• Journal of the Korean Geophysical Society
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• v.3 no.2
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• pp.99-112
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• 2000

The Iksan Jurassic Granite shows relatively less fractures and homogeneous rock fabrics, and is one of the most popular stone materials for architectures and sculptures. Almost mutually perpendicular rift, grain, and halfway in the Iksan Jurassic Granite are well known to quarrymen based on its splitting directions, and therefore it should exhibit orthorhombic symmetry. Theoretically, there are 9 independent elastic stiffness coefficients $(C_{1111},\;C_{2222},\;C_{3333},\;C_{2323},\;C_{1313},\;C_{1212},\;C_{1122},\;C_{2233},\;and\;C_{1133})$ for orthorhombic anisotropy. In order to characterize the static and dynamic elastic properties of the Iksan Jurassic Granite, triaxial strains under uniaxial compressive stresses and ultrasonic velocities of elastic waves in three different polarizations are measured. Both experiments are carried out with six directional core samples from massive rock body. Using the results of experiments and the densities measured independently, the static and dynamic elastic coefficients are computed by simple mathematical manipulation derived from the governing equations for general anisotropic media. The static elastic coefficients increase ar uniaxial compressive stress rises. Among those, the static elastic coefficients at uniaxial compressive stress of a 24.5 MPa appear to be similar to the dynamic elastic coefficients under ambient condition. Although some deviations are observed, the preferred orientations of microcracks appear to be parallel or subparallel to the rift, the grain, and the hardway from microscopic observation of thin sections. This indicates that the preferred orientations of microcracks cause the elastic anisotropy of the Iksan Jurassic Granite. The results are to be applied to the effective use of the Iksan Jurassic Granite as stone materials, and can be used for the non-destructive safety test.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.254-267
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• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• Journal of the Korean Society of Radiology
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• v.17 no.3
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• pp.441-447
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• 2023

Lead(Pb), which is currently mainly used for shielding purposes in the medical radiation, has excellent radiation shielding functions, but is continuously exposed to radiation directly or indirectly due to the harmfulness of lead itself to the human body and the inconvenience caused by its heavy weight. Research on shielding materials that are human-friendly, lightweight, and convenient to use that can block risks and replace lead is continuously being conducted. In this study, based on the commonly used polyethylene terephthalate (PET) film and the fabric material used in actual radiation protective clothing, a multi-layer thin film was realized through sputtering and vacuum deposition of bismuth, tungsten, and tin, which are metal materials that can shield radiation. Thus, a shielding film was produced and its applicability as a radiation shielding material was evaluated. The radiation shielding film was manufactured by establishing the optimized conditions for each shielding material while controlling the applied voltage, roll driving speed, and gas supply amount to manufacture the shielding film. The adhesion between the parent material and the shielding metal thin film was confirmed by Cross-cut 100/100, and the stability of the thin film was confirmed through a hot water test for 1 hour to measure the change of the thin film over time. The shielding performance of the finally realized shielding film was measured by the Korea association for radiation application (KARA), and the test conditions (inverse wide beam, tube voltage 50 kV, half layer 1.828 mmAl) were set to obtain an attenuation ratio of 16.4 (initial value 0.300 mGy/s, measured value 0.018 mGy/s) and damping ratio 4.31 (initial value 0.300 mGy/s, measured value 0.069 mGy/s) were obtained. by securing process efficiency for future commercialization, light and shielding films and fabrics were used to lay the foundation for the application of films to radiation protective clothing or construction materials with shielding functions.

• Journal of Fashion Business
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• v.3 no.1
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• Economic and Environmental Geology
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• v.34 no.1
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• pp.133-146
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• 2001

We report the results of structural field observation and measurement of anisotropy of magnetic susceptibility (AMS) of the diamictitic Hwanggangri Formation distributed in Chungju-Suanbo area of the Okchon Belt, Korea. The outcrops of the Hwanggangri Formation show two types of cleavage in general: slaty cleavage (SI) and crenulation cleavage (5z). 5] cleavage is, however, well observable only in the notheastem (NE) part of study area, while overwhelmed by 52 cleavage in the southwestern (5W) part, indicating stronger later deformation in 5W part of the study area. This partitioning of the study area is corroborated by both IRM and AMS parameters: NE part of the study area is characterized by higher IRM intensity, higher bulk magnetic susceptibility, higher AM5 degree, and by oblate shape of magnetic susceptibility ellipsoid. Their values become drastically lowered toward southwest, and reach to a stable minimum in the whole 5W part of the study area. In addition, degree of both metamorphism and deformation tends to increase gradually from northeast toward southwest and also from northwest toward southeast in the study area. Based on the distribution pattern of the principal axes ( $k_1, k_2, k_3$ axes) of magnetic anisotropy ellipsoids revealed in the NE part of the study area, three episodes of deformation ( $D_1, D_2, D_3$ ) are recognized: D_1$ deformation produced $S_2$ cleavage with NE-5W trend, which is caused by a strong NW-SE tlattening of a coaxial pure shear. $D_2$ deformation produced 5z cleavage characterized by a non-coaxial deformation. It was caused by a ductile or semi-ductile thrusting toward NW and concurrent sinistral shearing along $S_2$ cleavage plane. Lastly, $D_3$ deformation produced tlexural folding of all previous structures with a nearly horizontal NE fold axis. Distribution pattern of the principal axes of magnetic anisotropy ellipsoid from the SW part of the study area, on the other hand, does not show any coherency among sites or samples. We interpret that this dispersed pattern of $k_1, k_2, k_3$ axes together with lower anisotropy strength indicates that magnetic fabrics in the SW part have been disturbed either by a superposition of strong deformation/metamorphism or by a kind of reciprocal strain due to an overlapping of $D_1$ and $D_2$ or by both processes.

• Journal of Korean Home Economics Education Association
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• v.24 no.3
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• pp.143-173
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• 2012

We investigated environmental problems related to clothing, and attempted their practical solutions using Future Problem Solving Program in order to cultivate the creative character in teenagers. We applied "teaching and learning plans" to seventy-seven the first graders of high school students in 2 classes in Gyeonggi-do, one hour per day for 3 weeks, from August 23 to September 8 2011. Statistical analyses were performed using the SPSS for Windows software(version 17.0). Mean differences in results between pretest and posttest were evaluated using Student's t-test. We selected 'production of fabrics, production of clothing, disposal and recycling of clothing and washing of clothing' as the learning theme in educational content factors of 'clothing culture in consideration of environment'. And we developed thirteenth teaching and learning plans and educational materials including 4 problems, 2 worksheets, 10 team worksheets, 7 video materials and 7 Power Point materials using Future Problem Solving Program(FPSP). The measurements of fluency, flexibility, originality and problem-solving ability are significantly improved. The level of creativity in the items of fluency, flexibility and originality, in particular, exhibited marked improvement, 'below-average' to 'above-average', regardless of academic records and gender. Problem-solving ability in female students was more effective than that of male, but it showed no significant correlation with academic records. The analysis of character-change showed the highest improvement in the awareness on the protection of environment, the character factor in the educational contents. Personalities, confidence, consideration and cooperation in learning method of FPSP also exhibited a significant improvement. But character-change did not correlate with academic records or gender. In the present study, we found that home economics has a positive effect on cultivating creative character. When we selectively and properly apply a course of creative problem-solving of FPSP and a course of creative output to students, we can increase their ability to solve problems, cultivate their creative character and further enhance their interest on home economics.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• Economic and Environmental Geology
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• v.18 no.4
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• pp.399-410
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• 1985

Bentonites from the Janggi Group of the Lower Miocene age from the Geumgwangdong area, Korea, have been studied for mineralogical and genetic characterization. The Janggi Group is subdivided, in ascending order, into the Janggi Conglomerate, the Nuldaeri Tuff, the Geumgwangdong Shale, the Lower Coal-bearing Formation, the Basaltic Tuff, and the Upper Coalbearing Formation. Bentonites occur as thin or thick beds in all sedimentary units of the Janggi Group, except for the Janggi Conglomerate. Significant bentonite deposits are found in the Nuldaeri Tuff, the Lower Coal-bearing Formation and the Basaltic Tuff. Bentonites consist mainly of smectite (mainly montmorillonite), with minor quartz, cristobalite, opal-CT and feldspar. Occasionally, kaolinite, clinoptilolite or gypsum is associated with bentonites. Bentonites were studied by the methods of petrographic microscopy, X-ray diffraction, thermal analysis (DT A and TG), infrared absorption spectroscopic analysis, SEM, intercalation reaction, and chemical analysis. Smectites commonly occur as irregular boxwork-like masses with characteristic curled thin edges, but occasionally as smoothly curved to nearly flat thin flakes. Most of smectites have layer charge of 0.25-0.42, indicating typical montmorillonite. Crystal-chemical relations suggest that Fe is the dominant substituent for Al in the octahedral layer and there are generally no significant substituents for Si in the tetrahedral layer. Ca is the dominant interlayer cation in montmorillonite. Therefore, montmorillonite from the study area is dioctahedral Ca-montmorillonite. Occurrence and fabrics of bentonites suggest that smectites as well as cristobalite, opal-CT and zeolites have been formed diagenetically from tuffaceous materials. The precursor of smectites is trachytic or basaltic tuff. Smectites derived from the former contain relatively more $Al_2O$ a and less $Fe_2O_3$ than those from the latter.

• Journal of Fashion Business
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• v.2 no.3
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.