• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• Journal of the Korean Applied Science and Technology
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• v.7 no.1
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• pp.31-36
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• 1990

Synthesizing octylphosphate(OTP) from phosphorus pentoxide with n-octyl alcohol, octylphosphatethiourea(OTPU) was prepared from OTP with thiourea. After flame retardant finishing OTPU to acrylic fabrics, nylon taffeta and tetron taffeta, the physical properties, such as tear strength and flame retardancy were measured. As the results of the measurement, OTPU was found to be a good flame retardant having softness using to synthetic fibers.

• Journal of Communications and Networks
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• v.18 no.3
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• pp.523-530
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• 2016

We use both theoretical analysis and simulations to study the impact of crosspoint-queued (CQ) buffer size on CQ switch throughput and delay performance under different traffic models, input loads, and scheduling algorithms. In this paper, we present the following. 1) We prove the stability of CQ switch using any work-conserving scheduling algorithm. 2) We present an exact closed-form formula for the CQ switch throughput and a non-closed-form but convergent formula for its delay using static non-work-conserving random scheduling algorithms with any given buffer size under independent Bernoulli traffic. 3) We show that the above results can serve as a conservative guide on deciding the required buffer size in pure CQ switches using work-conserving algorithms such as the random scheduling, under independent Bernoulli traffic. 4) Furthermore, our simulation results under real-trace traffic show that simple round-robin and random work-conserving algorithms can achieve quite good throughput and delay performance with a feasible crosspoint buffer size. Our work reveals the impact of buffer size on the CQ switch performance and provides a theoretical guide on designing the buffer size in pure CQ switch, which is an important step toward building ultra-high-speed switch fabrics.

• Korean Journal of Agricultural and Forest Meteorology
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• v.3 no.3
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• pp.135-142
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• 2001

This study attempts to categorizes the factors of forest fire occurrences based on regional meteorologic data and general forest no characteristics of 18 cities and guns in Kangwon province. lo accomplish this goal, some statistical analyses such as analysis of variance, correspondence analysis and multidimensional scaling were adopted. To reveal the forest fires pattern of study region, a categorization process was conducted by employing the quantification approach which modified and quantified the metric-data of fire occurrence dates. Also, The fire occurrence similarity was compared by using multidimensional scaling for each study region. The major results are summarized as follows: It was found that the meteorological factors emerged as different to each region are average and maximum temperature, minimum dew point temperature and average and maximum wind speed. In the result of correspondence analysis representing relationships between fire causes and study regions, Kangrung is caused by arsonist, Chulwon, Hwachen and Yanggu caused by military factor, Sokcho and Chunchen caused by the debris burning, and Samchuk caused by general man-caused fires, respectively. Finally, the forest fire occurrence pattern of this study regions were divided into five areas such as, group I including Samchuk, Kangryung, Chunchen, Wonju, Hongchen and Hhoingsung, group II including Donghae, Taebaek, Yangyang and Pyongchang, group III including Jungsun, Chulwon and Whachen, group Ⅵ including Gosung, Injae and Yanggu, and group V including Shokcho and Youngwol.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.26-40
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• 2010

The purpose of this study is the Tibetan folk costumes'characteristics and change of design in stage. The subjects are the Tibetan costumes in the Spring Festival Gala of CCTV. The basic characteristics of Tibetan folk costumes are fat waist, long sleeves, overlap, and right ren. Tibetan costumes consist of Tibetan gowns, aprons, shirts, belts, Tibetan hats, headgear, ornaments, all of these compose the traditional image of the Tibetan people. Because of the long-term closed survival, the development of Tibetan costumes has no much vertical differences and changes. The costumes of Weizang(衛藏), Ali(阿里), Gongbu(工布), Kham(康巴), Amdo(安多) have different features which are divided according to different dialects. Study the changes of design Tibetan stage costumes from 25times, we can get that during the 1986~1992, people emphasis on the activities of dancers, styles are simple, just to grasp the characteristics of the Tibetan costumes. In the 1993~1999, the dancers put on the real-life Tibetan clothing on stages. By the 2000s to now, Tibetan stage costumes have much more changes in forms and colors which are more complete and complex. The types of Tibetan costumes include Tibetan all clothing, they all express the changed forms and colors without exception. So in this period are artistic Tibetan folk costumes.