• Journal of the Korean Applied Science and Technology
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• v.41 no.1
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• pp.69-82
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• 2024

The purpose of this study was to systematically evaluate and compare the effects of 640 nm LED irradiation and aromatherapy on the skin condition of the neck. Twenty female participants were divided into Group A (640 nm LED irradiation + aromatherapy) and Group B (640 nm LED irradiation only). Total of 8 experiments were conducted on the 2 groups twice a week. As a result of the experiment, moisture content was significantly improved in both group A (p<0.01) and group B (p<0.001), and wrinkle index was significantly improved in both group A (p<0.01) and group B (p<0.05). Additionally, the change in skin density was significantly improved in both group A (p<0.001) and group B (p<0.05), and the change in elasticity was significantly improved in both group A (p<0.001) and group B (p<0.001) as well. However, the change in skin tone was not significant in group A (p>0.05), but the change was drastically improved in group B (p<0.05). Blemishes and pigmentation changes were significantly improved in group A (p<0.05), but was not significant in group B (p>0.05). These results conclude that combining aromatherapy with 640 nm LED irradiation can be highly effective in improving skin condition of the neck.

• Korean Journal of Acupuncture
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• v.26 no.3
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• pp.13-25
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• 2009

Objectives : This study was performed to investigate acupoints and muscles used for cosmetic acupuncture. We want most clinicians practicing cosmetic acupuncture to understand theoretical background well and to treat cosmetic diseases more diversely by this paper. Methods : We collected useful informations from some books and websites about cosmetic acupuncture and thus could select major acupoints and muscles. Conculsions : The most frequently used acupoints for cosmetic acupoints are as follows ; LI20, ST1, ST2, ST3, ST4, ST5, ST6, ST7, ST8, SI18, SI19, BL1, BL2, BL3, BL4, TE17, TE18, TE19, TE20, TE21, TE22, TE23, GB1, GB2, GB3, GB4, GB5, GB6, GB7, GB8, GB13, GB14, GV20, GV21, GV22, GV23, GV24, GV25, GV26 and CV24. And head and neck muscles including SCM muscle, plastyma, frontalis, corrugator supercilii, orbicularis oculi, auricularis, temporalis, masseter, pterygoid, zygomaticus and risorius can be used for cosmetic acupuncture. Most acupoints and muscles are located in face and head, which seemed to be concerned with formation of face wrinkles.

• Korean Journal of Acupuncture
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• v.30 no.3
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• pp.171-177
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• 2013

Objectives : The purpose of this study is to investigate the mechanism of Cosmetic Acupuncture through reinterpretation of anatomy and physiology. Methods : The causes of wrinkle increases and rapid aging of facial skin were studied and the theoretical system of Cosmetic Acupuncture treatment was analyzed through anatomy and physiology reinterpretation. Results and Conclusions : An increase in wrinkles and rapid aging of facial skin is caused by xerosis. Skin condition represents the condition of subcutaneous muscle. The reason why skin becomes easily dry is the heat produced by craniofacial part. Craniofacial part always generates lot of physiological fever because of the muscles. This physiological fever is produced from the muscles that are responsible for maintaining skull suture, controlling the movement of temporomandibular joint, maintaining head and neck posture. Controlling this fever is the crux of Cosmetic Acupuncture mechanism. These muscles correspond to Foot Taeyang meridian-muscle, Foot Soyang meridian-muscle and Foot Yangmyung meridian-muscle. Cosmetic Acupuncture is effective for preventing facial skin from aging and wrinkle increase by mechanical stimulus on facial muscles, and for controlling craniofacial part meridian-muscle system producing the heat.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.73-87
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• 2012

The purpose of this study is to find the Dart Manipulation with good fitting and evaluate the aesthetics of Dart Manipulation that is used in the designs of the original tops for women in their 30's. Subsequently, it suggests dart manipulation with good body fitting and physical fitness when designing original tops. The findings of this study are as follows. First, in the fitting of Dart Manipulation for different body types, cross direction Dart Manipulation received good marks in the Square Body Type while mixed direction and diagonal direction Dart Manipulation received high evaluation in the Standard Body Type. Also, for the Reverse Triangle Body Type, mixed direction Dart Manipulation received high marks. Since there are only small changes in fitting for the Square Body Type, the position of Dart Manipulation should be determined in regards to the aesthetic view as well as the fitting of the Standard Body Type and Reverse Triangle Body Type. Second, in the fitness of Dart Manipulation for different body types, an approach from the aesthetic view should be considered for Square Body Types because of the differences in fitness according to the position of dart manipulation. The fitness should be considered when positioning Dart Manipulation for the Standard Body Type and Reverse Triangle Body Type because of these differences. Third, for the greater variance of drop for these different body types, the change of the amount of dart received lower evaluation in fitting since the amount of dart increased when the dart was located higher than B.P. The number of dart should likely increase when gathering or tucking is necessary when there is an excessive amount of dart in Dart Manipulation for the different body types. Fourth, as for the changes of wrinkles in accordance with the body type, wrinkles were likely to be formed at the breast or neck area when there was a larger difference in drop. To prevent such problems, one more dart should be made on the wrinkle. In conclusion, the study suggests designing the original top with a better look and comfort by setting the balance between aesthetics and fitting in the design stage.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.468-479
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• 2019

This study used a three-dimensional-analysis method to quantitatively analyze the change of clothing appearance according to a gusset added to bodice and sleeve patterns for men in their twenties. Comparing six different patterns, the study found that patterns P1 and P2 with little gusset did not have a large difference in the strain map, and pattern P6 had no gusset in the motion of raising the arm $28^{\circ}$ to the side (M1). When the arm was raised $45^{\circ}$ to the side (M2), the P1 pattern had the smallest deformation, and only the P5 pattern had a large deformation from the neck to the armhole area. In contrast, except for in the P3 pattern, large wrinkles formed in the front and back when the arm was raised above $158^{\circ}$ (M3) from the side of the waist to the armpit. In addition, P3 had the smallest change in the hem of the bodice and sleeves. However, the appearance of P2, P3, and P5 was excellent when the arm was moved forward (M4), and the P2 and P5 patterns were the smallest at the bodice and sleeve hem. The P6 pattern showed the least fitness in terms of function. In the case of raising the arm, there was a strong correlation between gusset size and motion function, but when the motion of the arm changed, the motion function did not improved just by changing the ease size.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Journal of the Korean Academy of Esthetic Dentistry
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• v.24 no.1
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• pp.4-12
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• 2015

Purpose: Due to the presence of various muscles around lips, variety of facial expression can be made and changes from aging process such as wrinkles can develop on the facial skin by the action of multiple muscles. In animals, skin and muscles are developed in the entire body. On contrast, they are well developed only in the face and just one is present in the neck and the palm. Alar band was defined as outer wrinkle formed by zygomaticus minor muscle, which is common in Koreans. This study aimed to investigate clinical prevalence of alar band. Materials & Methods: Subjects were chosen from 780 new patients who visited private clinic in Gyeonggi province for orthodontic treatment. Presence of alar band was examined from the smile extraoral photos. Correlation among skeletal form, lip protrusion, gender, and age were evaluated. Results: Prevalence of alar band was higher in women (27.9%) than in men (18.5%) with statistical significance (p<0.05). With respect to age, prevalence of alar band was 19.4% in age 0-9 y, 16.9% in age 10-19 y, 31.2% in age 20-29 y, 39.5% in age 30-39, 56.5% in age 40-49. Prevalence was gradually increased from patients in their 20s to patients in their 40s and statistical significance was found (p<0.001). Concerning SN_NP, prevalence was 26.2% in normodivergent facial type, 22.0% in hyperdivergent facial type, and 32.2% in hypodivergent facial type. Hypodivergent facial group had higher prevalence but statistical significance was not observed. Statistically significant difference was not found regarding upper lip. However, prevalence of the alar band was 26% in patients with normal lower lip, 14.7% in patients with pretruded lower lip, and 33.3% in retruded lower lip. The prevalence was higher in patients with retruded lower lip with statistical significance (p<0.05). Conclusions: 27.8% on previous anatomical study and this study showed 27.8% prevalence of alar band in clinical smile photographs. Clinical photograph study showed that alar band was more prominent in women, older people, and people with retruded lips with statistical significance. This will provide valuable diagnostic information for esthetic consideration.