styling method is to expose the knots on the surface of the garments, and the knots were mainly located on the upper part of the body. The second method is a wrapping type of the modifiable styling method, which shows a lot of variant simple shapes of cloths. This method helped develop many wrapping methods over time. The third way is the fixed type of the modifiable styling method, and it uses accessories such as fibulae, belts to fix cloths, to create many different styles. The accessories are located on around either the neck or waist. The fourth method is the composite type of the modifiable styling methods mentioned above. This styling method is adapted in robe type clothes which makes the clothes look full of beautiful drapery. This study suggests that simple shapes of cloths can create enormous amount of styling which can be easily adapted and created nowadays.

• Journal of Astronomy and Space Sciences
• /
• v.33 no.1
• /
• pp.29-36
• /
• 2016

The East African ionosphere (3°S-18°N, 32°E-50°E) was mapped using Total Electron Content (TEC) measurements from ground-based GPS receivers situated at Asmara, Mekelle, Bahir Dar, Robe, Arbaminch, and Nairobi. Assuming a thin shell ionosphere at 350 km altitude, we project the Ionospheric Pierce Point (IPP) of a slant TEC measurement with an elevation angle of >10° to its corresponding location on the map. We then infer the estimated values at any point of interest from the vertical TEC values at the projected locations by means of interpolation. The total number of projected IPPs is in the range of 24-66 at any one time. Since the distribution of the projected IPPs is irregularly spaced, we have used an inverse distance weighted interpolation method to obtain a spatial grid resolution of 1°×1° latitude and longitude, respectively. The TEC maps were generated for the year 2008, with a 2 hr temporal resolution. We note that TEC varies diurnally, with a peak in the late afternoon (at 1700 LT), due to the equatorial ionospheric anomaly. We have observed higher TEC values at low latitudes in both hemispheres compared to the magnetic equatorial region, capturing the ionospheric distribution of the equatorial anomaly. We have also confirmed the equatorial seasonal variation in the ionosphere, characterized by minimum TEC values during the solstices and maximum values during the equinoxes. We evaluate the reliability of the map, demonstrating a mean error (difference between the measured and interpolated values) range of 0.04-0.2 TECU (Total Electron Content Unit). As more measured TEC values become available in this region, the TEC map will be more reliable, thereby allowing us to study in detail the equatorial ionosphere of the African sector, where ionospheric measurements are currently very few.

• The Research Journal of the Costume Culture
• /
• v.21 no.1
• /
• pp.31-41
• /
• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.