• Journal of Fashion Business
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• v.23 no.2
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• pp.62-76
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• 2019

The importance of color is increasing in modern life and we call such present age that is 'color age'. These day that all areas of life are being getting fashionize, ordinary people as well as design specialist are required of culture and knowledge about color. Color design education is important curriculum at liberal arts course and in special design trainning course. Color expresses by hue, value and chroma in Munsell color system. But design spot is using mainly hue and tone color system. Therefore it is very important that educate tone concept in color design education. When think influence that increase of color, we must develop hue and tone color system in suitable for color design education. This research designed usable 'Hue and Tone 313 Colot System' for efficeint sensual color education. Also I designed 313 color papers with attached the Munsell notation which could reappear the spare color paper when needed. The 10 hues classification of this system are Red, Yellow Red, Yellow, Green Yellow, Green, Blue Green, Blue, Purple Blue, Purple, Red Purple. The 19 tones classification of this system are vivid, light, standard, deep, pale, soft, dull, dark, very pale, light grayish, medium grayish, dark grayish, very dark, off White, off Pale, off Light Gray, off Medium Gray, off Dark Gray, off Black. The special colors of this system are gold, silver and copper.

• Journal of Conservation Science
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• v.36 no.6
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• pp.519-532
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• 2020

This study aimed to interpret the coloring materials recorded in the ceremonial writing with the scientific investigation results of the Hanging Painting of the Chiljangsa Temple (Five Buddhas). The results confirm that the Jinboon, Joohong, Hwangdan, Hwanggeum and Seokjahwang are clearly connected to lead white, cinnabar, minium, gold, and orpiment, respectively. Danghayeop and samrok are related to Copper trihydroxychloride, while Daecheong and Joongcheong are azurite, and they seems to be classified by the particle size. Yeonji and Chunghwa are organic dyes in red and blue, respectively, with blue confirming the existence of the side, but Yeonji differs from the names of the ancient texts and Chinese characters; it is unclear whether it is a commonly used Yeonji because of differences in the names of the ancient texts. The presence of Sootohwang has not been confirmed in the gwaebultaeng, but it can be extracted from the soil as a yellow-colored material but the possibility of Deunghwang cannot be ruled out.

• Korean Journal of Plant Resources
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• v.32 no.5
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• pp.486-498
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• 2019

This study was conducted to investigate the leaf growth and flowering characteristics of 85 Hosta cultivars. The 85 cultivars were grown in a pot in Useful Plant Resources Center in Yangpyeong, Korea. H. 'Abiqua Blue Crinkles', H. 'Abiqua Drinking Gourd', H. 'Dancing in the Rain', H. 'Elegance', H. 'Inniswood', and H. 'Venus' were classified as a large size group (> 50 cm), while 27 cultivars including H. 'Abby', H. 'Birchwood Parky's Gold', H. 'Blue Cadet', and H. 'Blue Edge' were classified as a small size group (< 20 cm). The others were classified as a medium size groups. 79% of Hosta cultivars had leaf variegation. Leaf variegation type was divided into 5 types (standard, marginata, mediovarigata, albomaculata, striata). Among them 31 cultivars including H. 'Abby', H. 'Abiqua Moonbeam', and H. 'Atlantis' has a variegation type of marginata in the leaf. 36 cultivars including H. 'Abby', H. 'Abiqua Drinking Gourd', and H.'Abiqua Moonbeam' bloomed in late May and 9 cultivars including H. 'Black Hills', H. 'Boeun', and H. 'Fragrant Bouquet' started to flower on late August. Most flowers were below 3.0 cm in length, while H. 'Avocado' was longest on 10.0 cm. Most flowers have a lavender color group (63.5%), and 14 cultivars of Hosta showed white color group (16.5%). 12 cultivars including H. 'Blue Mouse Ears', H. 'Captain Kirk', and H. 'Fragrant Bouquet' had the fragrance in their flowers. H. 'Cherry Berry' and H. 'Revolution' had a colorful stalk, red and yellow, respectively.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• Economic and Environmental Geology
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• v.40 no.6
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• pp.713-726
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• 2007

The Daebong deposit consists of gold-silver-bearing mesothermal massive quartz veins which fill fractures along fault zones($N10{\sim}20^{\circ}W,\;40{\sim}60^{\circ}SW$) within banded gneiss or granitic gneiss of Precambrian Gyeonggi massif. Ore mineralization of the deposit is composed of massive white quartz vein(stage I) which was formed in the same stage by multiple episodes of fracturing and healing and transparent quartz vein(stage II) which is separated by a major faulting event. The hydrothermal alteration of stage I is sericitization, chloritization, carbonitization, pyritization, silicification and argillization. Sericitic zone occurs near and at quartz vein and includes mainly sericite, quartz, and minor illite, carbonates and epidote. Chloritic zone occurs far from quartz vein and is composed of mainly chlorite, quartz and minor sericite, carbonates and epidote. Fe/(Fe+Mg) ratios of sericite and chlorite range 0.36 to 0.59($0.51{\pm}0.10$) and 0.66 to 0.73($0.70{\pm}0.02$), and belong to muscovite-petzite series and brunsvigite, respectively. Calculated $Al_{IV}-Fe/(Fe+Mg)$ diagrams of sericite and chlorite suggest that this can be a reliable indicator of alteration temperature in Au-Ag deposits. Calculated activities of chlorite end member are $a3(Fe_5Al_2Si_3O_{10}(OH){_6}=0.00964{\sim}0.0291,\;a2(Mg_5Al_2Si_3O_{10}(OH){_6}= 9.99E-07{\sim}1.87E-05,\;a1(Mg_6Si_4O_{10}(OH){_6}=5.61E-07{\sim}1.79E-05$. It suggest that chlorite from the Daebong deposit is iron-rich chlorite formed due to decreasing temperature from $T>450^{\circ}C$. Calculated $log\;{\alpha}K^+/{\alpha}H^+,\;log\;{\alpha}Na^+/{\alpha}H^+,\;log\;{\alpha}Ca^{2+}/{\alpha}^2H^+$ and pH values during wall-rock alteration are $4.6(400^{\circ}C),\;4.1(350^{\circ}C),\;4.0(400^{\circ}C),\;4.2(350^{\circ}C),\;1.8(400^{\circ}C),\;4.5(350^{\circ}C),\;5.4{\sim}6.5(400^{\circ}C)\;and\;5.1{\sim}5.5(350^{\circ}C)$, respectively. Gain elements (enrichment elements) during wallrock alteration are $K_2O,\;P_2O_5,\;Na2O$, Ba, Sr, Cr, Sc, V, Pb, Zn, Be, Ag, As, Ta and Sb. Elements(Sr, V, Pb, Zn, As, Sb) represent a potentially tools for exploration in mesothermal and epithermal gold-silver deposits.

• Economic and Environmental Geology
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• v.36 no.6
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• pp.391-405
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• 2003

The Daebong gold-silver deposit consists of mesothermal massive quartz veins thar are filling the fractures along fault shear (NE, NW) Bones within banded or granitic gneiss of Precambrian Gyeonggi massif. Based on vein mineralogy, ore textures and paragenesis, ore mineralization of this deposits is composed of massive white quartz vein(stage I) which was formed in the same stage by multiple episodes of fracturing and healing, and transparent quartz vein(stage II) which is separated by a major faulting event. Stage I is divided into the 3 substages. Ore minerals of each substages are as follows: 1) early stage I=magnetite, pyrrhotite, arsenopyrite, pyrite, sphalerite, chalcopyrite, 2) middle stage I=pyrrhotite, arsenopyrite, pyrite, marcasite, sphalerite, chalcopyrite, galena, electrum and 3) late stage I=pyrite, sphalerite, chalcopyrite, galena, electrum, argentite, respectively. Ore minerals of the stage II are composed of pyrite, sphalerite, chalcopyrite, galena and electrum. Systematic studies (petrography and microthermometry) of fluid inclusions in stage I and II quartz veins show fluids from contrasting physical-chemical conditions: 1) $H_2O-CO_2-CH_4-NaCl{\pm}N-2$ fluid(early stage I=homogenization temperature: 203∼3$88^{\circ}C$, pressure: 1082∼2092 bar, salinity: 0.6∼13.4 wt.%, middle stage I=homogenization temperature: 215∼28$0^{\circ}C$, salinity: 0.2∼2.8 wt.%) related to the stage I sulfide deposition, 2) $H_2O-NaCl{\pm}CO_2$ fluid (late stage I=homogenization temperature: 205∼2$88^{\circ}C$, pressure: 670 bar, salinity: 4.5∼6.7 wt.%, stage II=homogenization temperature: 201-3$58^{\circ}C$, salinity: 0.4-4.2 wt.%) related to the late stage I and II sulfide deposition. $H_2O-CO_2-CH_4-NaCl{\pm}N_2$ fluid of early stage I is evolved to $H_2O-NaCl{\pm}CO_2$ fluid represented by the $CO_2$ unmixing due to decrease in fluid pressure and is diluted and cooled by the mixing of deep circulated meteoric waters ($H_2O$-NaCl fluid) possibly related to uplift and unloading of the mineralizing suites. $H_2O-NaCl{\pm}CO_2$ fluid of stage II was hotter than that of late stage I and occurred partly unmixing, mainly dilution and cooling for sulfide deposition. Calculated sulfur isotope compositions ({\gamma}^{34}S_{H2S}$) of hydrothermal fluids (3.5∼7.9%o) indicate that ore sulfur was derived from mainly an igneous source and partly sulfur of host rock. Measured and calculated oxygen and hydrogen isotope compositions ({\gamma}^{18}O_{H_2O}$, {\gamma}$D) of ore fluids (stage I: 1.1∼9.0$\textperthousand$, -92∼-86{\textperthansand}$, stage II: 0.3{\textperthansand}$, -93{\textperthansand}$) and ribbon-banded structure (graphitic lamination) indicate that mesothermal auriferous fluids of Daebong deposit were two different origin and their evolution. 1) Fluids of this deposit were likely mixtures of $H_2O$-rich, isotopically less evolved meteoric water and magmatic fluids and 2) were likely mixtures of $H_2O$-rich. isotopically heavier $\delta$D meteoric water and magmaticmetamorphic fluids.

• Economic and Environmental Geology
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• v.48 no.2
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• pp.103-114
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• 2015

Jinsan gold deposit is a hydrothermal vein type deposit consisting of several fissure filling quartz veins developed within the Changri Formation of the Ogcheon Supergroup in Geumsan, Chungnam. This study is to provide an efficient exploration and development strategies based on the characteristics of the geology, geological structure, core logging, and ore vein occurrence and grade for the four pits (New pit, Main pit, Yanghapan pit and Teugho pit). Quartz veins are mostly developed with the strike of $N10^{\circ}-25^{\circ}W$ and $N5^{\circ}-20^{\circ}E$, and the thickness is in the range of 0.1~0.5 m, sometimes extending to over 1m. Although the quartz veins commonly form massive shape, they sometimes show zonal structure, comb structure as well as brecciated texture. Major ore minerals are pyrite and chalcopyrite, and pyrrhotite, sphalerite, galena, marcasite, electrum and chalcocite are also accompanied as minor phases. Gray and milky white quartz veins, which are occasionally crosscut by calcite vein, also include fluorite. Ore evaluations for the 22 samples revealed that the samples from the pits generally have very low Au contents, lower than 1 g/t, but some clay samples of drilled core show very high Au concentrations, up to 141 g/t, indicating that Au content is much higher within fault gouges rather than within fresh quartz veins. This may represent that gold might have been reworked and reprecipitated by hydrothermal fluids in association with reactivation of the faults, and thus suggest that ore occurrence in this deposit is very complex and irregular and therefore more precise and systematic exploration is required.

• Journal of the Korean Society of Food Science and Nutrition
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• v.41 no.2
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• pp.221-226
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• 2012

For the investigation of a possibility as a useful functional material, 6 cultivars (Takinosawa Gold, Kawanakawase Hakuto, Madoka, Yumefuji, Nagasawa Hakuho, Hong Bak) of Prunus persica L. Batsch were studied at unripe stage to determine the physicochemical properties and chemical compositions. The cultivars were picked in late May, and all samples were analyzed for external properties, physicochemical properties, pH, Brix value, Hunter's color value, hardness, vitamin C, and reducing sugar. The size of the fruit from all six cultivars was compared, and it was determined that cultivars, fruit from Madoka was the largest, while that from Yumefuji was the smallest. Comparing fresh weight, the fruit from Yumefuji was lowest in moisture contents (89.13~89.96%), and that from Nagasawa Hakuho had significantly higher crude protein (1.02~1.62%). The contents of crude lipids (0.18~0.23%) and carbohydrates (8.00~9.35%) were not significantly different between cultivars and Madoka included higher crude ash contents (0.32~0.69%) than other cultivars. The pH of 6 cultivars from unripe peaches were significantly higher from Kawanakawase Hakuto, and the Brix value was also highest from Kawanakawase Hakuto, followed by Yumefuji, Madoka, Nagasawa Hakuho, Takinosawa Gold, and Hong Bak. In chromaticity, the L value, the indicator of brightness, was significantly higher in fruit from Nagasawa Hakuho. The a value, the indicator of redness, was the highest with Hong Bak and overall lower than -5. The b value, the indicator of yellowness, was the highest in fruit from Madoka and ranged from 16.51 to 18.33. In physical characteristics, the hardness of the unripe peaches was the highest in fruit from Hong Bak, and overall, white peaches have a higher hardness value than yellow peaches. The vitamin C content of the fruit didn't show any significant differences between cultivars, and the reducing sugar showed a higher percent than 6.34% in fruit from all cultivars. These results suggest that unripe peaches were commensurate with the development of natural pigment and as a functional foods.