• Conservation Science in Museum
• /
• v.11
• /
• pp.49-52
• /
• 2010

A wooden Comb excavated at Shinchang-dong wetland site was treated with cetylalcohol as a reinforcing agent. The conservation process was done by freeze drying the wooden artifact after substituting it with no.3 butyl alcohol and impregnating with 40wt% cetylalcohol solution. Consequently there was no noticeable surface damage. Also it showed 54% of remaining weight and a shrinkage of length 3.3%, width 2.1% and thickness 3.1%. Therefore using cetylalcohol for conservation of waterlogged archeological wood was effective dimensional stability and remaining weight.

• Journal of Conservation Science
• /
• v.30 no.4
• /
• pp.329-334
• /
• 2014

A scientific analysis of ancient textiles provides significant data to understand weaving techniques and culture of textiles in each region and charateristics of materials used at that time. In addition, species identification of waterlogged wooden objects is a scientific analysis method that allow us to verify information of relation of foreign species trade and exchange, of preferable species through kinds of wooden products, and of forest environment as well as method setting of conservation. As a result of a species analysis about historical textiles and a wooden comb in a bronze bowl that were excavated from Hapgang-ri, Dong-Myun, Yungi-gun, Chungcheongnam-do, Textile1 and Textile3 are identified as Urticacese Boehmeri nivea ; ramie, Textie2 is identified as Malvaceae Gossypium herbaceum, and a wooden comb is identified as Betulaceae Betula spp. It is expected that this result will help to make further comparative studies, identifying species of textiles and trees of ancient times.

• Journal of Conservation Science
• /
• v.34 no.5
• /
• pp.359-368
• /
• 2018

The purpose of this study was to analyze the wood species of the stern plank and persimmon seed from Daebudo shipwreck No.2 excavated from Daebudo, Danwon-gu, Ansan-si, and Gyeonggi-do by wiggle-matching of radiocarbon measurements. Results of the analysis showed that all the wooden boards of the hull were made from Pinus Hard Pine Group. The other parts of hull and wooden pegs were made from Pinus Hard Pine Group, Castanea spp., Quercus spp. sect. Lepidobalanus, Alnus spp., and Zelkova serrata Makino. Excavated wide-tooth wooden comb and fine-tooth bamboo comb were made from Acer spp. and Bambusoideae. Excavated rope was made from Pueraria thunbergiana Benth. The stern plank, wooden support, and persimmon stone showed ${\pm}2{\sigma}$ radiocarbon date(95.4% confidence interval) of AD 1151-1224. This indicated that the Daebudo shipwreck No.2 occurred during the early or middle 12-13th century. Our radiocarbon dating results confirmed the date speculated by archeologists based on the ceramic style.

• Journal of Conservation Science
• /
• v.35 no.6
• /
• pp.670-680
• /
• 2019

This study attempts to identify whether there were preferred wood species or any required properties depending on the use of wooden objects by comparing wood species analysis results of wooden objects, which are classified specifically by their uses like comb, wooden tablets, containers, etc., excavated from Haman Seongsansansung mountain fortress, which is the archaeological site of the Three Kingdoms era and those excavated from archaeological sites in Gyeongsang province considered to be the similar era of Haman Seongsansansung mountain fortress site. Wooden tablets and combs show the preferred species clearly and containers preferred wood species with the mid-ranged strength and the resistance against moisture migration.

• Fisheries and Aquatic Sciences
• /
• v.22 no.11
• /
• pp.26.1-26.7
• /
• 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.

• Transactions of the Korean Society for Noise and Vibration Engineering
• /
• v.22 no.5
• /
• pp.429-436
• /
• 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.

• Journal of the Korean Society of Costume
• /
• v.66 no.7
• /
• pp.171-191
• /
• 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.

• Journal of the Korean Society of Fisheries and Ocean Technology
• /
• v.32 no.1
• /
• pp.33-41
• /
• 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.

• The Research Journal of the Costume Culture
• /
• v.3 no.2
• /
• pp.241-260
• /
• 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.