• Journal of Physiology & Pathology in Korean Medicine
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• v.18 no.2
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• pp.571-574
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• 2004

Effects of the Cheonggansoyo-san added Injinwiryeong-tang on recovery from damaged-liver and mental-faculty improvement in alcoholism were studied using male Sprague-Dawley rats, The rats were assigned into 4 groups; normal, control and CIX group. Control group administered ethanol(25 v/v %) at a dose 3 g/kg, while CIX group administered the water extract of Cheonggansoyo-san added Injinwiryeong-tang (CIX) 30 min before treating same dose of ethanol as control group for 10 days, orally. The GOT and GPT activities of rats were checked by Reitman & Frankel method, and all groups were subjected to trials of straight channel on the 1 st day and to those of multiple T-maze during the following 3 days. The GOT and GPT activities were increased in control group, but decreased in CIX group significantly. The time required in normal group for the straight channel of the 2nd and 3rd trials was significantly shorter than that of the 1 st, while the control group showed no significance. In the time required for the multiple T-maze trials, the control group showed no significance. But in the straight or T-maze trials, the CIX group showed significant decrease in the time required against the control group.

• Journal of the Korean Society of Costume
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• v.52 no.1
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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.