• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• Journal of the Korean Home Economics Association
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• v.38 no.11
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• pp.137-149
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• 2000

The Purpose of this study was to investigate actual condition about the modem adaptation of interior elements(floor, wall, ceiling, door & window) in traditional thatched roof house. The examined objects were interior space of 36 restaurants and cafes in Seoul and Kyung-Ki Do area. 1. Floor: Jang-pan was mostly alternated with linoleum which huts Jang-pan pattem. Wumul-maru was adapted from the original and Jang-maru was alternated with wood or linolium which has western state Jang-maru pattern. Mud was adapted from the original or alternated with slate stone or rough finish cement. 2. Wall: Rice proper was alternated with rice paper book witch has chinese character, paper for parcels or modem wall paper. Plaster-white paint or white handy coat. Mud-mud color paint or bamboo stick witch located in the mud wall orginal. Log-half cut log. Wooden board-without cross bar or irregular form. 3. Ceiling: Yondung-Chongang was mostly adapted from the original and Banja-Chonjang was alternated with rice paper book which has Chinese character or modem wall paper. 4. Door and Window: Ttisal-mun and Panjang-mun were adapted from the original. Wan and A’character door and window were simplified character itself.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.

• Fashion & Textile Research Journal
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• v.1 no.1
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• pp.34-42
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• 1999

The purpose of this study was to change practical korean costume in 20C. In the early 20C, inflow of western civilization started to change korean costume. Since then gradually changes to be simple in Korean costume. Results of this study can be summarized as follows: Traditional jacket (jeo-go-li) gradually began to be long to waist line. This jacket length was to be long and it sleeve is to be short in early 2OC. Traditional skirt (Chi-rna) length was short to the calf of the leg. Traditional wide skirt was gradually to be narrow and pleats shape look as if it in go-gu-Ryeo Dynasty. The width of pleats was about 3~5 cm, be one-sided, look as if it western style in today. But pleats skirt already existed on a women's of the upper classes in go-gu-Ryeo Dynasty. Women's long Coat (do-lu-ma-gi) length was short to under hip line in late 20c. In this way, the practical idea, the factor of design was because of western idea in civilization ages, early 20C. Since then gradually reformed to be simple in Korean costume. Assuming that the trend of simplification in Korean costume is related to the idea of practical. Therefore Korean costume of living or a reformed Korean costume to be design of practical, functional, convenient, economically. And it must have to traditional idea, it is only beauty of shape, pattern, line, fabric in Korean costume.

• Journal of the Korean Society of Costume
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• v.24
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• pp.83-101
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• 1995

The purpose of this study is to investigate relation between kucha and Korea by comparing costume. The results are as follows. First, During 508th century, wall paintings of Kizil and Kuizilkargha showed traditional costume such as cutting hair , lapel coller and fitting sleeve coat, pants, boots , belts and knife. Kumtura were also in 6 th, but under the influence of China and Hoehol (회골) after 7th. Second, Men and women cutting hair except king, they put on cone shaped hat and Kun (건), clothing were made of felt and kun(면). Third, it was influenced by Iran that cutting hair in Silla (신라) and Kucha. In Silla , round neckline and V neckline were existed except lapel collar. Jeweled knife of Silla and Kuncha , pattern of Kumdonglee(금동복) showed cultural exchange of centural Asia and Korea along the Silk Rood. It is conscious that Silla preferred centural asia of texture and jewels by prohibition of costume.

• The Plant Pathology Journal
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• v.33 no.1
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• pp.1-8
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• 2017

Seed dehiscence of ginseng (Panax ginseng C. A. Mayer) is affected by moisture, temperature, storage conditions and microbes. Several microbes were isolated from completely dehisced seed coat of ginseng cultivars, Chunpoong and Younpoong at Gumsan, Korea. We investigated the potential of five Talaromyces flavus isolates from the dehiscence of ginseng seed in four traditional stratification facilities. The isolates showed antagonistic activities against fungal plant pathogens, such as Cylindrocarpon destructans, Fusarium oxysporum, Rhizoctonia solani, Sclerotinia nivalis, Botrytis cinerea, and Phytophthora capsici. The dehiscence ratios of ginseng seed increased more than 33% by treatment of T. flavus GG01, GG02, GG04, GG12, and GG23 in comparison to control (28%). Among the treatments, the reformulating treatment of T. flavus isolates GG01 and GG04 showed the highest of stratification ratio of ginseng seed. After 16 weeks, the reformulating treatment of T. flavus isolates GG01 and GG04 significantly enhanced dehiscence of ginseng seed by about 81% compared to the untreated control. The candidate's treatment of T. flavus GG01 and GG04 showed the highest decreasing rate of 93% in seed coat hardness for 112 days in dehiscence period. The results suggested that the pre-inoculation of T. flavus GG01 and GG04 found to be very effective applications in improving dehiscence and germination of ginseng seed.

• Applied Microscopy
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• v.35 no.4
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• pp.24-31
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• 2005

The preservative condition and ultrastructure on the mummified hair collected from newly found female mummy in Paju, were investigated by using scanning and transmission electron microscopes. The female mummy was found in september, 2002 during the traditional reburial process for the buried ones. The hair of 16th century mummy showed very intact appearances during observation with electron microscope. And the structures of the cortex, medulla and cuticle were well preserved. The cuticle layer was easily discernable, which are composed of six to seven cuticular cells. Each cuticular cells surrounded and thus seperated from its neighbors by intercellular membrane complex. In the cortex, many macrofibrils and some melanin granules between them were observed. We observed well preserved rod form macrofibrils running parallel along the direction of hair shaft. Especially, melanin granules were aggregated in the cortex which was adjacent to the cuticlu layer. As to the cause for the well-preservation of 440 year old hair sample, the presence of surface coat on the hair, which are composed of various materials. As calcium was included in the surface coat in Electron Dispersive X-ray Spectroscopy (EDS), the hardening process of the surface coat by calcium might inhibit the water or microorganism infiltration into the hair.

• 보존과학연구
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• s.32
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• pp.53-60
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• 2011

The aim of this study is to investigate the traditional manufacturing technique of lacquering by comparing and analyzing materials used for wooden lacquerware artifacts with focus on the Joseon dynasty Eugye, and to apply the manufacturing technique to the conservation treatment of the lacquerware. artifacts. This study conducted the documentary survey focusing on "Yongjo Jeongsun Queen Consort Garye Dogam Eugye",and "Jeongjo Gukjang Dogam Eugye." The royal lacquering is roughly classified into three categories-scarlet lacquering, quality black lacquering, and terra rosa lacquering- according to materials used for lacquerware. The bean flour was mostly used for under lacquering of the articles which was offered to the king and in case of other articles, bean flour was used mixed with bone ashes. In some cases, burned pine soot was added to under lacquering. Japanese scarlet lacquering was applied by mixing maechil-main coat, in inverted commas- with Japenese scarlet after lacquering jeonchil-base coat, in inverted commas-. In case of Chinese scarlet lacquering, part of terra rosa was used mixed with red clay. For quality black lacquering, basically jeonchil and maechil were used, but sometimes part of burned pine soot was added. In addition, terra rosa lacquering was applied by basically using terra rosa mixed with red clay. Lastly, gloss was given by using perilla oil. It is expected that the traditional materials and technique examined through both documentary and relic research will contribute to advanced result of the conservation treatment of wooden lacqueringware artifacts.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.55 no.3
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• pp.187-194
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• 2010

The soybean stay green mutant genotype (SSG) derived from the nuclear gene, d1d2, and cytoplasmic gene, cytG, inhibit the breakdown of chloroplast in the leaves, pod walls, seed coats, and embryos during maturity. Soybean seed with black seed coat and green cotyledon (SBG) are preferred than black seed coat with yellow cotyledon (SBY) especially for cooking with rice and as source of traditional food in Korea. The researchers evaluated the seed's chlorophyll content of SSG and introduced SSG to the SBG variety breeding program. The seed chlorophyll content of SSG with d1d2 was $39.93{\sim}60.80\;{\mu}g/g$ and SSG with cytG $38.08{\sim}39.89\;{\mu}g/g$. The Korean SBG variety which was derived from SSG with cytG, contains $16.35{\sim}37.73\;{\mu}g/g$. The composition of seed chlorophyll differs according to the genetic background of SSG genotype. Inheritance study showed that cotyledon color was segregated 15:1 (yellow:green) at $F_2$ seed indicating two recessive genes control green cotyledon as revealed by previous study. Only less than 3% soybean lines showed black seed coat with green cotyledon among crosses SBY and SSG (d1d2). Results showed that SSG with d1d2 can be used as a good source for SBG with high chlorophyll content in the seed cotyledon, but due to the complex genetic behavior, breeding resource of SBG with d1d2 should be prepared to improve the breeding efficiency for development SBG variety.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.766-777
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• 2012

The 13 genre paintings by Junkeun Kim in the book "Korean Games(by Stewart Culin 1858~1929)" were used to study the late $19^{th}$ century's basic costumes and Games style in Korea. The people who appear in the paintings are 26 adult males, 2 minor males, 2 adult females and 3 kisaengs. Typical men wore 'Jeogori' which had various colors and white linings with a reached hip line, and knotted with a 'go-rum' on the right side. They also wore, white colored 'Baji' with colorful sash that were knot below knee or ankle together with 'Hang-jun' or 'Daenim'. They wore 'Beoseon'. Some men wore 'Po' whose colors were blue, green, indigo, white. The general women wore 'Jeogori' in deep green and light pink, indigo, green, red, and they matched with colors for 'Kit' and, 'Go-rum', 'Kut-dong' and its 'Go-rum' was short and narrow. It was so fit and short with narrow sleeve. It had 'Dunggun-kit'(round head collar) with white 'Dong-jung' and so it fit at neck. They wore 'Chi-ma' whose color was red, light green, or light indigo. It contrasted with 'Jeogori'. The width of 'Chi-ma' was big enough. Then white inner slacks came out under the skirt. Traditional Korean games can be classified according to age and gender. Then the games can be further classified into three categories : men's games, women's games, and games for all. The games for adult are an archery practice, hunting, shovel work with a karae, making a bow, drawing Jongkung-chart, Korean chess, playing paduk, and the Korean card game. A swing is a game for women. Games for both men and women are dice play, and domino game. Games for both adult and minor males are sledge, and tightrope walking. Through genre paintings in the $19^{th}$ century, I reached a conclusion that basic costumes are similar to 'Hanbok' at the present time and the method of wearing them has not changed much. It appears that the originality of traditional costumes has been maintained.