• 박물관보존과학
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• 제11권
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• pp.49-52
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• 2010

광주 신창동 저습지 출토 목제 빗은 강화제로서 세틸알콜을 이용하여 보존처리되었다. 보존처리 과정은 목제유물을 제3가부틸 알콜로 치환하고 세틸알콜을 40% 농도까지 함침시킨 후 진공동결건조하여 처리하였다. 그 결과 주목할 만한 표면결함은 없었다. 또한 54%의 중량잔존율과 길이방향 3.3%, 폭방향 2.1%, 두께방향 3.1%의 수축률을 나타내었다. 따라서 세틸알콜을 이용한 수침고목재의 보존처리가 치수안정화와 중량 잔존율 면에서 효과적이었다.

• 보존과학회지
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• 제30권4호
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• pp.329-334
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• 2014

고대 섬유의 과학적 분석은 그 시대에 사용된 재료의 특성 및 각 지역의 직물문화, 제직기술 등을 파악할 수 있는 중요한 자료를 제공한다. 또한 수침 고목재의 수종분석은 보존처리 방법의 설정뿐만 아니라 당시의 수목환경, 목제품의 종류에 따라 선호되던 수종, 외래수종을 통한 당시의 교역 교류 등의 정보를 확인할 수 있는 과학적인 분석방법이다. 충남 연기군 동면 합강리 유적에서 청동합 내 부장상태로 출토된 직물류와 목제 빗에 대하여 섬유 및 수종의 종류를 분석한 결과 직물1과 직물3은 쐐기풀과(Urticaceae)의 저마(Boehmeria nivea ; Ramie), 직물2는 아욱과(Malvaceae)의 면(Gossypium herbaceum), 목제 빗은 자작나무과(Betulaceae) 자작나무속(Betula spp.)으로 식별되었다. 이번 연구 결과는 향후 고대 섬유 및 수종을 확인하여 비교 연구하는데 도움이 될 것으로 기대된다.

• 보존과학회지
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• 제34권5호
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• pp.359-368
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• 2018

본 연구에서는 경기도 안산시 단원구 대부도에서 발굴된 대부도2호선의 목부재와 초본류의 수종분석과 방사성탄소연대분석을 통해 사용된 목재의 재질과 고선박이 난파된 시기를 추정하고자 하였다. 수종분석을 통해 선체부재로 사용된 목재는 모두 소나무속의 경송류로 식별되었으며, 기타 선체부재와 나무못은 경송류, 밤나무속, 참나무속 상수리나무아속 상수리나무류, 느티나무, 오리나무속의 사용을 확인하였다. 동반 출토된 목제빗과 참빗은 단풍나무속과 대나무아과로 확인되었고, 밧줄은 칡으로 만들어졌음이 밝혀졌다. 선수재와 받침목 그리고 씨앗류(감씨)의 방사성탄소연대측정과 위글매치 분석을 통해 대부도2호선은 AD 1151~1224년 사이에 난파된 것으로 밝혀졌다. 이 고선박은 12~13세기 초중반에 난파되었음을 시사한다. 이는 출토된 도자기의 편년과 일치하는 결과이다.

• 보존과학회지
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• 제35권6호
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• pp.670-680
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• 2019

본 연구는 다량의 목제유물이 출토된 삼국시대 함안 성산산성을 비롯하여 동시대로 생각되는 경상권 유적 목제유물의 수종분석 결과를 빗, 목간, 용기류 등의 용도별로 구분하여 비교함으써 용도에 따른 선호 수종이나 요구 특성이 있는지 파악하고자 하였다. 목간과 빗의 경우는 뚜렷한 선호 수종이 나타났고, 용기류의 경우는 비교적 중간 정도의 강도 특성을 갖는 목재로써 일정 부분 수분이 동의 저항성이 있을 것으로 생각되는 수종들이었다.

• Fisheries and Aquatic Sciences
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• 제22권11호
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• pp.26.1-26.7
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• 2019

Background: The monitoring of pathogens of fishery auction markets is important to obtain safe fishery products regarding hygiene and sanitation. In this study, aerobic, coliform, Escherichia coli, and Vibrio cholerae were monitored in the fishery products and environmental samples obtained from fishery auction markets. Methods: The fishery products (flounder, octopus, skate, rock cod, sea bass, snail, monkfish, flatfish, comb pen shell, corb shell, conger eel, hairtail, croaker, and pilchard) were placed in filter bags, and the environmental samples (samples from the water tanks at the fishery auction markets, seawater from the fishery distribution vehicles, ice from wooden or plastic boxes, and surface samples from wooden and plastic boxes used for fish storage) were collected. Aerobic bacteria, E. coli, and coliform in the samples were enumerated on aerobic count plates and E. coli/coliform count plates, respectively. For V. cholerae O1 and V. cholerae non-O1 quantification, most probable number (MPN)-PCR analysis was performed. Results: Aerobic and coliform bacteria were detected in most samples, but E. coli was not detected. Wooden boxes were contaminated with high levels of aerobic and coliform bacteria in all seasons (spring, summer, and fall). During fall, V. cholerae non-O1 were detected in snails, hairtails, croakers, flatfishes, pilchards, plastic boxes, and water samples. Conclusions: These results indicate an increased prevalence of V. cholerae contamination in fishery products in fall, including food contact samples, which can be vehicles for cross-contamination.

• 한국소음진동공학회논문집
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• 제22권5호
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• pp.429-436
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• 2012

In concert halls and auditoriums, acoustic reflector and stage enclosure is one of the main factors on the room and stage acoustic characteristics. As a stage enclosure and acoustic reflector honey comb based light-weight reflector is widely used, because it is easy to install. However, there was not enough research on the surface density effect on room and stage acoustics. In this study, sound absorption coefficient tests on three kinds of wooden acoustic reflectors with different surface density were conducted. Surface density of acoustic reflector was changed from 11 kg/$m^2$ to 41 kg/$m^2$. For the low frequency excitation, sub-woofer was used with omnidirectional loud-speaker simultaneously. From the experiments, it was found that sound absorption coefficient below 250 Hz band was decrease by the increment of surface density. In order to check the influence of the surface density on room and stage acoustic parameters, room acoustic simulation was conducted with sound absorption coefficients, which were tested in reverberation chamber. By the increment of surface density of acoustic reflector, RT(reverberation time) and EDT(early decay time) were increased. Also, ST(stage support) was improved in low frequency bands.

• 복식
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• 제66권7호
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• pp.171-191
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• 2016

Lady Han, Gongshin-buin(恭愼夫人韓氏: 1410~1483) was Gongnyeo of Ming emperor and sister of Han Hwak(韓確:1400~1456). The aim of this study is to analyze the characteristic of costume presents for Lady Han, and to investigate a part of Joseon women's attire in the 15th century. Most of the presents for Lady Han were native products of Joseon to help alleviate her homsickness, but surviving relics are very rare. The costume-related presents included daily accessories and fabrics such as natural ornaments, embroidered pouch, needle case, wig, wooden comb, portable knife with multi-blades, various colored plain silk [綿紬] and ramie. Also, preceding research analysis of costume relic were combined with study of presents for Lady Han's. The most salient costume of Joseon women in the 15th century was the symmetric collared jacket. In addition, ornamented jeogori, pouch with pine nut stitch, chima, jangot, jangsam, black veil[羅兀] made with ra or jeung, glass beads, paintings of Ming and Joseon can be references. Illustrations show 6 representative type of Joseon women's full attires in the 15th century are as follows. First, is a combination of 'symmetric collared jacket with peacock rank badge, jeoksam, chima, underwear' and 'hoa-a, janga-a, embroidered pouch, needle case, knife with multi-blades: presents for Lady Han'. Second, formal wear focusing on symmetric collared Jacket of cloud pattern. Third, formal wear focusing on multicolor ornamented jeogori. Fourth, town wear with jangot and neoul. Fifth, formal wear with jangsam. Sixth, daily wear focusing on banbi with symmetric squre collar. Accessories and underwear shown in another illustration were same as the first illustration. Results of this study can be used as content for making historically accutate costumes as well as costume education.

• 수산해양기술연구
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• 제32권1호
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• pp.33-41
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• 1996

In order to obtain the most favourable classification system for fishing gears, the problems in the existing systems were investigated and a new system in which the fishing method was adopted as the criterion of classification and the kinds of fishing gears were obtained by exchanging the word method into gear in the fishing methods classified newly for eliminating the problems was established. The new system to which the actual gears are arranged is as follows ; (1)Harvesting gear \circled1Plucking gears : Clamp, Tong, Wrench, etc. \circled2Sweeping gears : Push net, Coral sweep net, etc. \circled3Dredging gears : Hand dredge net, Boat dredge net, etc. (2)Sticking gears \circled1Shot sticking gears : Spear, Sharp plummet, Harpoon, etc. \circled2Pulled sticking gears : Gaff, Comb, Rake, Hook harrow, Jerking hook, etc. \circled3Left sticking gears : Rip - hook set line. (3)Angling gears \circled1Jerky angling gears (a)Single - jerky angling gears : Hand line, Pole line, etc. (b)Multiple - jerky angling gears : squid hook. \circled2Idly angling gears (a)Set angling gears : Set long line. (b)Drifted angling gears : Drift long line, Drift vertical line, etc. \circled3Dragged angling gears : Troll line. (4)Shelter gears : Eel tube, Webfoot - octopus pot, Octopus pot, etc. (5)Attracting gears : Fishing basket. (6)Cutoff gears : Wall, Screen net, Window net, etc. (7)Guiding gears \circled1Horizontally guiding gears : Triangular set net, Elliptic set net, Rectangular set net, Fish weir, etc. \circled2Vertically guiding gears : Pound net. \circled3Deeply guiding gears : Funnel net. (8)Receiving gears \circled1Jumping - fish receiving gears : Fish - receiving scoop net, Fish - receiving raft, etc. \circled2Drifting - fish receiving gears (a)Set drifting - fish receiving gears : Bamboo screen, Pillar stow net, Long stow net, etc. (b)Movable drifting - fish receiving gears : Stow net. (9)Bagging gears \circled1Drag - bagging gears (a)Bottom - drag bagging gears : Bottom otter trawl, Bottom beam trawl, Bottom pair trawl, etc. (b)Midwater - drag gagging gears : Midwater otter trawl, Midwater pair trawl, etc. (c)Surface - drag gagging gears : Anchovy drag net. \circled2Seine - bagging gears (a)Beach - seine bagging gears : Skimming scoop net, Beach seine, etc. (b)Boat - seine bagging gears : Boat seine, Danish seine, etc. \circled3Drive - bagging gears : Drive - in dustpan net, Inner drive - in net, etc. (10)Surrounding gears \circled1Incomplete surrounding gears : Lampara net, Ring net, etc. \circled2Complete surrounding gears : Purse seine, Round haul net, etc. (11)Covering gears \circled1Drop - type covering gears : Wooden cover, Lantern net, etc. \circled2Spread - type covering gears : Cast net. (12)Lifting gears \circled1Wait - lifting gears : Scoop net, Scrape net, etc. \circled2Gatherable lifting gears : Saury lift net, Anchovy lift net, etc. (13)Adherent gears \circled1Gilling gears (a)Set gilling gears : Bottom gill net, Floating gill net. (b)Drifted gilling gears : Drift gill net. (c)Encircled gilling gears : Encircled gill net. (d)Seine - gilling gears : Seining gill net. (e)Dragged gilling gears : Dragged gill net. \circled2Tangling gears (a)Set tangling gears : Double trammel net, Triple trammel net, etc. (b)Encircled tangling gears : Encircled tangle net. (c)Dragged tangling gears : Dragged tangle net. \circled3Restrainting gears (a)Drifted restrainting gears : Pocket net(Gen - type net). (b)Dragged restrainting gears : Dragged pocket net. (14)Sucking gears : Fish pumps.

• 복식문화연구
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• 제3권2호
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.