• Journal of Ecology and Environment
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• v.38 no.4
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• pp.647-654
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• 2015

A prostrate species of Codium (Bryopsidales, Chlorophyta) was collected from Daejin on the eastern coast of Korea. This alga is morphologically characterized by a prostrate, adherent or pulvinate, dark green thallus that is tightly attached to substratum. The utricles are strongly grouped and cylindrical to slightly clavate. Their apex is rounded to capitated, and it frequently has an alveolate ornament. Hair scars are found in the upper portion of the utricle. The gametangia grow on a short pedicel in the upper part of the utricle. In the phylogenetic tree based on molecular data, this alga is placed in the same clade as C. mozambiquense in UPGMA analysis, and nests in a sister clade of C. lucasii subsp. capense and C. mozambiquense in ML and NJ analyses. However, the genetic distance between the sequences of the Korean alga and the two species is 1.3-1.9%, while that between the Korean alga and C. lucasii from Japan is 1.1% within intraspecific range. The divergence value between the Korean alga and C. lucasii from the type locality (Australia) is 2.7% considered to be interspecific range. As based on this genetic divergence value, the Korean alga together with Japanese C. lucasii can be separated from genuine C. lucasii from the type locality. However, the Korean alga is identified as C. lucasii until those entities are morphologically characterized in species level. This is the first record of C. lucasii in Korea

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.483-484
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• 2010

Accessories originated from men's ornamental instinct in the beginning as a body ornament. Women's accessories in the Joseon Dynasty have splendid structure and rich symbolism, so they are enough to be a target of the study for being contents of Korea's cultural archetype. Traditional accessories are the foundation of excellent formative and functional characteristics due to the extreme beauty of crafts. This study aims to develop archetype of excellent formative factors by making traditional accessories digitalized for perpetuation in order to apply them to the culture industry. In addition, it is to prepare the educational foundation by reinterpreting traditional accessories in a modern way. Therefore, this researcher intends to develop constituents of traditional accessories by means of digital images and suggest digital contents methods of accessory techniques by dividing constituents, techniques, materials, symbolic meaning, and attire and wear.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• 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.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.112-132
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• 2015

Banya was a concubine slave of Shindon(辛旽) who was a powerful monk in late Goryeo Dynasty, as well as the mother of King Woo(禑王), a successor of King Gongmin(恭愍王). This study was undertaken to investigate the sources of costume for Banya. The study focused on the features of Buddhist service costume, street wear, and daywear for common women's costume during the prime age of the Buddhist culture. The study looked into Buddhist paintings, old documents, advanced research, and relics. There are three characteristics of historically investigated Buddhist service costume for Banya: Dallyeongpo(團領袍), long Jeogori made with black Ra(羅), and Jeogori with a long scarf. Skirt, under Jeogori, under skirt, Cho, Ra(羅), Neung (綾), Dan(緞), patterned ramie(紋紵), and Tapja(塔子) were included in all Buddhist service costume. And, street wear consisted of Women's Dapho(婦人搭忽), long Jeogori, skirt, underwear and black Ra beil(蒙首). Daywear consisted of Banbi(半臂), long Jeogori, and skirt, underwear made with cheap fabric, Ju(綢), ramie, and imported cotton. Plumper hair, silver comb and Biyeo, lining of light pink-colored thin silk(小紅薄絹), bronze openworked ornament that fixed the outerwear's opening, bronze needle case, Sutra box and heated gemstone could be matched for the Buddhist service costume. Bronze and heated gemstone could be used for ornaments of street wear and daywear. The investigation of ornaments was carried on by referring to presentation of overseas collections. Considering the limitation of the study on Goryeo costume due to the lack of research material, future studies including much more relics in oversea collections needs to be undertaken.

• The Research Journal of the Costume Culture
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• v.28 no.3
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• pp.356-375
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• 2020

The purpose of this study is to understand the characteristics and cultural values of the headdress among Chinese minorities with diverse ethnic cultures, and to provide various data on the design of clothing accessories. Theoretical considerations about ethnic minorities were addressed through literature and prior research, with data being collected using literature and websites. The results are as follows. First, the most common type of headdress is the horizontal type, which includes the head style, headband, and head scarf. The second most common is the cylinder type, which is a headdress with variations in the shape of a round hat, and has is evident among various minorities. Third, the pagoda type is decorated with ornaments mounted on top of a round shape. Fourth, the square crown type is a piece of wood as a material for a form of the material and for a variety of jewelry and the production of up to meet the women's head of the jewelry. Fifth, head belt-type ornaments consist of a headband and fancy bead ornaments from the bottom of the head. Mongol women usually wear an exaggerated form of this type. Sixth, the head cover type is a head decoration influenced by the dress code of Muslim women. Seventh is the disc type of crown shape worn by the Dai. Next, the ogival type is a cone-shaped headdress hat most commonly seen as head ornament hat among the Dai. Lastly, the sailboat type is the most exaggerated form of hair ornaments found among ethnic minorities.

• Korean Journal of Human Ecology
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• v.9 no.1
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• pp.137-152
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• 2000

The purpose of this study was to investigate the disposition of adolescents in their ornament wearing pattern associate with their life style and clothing behavior. The subject of this study consists of 345 middle and high school girls living in Chung-Nam Province and Taejon Metropolitan City. SPSS/PC+ program was utilized to calculated frequency(N), mean value(M) and standard deviation(SD) for statistical analysis. Differences among the populations were examined through f test, ANOVA. The results of this study reveals that the ornaments wearing patterns are significantly different according to their life style and clothing behavior as follows: 1. Correlation between the wear of ornaments and the life style: School girls who pursue the modernistic life style prefer the fashionable ornaments (e.g. sunglasses) and they are always in contact with the latest information. On the contrary, school girls who pursue the practical life style emphasize on the practical use when they purchase the ornaments, e.g. umbrella. School girls having romantic or passive nature have a preference for the brand name and brand image of the ornaments and they in general would like to buy ornaments such as the bracelets. 2. Correlation between the wear of ornaments and the clothing behavior: School girls having sympathetic nature and being deeply interested in clothing put a stress on the latest fashion of the ornaments. They usually want to buy fashionable ornaments such as the cellular phone, beeper and sunglasses. Subjects who estimate themselves by their garments are sensitive to the price of the ornaments while aesthetes emphasize the brand image of the ornaments. Chaste school girls put their emphasis on the quality of the ornaments and they most want to have functional hair bands. Following suggestions can be made based on the discussions above: It is necessary for us to have correct understanding about the correlation between the ornaments and clothing of school girls in order to lead them to have appropriate clothing behavior. Furthermore, it is required to construct a bridge linking a course of study to rational habits guidance which will provide us more appropriate tools for clothing behavior guidance.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• 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.