• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.36-44
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• 1998

The purpose of this study was to identify and to classify the names of costume colors of women of Silla. The results of this study can be summarized as follows; Until now scholars and researchers interpreted nine colors in Sam Guk Sa Ki as nine colors explained in the dictionaries. However, term, nine colors in the contexts did not refer to the literary meaning of nine colors such as blue, red, yellow, white, black, green, purple, pink, and navy blue as explained in the dictionaries. 'Nine colors' of Silla were women's costume colors which were specified in the royal edict in the texts. Thus, 'nine colors' of Silla had a specific meaning rather than literary meaning. 'Nine colors' of Silla women's costume were identified as red( ), yellow(黃), purple(紫), purplish pink(紫粉), gold powder(金屑), pink(紅), yellow powder(黃屑), dark pink(緋) and dark purple(滅紫). These 'nine colors' were actually prohibited colors in women's costume in the royal edict. Women from true bone, the highest class, were prohibited the use of tow colors of red and yellow out of nine colors. While women from four du pum and common class were forbidden the use of nine colors out of total of nine colors. Kinds and numbers of colors of costume were used as a means of differentiating the social class and rank of women in Silla. Also it was found that women of Silla favored red purple, pink tones and yellow color in their costume and these colors were fashionable colors among women of Silla. These fashionable costume colors of Silla women seems to be influenced by fashions of women of T'ang dynasty of China. Red, purple, pink, yellow and green were favorite colors of women of T'ang dynasty of China.

• Conservation Science in Museum
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• v.15
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• pp.66-77
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• 2014

A gujangbok is a king's silk ceremonial robe embroidered with nine symbols that represent the essential virtues that a king needs to govern his country. The National Museum of Korea currently own a gujangbok worn by King Gojong in the late Joseon Dynasty. The robe is painted with various colors, including red, yellow, blue, green, and gray. μ-XRF and analysis was conducted on the pigments, and it was found that the red color was made from cinnabar, the yellow color was gold and brass, the blue color was a blue organic pigment and white lead, the green color was a synthetic pigment composed of copper and arsenic, and the gray color pigment was silver. Also, the pigments were compared to those used to make the patterns of a queen's ceremonial robe and a front cloth panel, both made around the same time and also owned by the National Museum of Korea. The comparative analysis revealed clear differences and similarities between the various pigments. The resulting data expect to serve as a useful foundation research for future studying of the pigments used by the Joseon royal court in the late nineteenth century.

• Journal of Environmental Science International
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• v.23 no.8
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• pp.1463-1468
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• 2014

An exotic parasitic wasp Anisopteromalus apiovorus of Pteromalidae was newly recorded in Korea. Specimens of this species have been collected in Gimhae of Korea since 2012. External morphology of this species was described in detail and diagnostic differences of this species from the related species and the host insect were also given. The funicle segments of female antennae are 1.2 to 1.5 times longer than those of Anisopteromalus calandrae, an sister species. Body color is gold-glossy black and with dense creamy-white hairs on the surface. This exotic species has been originated from the African continent including Democratic Republic of Congo and Cote d'Ivoire, and then intruded into other countries, for instance, Korea. This is the first distribution record of this species except the country of origin after original description as a new species. Although little is known about the life history or ecology of this species, we found that a new host of this small parasitic wasp is Lasioderma serricorne of coleoptera through present study. And this species possibly be a new agent of biological control for economic pests. It was presumed that the invasion of Anisopteromalus apiovorus into Korea was prior to November of 2012.

• Journal of Korean society of Dental Hygiene
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• v.12 no.6
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• pp.1082-1089
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• 2012

Objectives : The aim of this study was to determine the accuracy of digitized stone models, impression materials compared to the master model and the reliability of the computer aided analysis. Methods : A master model(500B-1, Nissin dental product, Japan) with the prepared lower full arch tooth was used. Ten vinyl polysiloxane impressions(Examix$^{(R)}$, GC Industrial Corp, Japan) of master model were taken and type IV stone(aesthetic-base gold$^{(R)}$, Dentona, Germany) were poured in stone models. The linear distance between the reference points were measured and analyzed on the Delcam Copycad$^{(R)}$(Delcam plc, UK). The t-student test for paired samples was used for statistical analysis. Results : The mean differences to master model for stone model and impression material were 0.11~0.19mm, and 0.19~0.29mm, respectively. There were statistical differences in dimensional accuracy for full arch impression between master model and stone model/impressions(p<.05). Conclusions : Two different scanning methods showed clinically acceptable accuracy of full arch digital impression produced by them. These results will have to be confirmed in further clinical studies.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.99-116
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• 2008

This study reviewed pertinent literature and examined relics of manggon(a headband worn to hold a man's topknot hair in place), donggot(a topknot pin), and chigwan(a topknot cover). Before the modernized short hair style, wearing a gat was an important custom. Therefore, manggon, which was used to hold a man's hair in place under the gat, was considered an essential part of the man's official dress code. Donggot is a pin that held the topknot hair in place. It was a must have for a married man, like the binyeo, a lod-like hairpin, for a married woman. Unlike gwanja, it had nothing to do with official rank, but materials were of a variety of materials, including jade and gold. The structure of the donggot was studied in three parts-head, neck and body. Major forms for the head include the mushroom, bean and ball. Bullet and half-cut bullet forms were also found. Forms for the neck include straight-neck and curved-neck. A neck with a belt around a double chin was also found. Forms for the body include the tetrahedron, octahedron and cylinder. The most popular form for silver and white bronze donggot heads was the mushroom, followed by bean and pile forms. Chigwan is also called chipogwan, chichoal, choalgyesogwan, noingwan and sangtugwan. In poetry it was called chichoal, and it used to be called taegogwan in the past as well. Chigwan was so small that it managed to hold a topknot. According to confucian custom in the Joseon period, by wearing chigwan, men didn't display their bare topknot even when they didn't dress up. When they went out, they wore another official hat over the chigwan.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.45-60
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• 2008

This study reports a court dress culture in 1719 shown in the Scene of a Royal Banquet given by the King at Gyeong-hyeon-dang(景賢堂) of Gisagyecheop(耆社契帖). It can be summarized as follows: First, King Suk-jong(肅宗) attending a Royal Banquet for members of the Hall of Elder Statement wore the Ikseonkwan decorated with flowers, red Gollyongpo, Okdae, and Heukpiwha. The Crown Prince(王世子) also wore the Ikseonkwan decorated with flowers, black Goliyongpo, Okdae, and Heukpiwha. Second, senior statesmen(耆老臣) over the age 70 wore Sarno, Heukdallyeong with a crane rank tablet, belt, and black boots. Royal family members and officers also wore Samo, Heukdallyeong with a crane or silver pheasant rank tablet, belt, and black boots. Third, Sakum(司禁) of King's body guards wore Yungbok and Muyaebyulgam(武藝別監) wore Ja-geon and the green Jikryeong. Ui-jang-gun(儀仗軍) wore Pirip and Hongui, Haengjeon, and Unhae. Saboksikwan(司僕侍官) wore Samo, Heukdallyeong, belt, black boots, and a sword. Fourth, boy dancers(舞童) wore Buyongkwan, Kwanbok, skirt, belt, and black boots. Cheoyong-dancers(處容舞童) wore outfits in fine colors, wide pants, skirt, mask with an earring, gold colored belt, and white colored sandal. Hyeopryulrang(協律郞) wore Sarno and Heukdallyeong. Jipbak(執拍) wore Morabokdu and Noksaui, and Ak-kong(樂工) wore Whawhabokdu, Hongju-ui, Ojungdae, and Heukpiwha. Singer(歌童) wore Jajeok-dugeon, nokju-ui, and jajeokdae.

• The Journal of Art Theory & Practice
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• no.13
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• pp.133-156
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• 2012

This paper briefly charts the history of excrement as part of the late 20th-century art and explores ways in which excrement functions in the realms of 'High' art. From Piero Manzoni's to David Hammons' performance , excrement has taken a small yet distinctively important part in the development of contemporary art. In an attempt to challenge the hegemony of 'high' art, on the one hand, and resist the commercialization and fetishization of art, on the other, Manzoni allegedly offered his own "shit" preserved in a tin can and sold it at the price of gold of the same weight. Andy Warhol took the legendary Abstract-Expressionist painter Jackson Pollock as the object of parody, simulating Pollock's dripping action by pissing onto the canvas that had been primed with copper-based paint. Warhol's urination produced splashes and stains of iridescent colors just as the patterns on ordinary abstract paintings. In contrast to Pollock's masculine action, Warhol's pissing alludes to the artist's homosexuality. Excrements in art also provoked controversies, debates, and even acts of vandalism against the artworks. The works of Andres Serrano and Chris Ofili infuriated many Christians for the blasphemous use of excrement with religious icons. Politicians engaged in the heated debates on the use of public and national funds in support of some of the 'politically incorrect' contemporary art. In the midst of media sensation and criticisms, these works challenged the conventional understanding of artistic beauty. The preexisting artworks were also targeted. African-american artist Hammons assumed the role of spectator in by urinating on Richard Serra's sculpture in the street of New York City. It was an act condemnation levelled at the racist pattern of the way in which large portions of funds and commisions of "public" art tended to promote established 'white' artists, whose work or creative process often failed to reflect the actual public. The use of excrement in art is not unusual in contemporary art practices. With its subversive power, excrement plays an important critical roles in the shaping of contemporary art.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.60 no.1
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• pp.17-22
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• 2015

A total of CNU 28 hybrids were developed at the CNU Corn Breeding Lab. were evaluated to identify new cultivars in botanical characteristics, fresh yield per 10a and taste qualities. Most of these hybrids were stable in environmental stresses such as lodging, disease and insects. Stem height ranged from 115.0 to 239.3 cm, and ear height ranged from 30.7 to 107.0 cm. The ear height to stem height ratio was showed low than 50% of standard as a stable plant type to lodging. The range of ear length was 14.2 cm to 23.0 cm. Especially, CNU 13H-73 was very longest ear as a 23 cm. The fresh yield per 10a was high in purple of CNU13H-79 hybrid than control hybrid Miheuckchal, and CNU13H-73 in white hybrid was similar Yeonnong check hybrid. The 100-kernel weights in CNU13H-3 and CNU13H-9 hybrids were higher than that of the control hybrid. CNU13H-98 among hybrids had a 100-kernel weight of 20.32 g, which was heavier than that of the control hybrid Daehackchal Gold 1. The average pericarp thickness was $41.4{\mu}m$, CNU13H-46 among hybrids had a very thin pericarp as a $35.5{\mu}m$. The mean sugar content of the used hybrids was 14.95 brix%; CNU13H-73 and CNU13H-55 had higher than Mibak2 as a control hybrid.

• Journal of Sasang Constitutional Medicine
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• v.31 no.4
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• pp.18-27
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• 2019

Objectives The purpose of this study is to estimate the differences in sensory responses(Visual, Auditory, Olfactory and Taste responses) among Sasang Constitution. Methods We recruited 90 healthy subjects who were divided into three groups(30 Soeumin, 30 Soyangin, 30 Taeeumin). First, subjects saw the photo of 'the dress' and were asked to answer three questions about 'the dress'. And we evaluated auditory function by a Tone Deaf Test(TDT) and Adaptive Pitch Test(APT). Olfactory function was evaluated by using Korean Version of Sniffing' Sticks(KVSS) Test II and Taste function was evaluated by using taste strips. Results and Conclusion 1. Overall, 60% of subjects described 'the dress' as blue/black(B/B); 23.3% as white/gold(W/G); 16.7% as something else, and the difference in the proportion of reporting color of 'the dress' was statistically significant. 2. As the result of analysis of taste strips according to Sasang constitution, there was significant difference that Soyangin scored higher than Soeumin in sweet taste score. 3. As the results of analysis of auditory function test(TDT, APT) and that of olfactory function test(KVSS Test II) according to Sasang constitution, there were no statistically significant differences.

• Journal of Fashion Business
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• v.19 no.5
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• pp.128-138
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• 2015

The purpose of this study is to explore the characteristics and recent trends of Korean herbal medicine cosmetics brand logos and to shed light on the identities of herbal medicine cosmetics in Korea. Ultimately this study aims to seek ways to develop strategic global brands distinguished from other brands, and providing the basic data for such development. In order to investigate the characteristics of brand logos, the researcher of this study chose 11 Korean Herbal Medicine Cosmetics Brands marketed today and collected information related to the brands from their websites. The visual characteristics of the logos currently used by Korean herbal medicine cosmetics can be summarized as follows. Most brand logos include marks consisting of Chinese letters written in calligraphy styles to represent the brand information of'Korean herbal medicine.' As for colors, most brands use mostly black and gold to present luxurious images, or convey strong impressions through stark contrast between black, red and white, hoping to distinguish themselves from other cosmetic products. An analysis of the linguistic characteristics of herbal medicine cosmetics in South Korea revealed that most brands use associative and freestanding brand names which suggest that the user's appearance will improve by using the products they represent. Using such names that convey oriental purity and mysterious meanings, trying to capture the deepest beauty with the best quality, the brands construct brand images that are luxurious and high-class. Most of the brands currently used by Korean herbal medicine cosmetics employ components that emphasize the functional aspect of Korean herbal medicine cosmetics. To secure the status of world-class brands, however, it is imperative to conduct research on brand logos capable of establishing identities distinguished from others.