• 한국생활과학회지
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• 제13권4호
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• pp.617-623
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• 2004

This research studies how a rain coat (兩衣) had developed in ancient China by searching through historic records. It can be said that people in ancient China wore two kinds of rain coats: straw coat and oiled-cloth coat (油衣). Straw coat was originally used in the Spring and Autumn and Warring States period. Then, people used natural grasses to make it. As the overall production had increased, various kinds of rain coats began to appear in Tang (唐) Dynasty, and the straw coat itself became elaborate. In Song (宋) and Yuan (元) Dynasty, the straw coat was used for the army, and when it came to be Ming (明) and Qing (淸) age, wearing it was considered a symbol of hermit. The straw coat shows the early form in the history of clothing, which was mostly put on by the poor. The material for straw coat was the grass which grows up in wet land area. People in the city and in the country had worn the straw coat for a long time. As foreign cultures were introduced, however, it disappeared first in cities and later in the country. The oiled-cloth coat was another of the kind. Its major material was water-proofed silk in the Qin(泰) and Han(漢) Dynasty. Also, it was a favorite of an emperor or aristocrats. Common people put on straw coat until the time the western rain coat was introduced and accepted in Qing Dynasty.

• 아시안잔디학회지
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• 제18권1호
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• pp.29-36
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• 2004

The efficient refinement of seed is required to reduce the cost and labor input in artificial propagation of wild plant. This study was carried out to develop methods for collecting and refining tiny seeds from wild plants. For obtaining Phragmites communis seeds, the inflorescence was cut into small fragments using a Straw Cutter and subsequently detached pappus hairs from seed coat by Hammer Mill. The primary refined seeds were passed 1.0 mm sieve. The screened seeds were subjected to Seed Blower with wind speed of 0.25 mㆍsec-1 to collected intact and well-ripen seeds. The seeds of Imperata cylindrica were refined as follows. Inflorescences were cut using a Straw Cutter first. The pappus was removed from cut fragments using a Hammer Mill and subsequently subjected to Seed Scarifier at 500rpm for 60 sec. for further separation. The separated seeds were passed 1.0 mm screen and collected after blowing with Seed Blower of wind speed of 0.15 mㆍsec-1. When the amount of seed was too little to refine with Seed Scarifier and Blower, the procedure was slightly modified from the procedure described above. The crude seed mixture obtained from Hammer Mill step was hand-refined roughly and then immersed into cone. (95%) sulfuric acid for 2 min. and collected floating portion after dilution of sulfuric acid solution 100 times with tap water. The collected seeds were dried and passed 0.149 mm sieve. During seed refining process using mechanical or sulfuric acid treatments, a small portion of damaged seed were evolved, however, the amount was not noticeable as compared to the total amount of collected seeds. Because the germination percentages between hand-refined seeds and seeds refined by above methods were not statistically different, the developed procedures for refining tiny seed of wild plants are helpful to reduce the cost and labor input in artificial propagation of two species.

• 복식
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• 제58권9호
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• pp.114-128
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• 2008

The current study aims to classify types of traditional fur Garments in Jeju into Dusik(hat), dress, Jokui(socks) and accessaries, and examine characteristics of them through demonstrative study focusing on collections of museums in Jeju. Dusik is a kind of hat for protection against the cold, and there are badger leather Gamtaes and cow hair Beonggeojis(fur hats). Especially leather gamtae was used to protect against the cold when people hunted roe deers in Mt. Halla. Beonggeoji was producted in the form of felt with fine hair collected coat-shedding of cows and dogs in spring, therefore it was too warm and practical to be damaged from storm or pressure. Fur coat is a general name of dress made of leather without hair. It is a kind of clothes with a hat worn while taking care of horses and cows. Also people wore dog leather topcoats and cow leather topcoats when they hunted in Mt. Halla. As for Jokui, there are leather Beoseon(socks) made of cow leather, leather shoes in the form of straw shoes, and leather Balle embracing the low half of the body warmly. Accessaries include a rectangular cow leather bag for storing an iron piece for making fire. These traditional fur robs in Jeju not only have practicality for protection against the cold, but also symbolized richness by using leathers of badgers, roe deers, etc. that were previous during that times. Also they used partially cut leather for decoration at the edge.

• 복식문화연구
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• 제12권3호
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• pp.455-467
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• 2004

The purpose of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in classical novel 'Shimchungjun' focusing on the woman's costume through the antique records and tombs bequests. Titled ladies for royal family put on 'Wooimkyoryong' and 'Sungun' as a petticoat when the ladies of Song period rode on horses. The underskirt played a part to swell a skirt for ladies. 'Bakjueui' and 'Hwangsangi' were ordinary clothes ranging from ladies of loyal family to women. The red color was limited to royal family. The ordinary clothes of women were white ramie clothes commonly and floral patterned clothes were prohibited to the ordinary clothes for women. 'Ko', a breast-tie (breast ribbon) of a Korean coat, was made of silk and women wear as an outer garment. The common people will wear 'Ko' of white ramie clothes which was very active items. The ladies of royal family and women put on shoes made of white ramie clothes, but the full dress of queen wore blue boots made of leather. The noble women wore 'Suk'(boots) made of deer skin and common people wore straw shoes regardless of gender and age. Sometimes they wore 'Woopihye' made of cowhide. In the first of Koryo era, the styles of dress were consisted of 'Monso', 'Eui', 'Po', 'Dae', 'Koh', 'Sang', 'Sungkun' and 'Kangnang'. The structure of costume for women made little difference and there was a great difference with decoration.

• 복식
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• 제38권
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• pp.305-321
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• 1998

The costume style of the Chosun dynasty changed greatly after Imjinwaeran (the Japanese Invasion of Chosun Korea, 1592∼1598). Most of the extant costumes come from the late Chosun, but some costumes produced be-fore Imjinwaeran have been excavated, and in addition, information on these older constumes is contained in contemporary literature. Of especial value in the study of pre-Imjinwaeran Chosun constumes is a mid-sixteenth century palace painting depicting the worship of Buddha, a painting in the collection of the Ho-Am Art Museum in Seoul. The present study of costume during the middle Chosun dynasty focuses on this painting, and compares it with other contemporary palace paintings, and with other contemporary palace paintings, and with Nectar Ritual Paintings. The following conclusion were drawn : * Concerning woman's hair styles of the time, married women wore a large wig. Un-married women braided their hair, and then either let it fall down their back or wore it coiled on top of their head. * The major characteristic of woman's costumes was a ample, tube-like silhouette, with the ratio of the Jeogori(Korean woman's jacket) and skirt being one-to-one. * The style of Jeogori in the painting was like that of excavated remains. Some Jeogoris were simple (without decoration), while some Jeogoris were worn with red sashes. Here we can confirm the continuity of ancient Korean costumes with those of the sixteenth century * Although the skirt covered the ankles, it did not touch the ground. Because the breadth of the skirt was not wide, it seems to have been for ordinary use. Colors of skirts were mainly white or light blue. * All men in the painting wore a headdress. Ordinary men, not Buddhist monks, wore Bok-du (headstring), Chorip (straw hat), or Heuk-rip (black hat). In this painting, men wore a Heukrip which had a round Mojeong (crown). * The men wore sashes fastened around their waist to close their coats, which was different from the late Chosun, in which men bound their sashes around their chest. That gave a ration of the bodice of the coat to the length of the skirt of one-to-one, which was consistent with that of woman's clothing. * In this painting, we cannot see the Buddhist monk's headdress that appeared later in the Chosun, such as Gokkal (peaked hat), Songnak (nun's hat), and Gamtu (horsehair cap). These kinds of headdresses, which appeared in paintings from the seventeenth century, were worn widely inside or outside the home. Buddhist monks wore a light blue long coat, called Jangsam (Buddhist monk's robe) and wore Gasa (Buddhist monk's cope), a kind of ceremonial wrap, round their body. We can see that the Gasa was very splendid in the early years of the Chosun dynasty, a continuing tradition of Buddhist monk's costumes from the Koryo dynasty.