• 복식
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• 제56권1호
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• 한국의상디자인학회지
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• 제17권2호
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• pp.207-222
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• 2015

The purpose of this study is to set up the theoretical foundation for neon colors by recognizing them as important elements of sensitive design and by comprehending their existence as a color fashion responsive to psychological and social background. As the subject of the present the researcher has selected important oversea collections of these five years during which neon colors have fully emerged as popular colors of fashion. The procedure of research was to examine the concept and traits of colors and investigate the utility of neon colors in various fields. The important facts which are acquired from the present study are as follows. First, the analysis of frequency has found out the following color arrangements: neon color only-8.6%(35), neon color+colorless-58.3%(236), neon color+ colored -14.8%(60),neon color+colorless+colored-18.3%(74), and others. The case of neon color used as monochromatic (color) was distinguished into two: single neon color all through and the same color used differently. Color arrangements were divided into analogous arrangement, separation arrangement, dominant arrangement, multi-color arrangement, and accent arrangement. Second, the internal significance of neon colors expressed in fashion can be interpreted into three: emphasis, optical Illusion, and amusing. This study has attempted to raised up the aesthetic value of various color expression and to expand fashion image by interpreting the trends of color fashion together with the traits and aesthetic meaning of color in fashion. The future study intends to expand the expression area of fashion design and to interpret molding beauty through the image of color arrangement and through fashion style utilizing neon colors.

• 복식
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• 제22권
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• pp.159-176
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• 1994

This study's purpose is to find the ancient costume of the folk song's words on Dunhuang manuscripts in the background wass-carvings sculptures and several art works. Dunhuang had played the part of major route between ancient China and Europe. It is located on kam-suksong the west of China. 1. In the aspect of costume arrangement hair Styling is represented by Naegagyo, Wangyesa, Kyongburak, Bonkwyun, Pogurak, Chonsonja, Namgaja, Tongson-ga, Ojesa, Chanboja in Dunhuang manuscripts. tugue is sim-ilar to Sabyokkwanja in Naegagyo as of that time these kinds of Kwan-ja was very popular. It was told that emperor's wife concubine and maid of honor would wear kwnaja favorably. And the kinds of Tugeu is PuyongKwyunkye, Aangunkye, Chunkye from Kyuwanjon except Sangunkye, Ounkye in Dunhuangsa. 2. Jangdaegy is guoted from Kyuw-anjon -A series of the chinese history book-tells us about women's make-up . The narmes of make-up are Hongjang Unjan--g, Yiljang chwejang, Tam-ajang Murgjang, Sanagjang, Light-make up are referred in Naegagyo is included as packjang Besides we can find other make-up skills Huphwaro and Rujang from the Kaewonch onbon-wisa which was Yangkwibi's episodes. We can find the a corpus of song's words about cosmetic custom in Kor-ea. Which is 'Haecho' folk song in the souther-en costal regions 'Jinggum' folk song in Kim-hae regions and so on.... It's words is similar to Dunhuangsa in China. 3. Bichun inherited to China with India Bud-dism art in the middle of Dunhuang wall-pain-tings is one of the important Buddist saint. Sometimes it is painted with Giakchun Its arms of fly-dnacing in heaven with colored belt on body has almost the form of play on the musical instrument, We can see seasily the form in the painting of Buddist ser-mon. It was progressed and changed with the background of chinese traditional culture. When Dang's period came the color was chan-ged lighting dark blue has rhythmical and viv-id power of life. 4. Among the corpus of song's words which express the singers' system and rites of their tradition or habits. Dunhuang manuscripts des-cribes on behalf of the folk song's words in tra-ditional costume. This is following: (1) Naegagyo o sabyokwanja o Chyrasam o Rashang (2) Wangyesa o Sokryugun o Costume for fisher man (3) Bungajang of the chanboja o Ajang (4) Pongkwyun o Chongui (5) Tongsongs o Junofore (6) Namgaja o thin-Rasam (7) Yuchungnang o Hongsam o Sokryugun : The color of red costume (8) Kyongburak o Hongrasam o Sokryugun : Costume for charming woman Therefore traditional costume could be extracted according to the Dunhuang folk song's words out of culture such as learning rit-es three-obedience four-virtues and in-struction. As the same time it reflects ancient China's characteristics directly. I would endeavor to development for the history of the costume furher creative design and participat-ed in research activity with concerns forward continuously.

• 대한본초학회지
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• 제24권2호
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• pp.77-85
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• 2009

Objectives : To determine the discriminative criteria for Atractylodes rhizomes, the experiment of externalinternal characteristics and physicochemical pattern analysis were performed. Methods : External characteristics was observed using stereoscope. The sectioned materials which were covered with parffin were stained by Ju's method. Physicochemical patterns were analyzed using HPLC/DAD. Results : 1. External shape of original plant : Atractylodes maaocephala and A. japonica had relatively long petioles and 3-5 parted leaves. A. macrocephala had big purple flowers whereas A. japonica had relatively small white flowers and pinnate bracts. A. lancea had sessile leaves and white flowers, and the end parts of degenerated stamens were bent. 2. External shape of herbal medicine: A. macrocephala which was fist-shaped rhizome had pa-pillate processes and the cross section was light gray and sulcate. A. japonica and A. lancea were connected-beady or tubercular rhizomes, and the cross sections were both yellow-colored white. However, the cross section of A. japonica was fibrous, the width of cortex was narro-wer than that of stele, and radial shape in cortex was rare, whereas the width of cortex in A. lancea was similar to that of stele in size, and radial shape in cortex was obvious. 3. Internal shape of herbal medicine: A. macrocephala and A. lancea did not have lignified fascicles in cortex. However, the vascular bundles and vessels of A. macrocephala were wedge shaped and radial arrangement, and vascular bundles were densely populated in stele whereas those of A. lancea were repeatedly arranged and thinly extended to cortex. A. japonica had lignified fascicles in cortex and the width of vascular bundles was conspicuously thick with narrow intervals. 4. Physicochemical pattern analysis : A. macrocephala and A. lancea contained atractylenolide I and atractylenolide Ill whereas A. japonica contained atractylenolide I, atractylenolide Ill. diacetyl-atractylodiol, compound-4, compound-5. The three species of Atractylodes rhizomes showed different chromatogram patterns. Conclusions : The results could be used as discriminative criteria for Atractylodes rhizomes and as fundamental materials to researches of further pattern analysis and biological reaction.

• 대한치과보철학회지
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• 제47권2호
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• pp.191-198
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• 2009

연구목적: 본 연구는 높은 심미성을 나타내지만 낮은 파절 강도로 인하여 구치부에서의 사용이 제한되고 있는 전부도재 고정성 국소의치의 파절강도를 증가시키기 위한 방법으로, 취성 재료인 도재에 인장강도가 높은 금속선을 삽입하고 물리적, 기계적 성질을 알아보고자 하였다. 연구 재료 및 방법: lithium disilicate(ingot No.200 : IPS Empress 2, Ivoclar Vivadent, Lichtenstein)와 0.41 mm 직경의 Ni-Cr 금속선(Alfa Aesar, Johnson Matthey Company, USA)을 사용하여, 금속선의 수와 배열을 달리한 4개의 실험군 시편을 제작하였다. 모든 시편은 폭 4 mm, 두께 2 mm, 길이 15 mm의 직육면체로 제작하였다. 실험군 1, 2, 3은 각각 한 가닥, 두 가닥, 세 가닥의 금속선을 도재 시편의 장축을 따라 배열하였으며, 실험군 4는 세 가닥의 금속선을 도재 시편의 장축에, 다섯 가닥의 금속선을 도재 시편의 횡축에 배열하였다. 대조군에는 금속선을 삽입하지 않았으며, 대조군 및 각각의 실험군의 시편은 각 군당 12개로 하였다. 결과: 만능 시험기(Z020, Zwick, Germany)를 이용하여 파절시점까지 하중을 가한 후, 굴곡계수, 굴곡강도, 파절시점까지의 변형률, 파괴인성을 측정하였다. 파절된 시편의 도재와 금속선의 계면을 횡절단 및 연마하여 주사전자현미경(JSM-6360, JEOL, Japan)으로 100배상에서 관찰하였다. 결과는 다음과 같다. 1. 도재에 금속선을 삽입한 결과, 금속선을 삽입하지 않은 대조군에 비해 통계적 유의성 있는 굴곡계수 및 굴곡강도의 변화는 관찰할 수 없었으나, 변형률의 유의성 있는 증가(P<.001)를 관찰할 수 있었다. 2. 금속선을 삽입한 시편의 파절 양상은 하중점 부위에서 도재만 파절되는 양상을 나타내었다. 3. 금속선을 삽입한 도재의 파절된 시편을 횡절단 및 종절단하여 100 배상에서 주사전자현미경으로 촬영한 결과, 하중 시 도재의 파절 원인이 될 수 있는 도재 내부의 기포는 관찰되지 않았으며, 도재와 금속선 사이의 gap도 관찰되지 않았다. 결론: 금속선 삽입의 결과, 취성 재료인 도재의 통계적으로 유의성 있는 변형률의 증가를 관찰할 수 있었다. 그러나 구치부에서 금속선 강화 도재의 사용을 위해서는 굴곡계수 및 굴곡강도의 향상이 필요하다. 이를 위해서는 추가적 연구가 필요하다.