• 복식
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• 제59권6호
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• Restorative Dentistry and Endodontics
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• 제12권1호
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• pp.131-147
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• 1986

The purpose of this study was to observe the color matching of lining or filling materials according to the remaining tooth material. Twenty-seven freshly extracted human central incisors were used in this experiments. The teeth were stored in saline solution at room temperature after extraction. All teeth were cut parallel to the tangent to height of contour on labial surface from the lingual surface until the pulp were completely removed. Then 27 teeth were devided into 0.5mm, 1.0mm and 1.5mm reduction groups according to the thickness of cutting the lingual surfaces of teeth. The specimens of control group were three teeth of 27 teeth with cutting the lingual surface same mode as above described. In the specimens of experimental groups, 8 kinds of lining and filling materials; FUJI IONOMER TYPE II (G-C Co. Japan), LINING CEMENT (G-C Co. Japan), Dycal (Caulk, U.S.A.), CLEARFIL F II (Kuraray Co. Japan), Crown Bridge & Inlay Cement (G-C Co. Japan), Copalite (Harry J. Bosworth Co. U.S.A.), HY-BOND (G-C Co. Japan) and LIV-CENERA (G-C Co. Japan); applied on the back of 24 teeth with 0.5mm, 1.0mm and 1.5mm cut thickness of lingual surfaces. Three teeth of control group did not applied linging or filling materials on the back of 3 kinds of different thickness of cutting the lingual surfaces. The absorbances of total 27 specimens were obtained by reflection spectrophotometer. (Cary 17 D, Varian Co, U.S.A.) The following conclusions were drawn from above the results; 1. The absorbance patterns in both experiment and control groups were gradually decreased with increasing wavelength of spectra. 2. The absorbance patterns were not decreased in relation to the kinds of lining or filling materials, but the amount of the remaining tooth materials. 3. In 0.5mm reduction group, FUJI IONOMER TYPE II, LINING CEMENT, LIV-CENERA and Copalite applied on the back of cut lingual surface showed similar absorbance patterns as control group. 4. The specimens which were reduced up to 1.0mm thickness and lined with FUJI IONOMER TYPE II and LINING CEMENT showed the comparable absorbance patterns to the control group. 5. In case of HY-BOND application after 1.5mm reduction were observed the similar absorbance pattern as compared with control group. 6. When Dycal, CLEARFIL and Crown Bridge & Inlay Cement were applied to cut teeth surfaces, there were much differences of absorbance between control groups and experimental groups.

• 한국식생활문화학회지
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• 제8권4호
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• pp.337-348
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• 1993

This study was carried out to investigate the succession patterns of dietary culture and to find out all the educational problems with female college students in both countries as the central figure. The results are as follows. The degree of knowledge acquisition about food of annual custom is 58% in Korea and 72% in Japan. What the rate of knowledge acquisition is high among both countries’ similar food of annual custom are ${\ulcorner}Seolnal(Gantan){\lrcorner}$, ${\ulcorner}Sambok(Doyonohi){\lrcorner}$, and ${\ulcorner}Chuseok(Tsukimi){\lrcorner}$. Cooking experience of festive food is 45% in Korea and 58% in Japan. Among both countries' common festive food what cooking experience is high in Korea are ${\ulcorner}Seolnal{\lrcorner}$ and ${\ulcorner}Chuseok{\lrcorner}$, which are over 97%. In Japan those are ${\ulcorner}Gantan{\lrcorner}$ and ${\ulcorner}Tsukimi{\lrcorner}$, which are over 80%. Regarding learning experience of festive food ${\ulcorner}Seolnal{\lrcorner}$ and ${\ulcorner}Gantan{\lrcorner}$ are beyond 80% and ${\ulcorner}Chuseok{\lrcorner}$ is 88%. In Japan ${\ulcorner}Tsukimi{\lrcorner}$ is 71% and ${\ulcorner}Omisoka{\lrcorner}$ is 85%. The learning sources of food of annual custom are parents and schools in common, and Korea has another learning sources, mass communication. Festive food that is cooked shows much similarity between two countries, but each country has originality. As common food of annual custom ${\ulcorner}Seolnal{\lrcorner}$ has nine kinds of food, ${\ulcorner}Sambok{\lrcorner}$ has three kinds, and ${\ulcorner}Chuseok{\lrcorner}$ has five kinds in Korea In Japan ${\ulcorner}Gantan{\lrcorner}$ has fourteen kinds of food, ${\ulcorner}Doyonohi{\lrcorner}$ has three kinds, and ${\ulcorner}Tsukimi{\lrcorner}$ has five kinds. The successive consciousness about food of annual custom is concentrated on a specific food in Korea. And Japanese consciousness is shown as an expansion-type on diverse food. Korean successive consciousness is 69.4% and Japanese consciousness is 82%. The higher the rate of knowledge acquisition, cooking experience, and learning experience are in both countries, the higher successive consciousness is. So we must note for the importance of home and school’s education.

• 복식
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• 제60권10호
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• pp.100-117
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• 2010

This thesis has three main purposes: first, will show kinds, patterns, types, expression techniques of modern korean women's trimmings by every ten years. Second, it is to trace the effect of each decade on women's Hanbok trimming designs. Third, it will point out factors. that caused the change of modern Korean women's Hanbok trimming design patterns. Henceforth, there comes the result of the research and analysis. Trimming design patterns of modern women's Hanbok can be divided into three categories temporally: The first period of from 1910s to the first half of 1950s saw that design patterns did not changed much from traditional ones. It is because there were many catastrophes such as the invasion of Japanese Empire and Korean War. The compound design had expressed people's wish to earn many sons and babies at the end of Joseon Dynasty. But it turned to wishing luck for individuals affected by individualism and liberalism imported from the west. Realistic designs are the most frequently used and the least lines made up patterns. The second period of from the latter half of 1950s to 1970s saw that women wore their Jeogories and Chimas as suits. Screen printing technique enabled for various design patterns to come out. And the development of textile industry introduced various expression techniques such as making lace, meshing, flocking, burn-out etc cetera. The third period of 1980s saw that Hanbok became a kind of luxurious clothe as people's living standard rose. Hanbok again came into the spotlight, Hanbok designers came forward and their individualities are respected. The characteristic expression technique of grey-dying and geometric design patterns are more frequently used for the simple and modern beauty.

• Nutrition Research and Practice
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• 제6권4호
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• pp.349-356
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• 2012

Several studies have been conducted on dietary patterns based on carbohydrate nutrition in Asian populations. We examined the cross-sectional associations in dietary patterns based on carbohydrate nutrition, including the glycemic index (GI) with dyslipidemia and diabetes among the Korean adult population. We analyzed 9,725 subjects (3,795 men and 5,930 women, ${\geq}$ 20 years) from the Fourth Korea National Health and Nutrition Examination Survey. Dietary information was collected using single 24-hour recall. Reduced rank regression was used to derive dietary patterns from 22 food groups as predictor variables and four dietary factors related to the quantity and quality of carbohydrates as response variables. Two dietary patterns were identified: 1) the balanced pattern was characterized by high intake of various kinds of foods including white rice, and 2) the rice-oriented pattern was characterized by a high intake of white rice but low intake of vegetables, fruits, meat, and dairy products. Both patterns had considerable amounts of total carbohydrate, but GI values differed. The rice-oriented pattern was positively associated with hypertriglyceridemia in men and low high density lipoprotein-cholesterol in both men and women. The balanced pattern had no overall significant association with the prevalence of dyslipidemia or diabetes, however, men with energy intake above the median showed a reduced prevalence of diabetes across quintiles of balanced pattern scores. The results show that dietary patterns based on carbohydrate nutrition are associated with prevalence of dyslipidemia and diabetes in the Korean adult population.

• The International Journal of Costume Culture
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• 제6권1호
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• pp.38-51
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• 2003

Peking Opera, one of a representative Chinese dramas, is a synthesis of drama and stage art. Peking Opera's stage costume was set up in Qing dynasty though its style was embellished with mainly Ming dynasty's clothing style. The special patterns in the clothing were very important because they classified social rankings. There are two kinds of roles in Peking Opera. Sheng stands for male roles and Dan stands for female roles though Dan had traditionally been acted by male actors with female attire until the ruling of the People's Republic of China. There are five different kinds Peking Opera's stage costume. First, Mang is a formal dress for kings and generals. It is a very delicate long Po with special patterns. It has several names depending on the color and shape of a dragon. Second, Pee is a casual attire for kings, government officials, and their families. It is also a long Po with front opening and symmetrical neckline. Third, Kao is an armor of warrior which is made not for protection in a real war but for ornament of a formal dress. Kao reflects the wearer's authority when the wearer stays still, but it is a comfortable clothing for big dancing moves once the wearer starts dancing. The wearer puts a banner into the shoulder to alarm tension of a war. Fourth, Cheup is an outfit that one wears the left part adjust to the top. There are different lengths of Cheup and it has a straight neckline. There are twenty-one different kinds of Cheup according to its shape and color. Last, Yi is name for the rest of Peking Opera's stage costume other than Mang, Pee, Kao, and Cheup.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• Structural Engineering and Mechanics
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• 제74권5호
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• pp.679-698
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• 2020

In this paper, the meshless local Petrov-Galerkin (MLPG) method is developed for dynamic analysis of non-symmetric nanocomposite cylindrical shell equations of elastic wave motion with nonlinear grading patterns under shock loading. The mechanical properties of the nanocomposite cylinder are obtained based on a micro-mechanical model. In this study, four kinds of grading patterns are assumed for carbon nanotube mechanical properties. The displacements can be approximated using shape function so, the multiquadrics (MQ) Radial Basis Functions (RBF) are used as the shape function. In order to discretize the derived equations in time domains, the Newmark time approximation scheme with suitable time step is used. To demonstrate the accuracy of the present method for dynamic analysis, at the first a problem verifies with analytical solution and then the present method compares with the finite element method (FEM), finally, the present method verifies by using the element free Galerkin (EFG) method. The comparison shows the high capacity and accuracy of the present method in the dynamic analysis of cylindrical shells. The capability of the present method to dynamic analysis of non-symmetric nanocomposite cylindrical shell is demonstrated by dynamic analysis of the cylinder with different kinds of grading patterns and angle of nanocomposite reinforcements. The present method shows high accuracy, efficiency and capability to dynamic analysis of non-symmetric nanocomposite cylindrical shell, which it furnishes a ground for a more flexible design.

• 대한지역사회영양학회지
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• 제12권1호
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• pp.106-113
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• 2007

The purpose of this study was to classify noodle meals into a few groups according to their menu patterns and cooking methods from the 318 noodles and Ttokgook menus of 360 elementary school foodservices around Busan and Gyeongnam province. Noodle meals with high frequency were also analyzed by season and region to give information for menu planning and to improve elementary school foodservices. The menus were collected from the internet(http://www.kdclub.com) and the home pages of elementary schools between December 2004 and September 2005. Taking all kinds of noodle meals together, the serving frequencies were significantly different among regions, but were not different from season to season. Three different menu patterns were revealed from the collected noodle menus. The most frequently served menu pattern was 'main dish+starchy food & dessert+fruit & beverage+kimchi'. Gooksu, Ttokgook, Udong, and Kalgooksu meals were served with this menu pattern. The menu pattern of Jajangmeon meal was 'main dish+side-dish+starchy food & dessert+fruit & beverage+(kimchi)'. For the Bibimmeon and the spaghetti meals 'main dish+soup+starchy food & dessert+fruit & beverage+kimchi' was used. Ttigim, Danmugy, Saengchae, and chicken were frequently selected as side dishes in the overall noodle menus. More side dishes of a wide variety were served in Ttokgook meal, whereas Danmugy was the most preferred food item as a side dish with Jajangmeon and Udong meals. Comdog, Mandu, Ttok, Matang, and doughnut were preferred food items as a 'starchy food & dessert' with most kinds of noodle meals, except spaghetti with which only garlic-bread was served. The fruit and beverage items were not different with the majority of noodle meals. These results suggest that cost food habits, compatible flavor combinations, and food preference of children rather than nutritional considerations contributed to the selection of food items for the components of noodle meals in the school foodservices.

• 복식
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• 제62권1호
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• pp.90-103
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• 2012

Felt, is one of the Korean traditional woolen fabrics, that is thermally excellent and durable, so it has been widely used for various living goods from the ancient time to the modern society. Felt makes various changes in colors and shapes, does not change easily even after a long-term use, and is easy to clean. In this study, the origin and history of felt were researched. Also, different kinds and shapes of felt and the currently used manufacturing technique, and how the Korean traditional pattern-applied cultural products were developed using felt were examined as well. The method of this study were as follows. First, felt manufacturing techniques used after investigating the precedent studies, books, records and literatures of museums, the existing relics of felt were examined. Second, the conditions of the traditional pattern-applied cultural products were found out through the precedent studies after examination of kinds and symbols of the Korean traditional patterns. Third, patterns that were applied to cultural products were selected and designed with new patterns. Fourth, the past techniques were conducted with the following three methods by referring to the range of cultural products manufacturing; )color felt made with one color, pattern felt, and pattern-embroidered felt. Fifth, the following products combined with decoration and practical application by applying felt techniques were used. This study was aiming at the development of practical cultural products made with the traditional wool, felt, which can receive a good response from all age groups. It is allegedly required to develop various cultural products through studies and the rediscovery of the national traditional materials. In the future, it is necessary to study in such a way that diversification and differentiation are made through approaches and attempts with various techniques.