• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.738-754
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• 2020

As a cultural feature of, the relics of the Royal Tomb of King Muryeong are suitable design content for applying with sophisticated production and delicate molding laser cutting techniques. The purpose of this study is to develop modern bag designs using relics of the Royal Tomb of King Muryeong of Baekje using laser-cutting techniques. First, the historical background and meaning of Baekje's cultural content were explored. Second, the principle of laser-cutting techniques were explored, laser-cutting techniques applied to modern fashion and bag design were examined, and bag design characteristics were analyzed. Third, based on prior research, the criteria for the development of bag design, from which eight bag design were developed that combine modern popularity and functionality utilizing Baekje cultural content and using laser-cutting techniques to apply the textile design developed by researchers in 2013 (modified to match laser-cutting techniques). The research results show that bag were clutch, tote, shoulder, and mini. Gold, silver, brown, beige, and navy colors were arranged, based on black/white contrast. Cow, lambskin, washed snakeskin, mesh, and Saffiano leather were used. For the pattern-applying technique, this study showed that a new digital technique, which is laser-cutting techniques could be combined with contemporary bag designs. Moreover, a bag design was developed that has a modern sense and functionality as well as Korean formativeness, which is significant.

• Korean Journal of Mineralogy and Petrology
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• v.34 no.1
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• pp.1-14
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• 2021

The Unsang gold deposit has been one of the three largest deposits (Daeyudong, Kwangyang) in Korea. The geology of this deposit consists of series of host rocks including Precambrian metasedimentary rock and Jurassic Porphyritic granite. The deposit consists of Au-bearing quartz veins which filled fractures along fault zones in Precambrian metasedimentary rock and Jurassic Porphyritic granite, which suggests that it is an orogenic-type deposit. Quartz veins are classified as 1) galena-quartz vein type, 2) pyrrhotite-quartz vein type, 3) pyrite-quartz vein type, 4) pegmatic quartz vein type, 5) muscovite-quartz vein type and 6) simple quartz vein type based on mineral assembles. The studied quartz vein is pyrite-quartz vein type which occurs as sericitization, chloritization and silicification. The white mica from stylolitic seams of laminated quartz vein occurs as fine or medium aggregate associated with white quartz, pyrite, chlorite, rutile, monazite, apatite, K-feldspar, zircon and calcite. The structural formular of white mica from laminated quartz vein is (K0.98-0.86Na0.02-0.00Ca0.01-0.00Ba0.01-0.00 Sr0.00)1.00-0.88(Al1.70-1.57Mg0.22-0.09Fe0.23-0.10Mn0.00Ti0.04-0.02Cr0.01-0.00V0.00Ni0.00)2.06-1.95 (Si3.38-3.17Al0.83-0.62)4.00O10(OH2.00-1.91F0.09-0.00)2.00. It indicated that white mica of laminated quartz vein has less K, Na and Ca, and more Si than theoretical dioctahedral micas. Compositional variations in white mica from laminated quartz vein are caused by phengitic or Tschermark substitution [(Al3+)VI+(Al3+)IV <-> (Fe2+ or Mg2+)VI+(Si4+)IV] and direct (Fe3+)VI <-> (Al3+)VI substitution. The structural formular of chlorite from laminated quartz vein is((Mg1.11-0.80Fe3.69-3.14Mn0.01-0.00Zn0.01-0.00K0.07-0.01Na0.01-0.00Ca0.04-0.01Al1.66-1.09)5.75-5.69 (Si3.49-2.96Al1.04-0.51)4.00O10 (OH)8. It indicated that chlorite of laminated quartz vein has more Si than theoretical chlorite. Compositional variations in chlorite from laminated quartz vein are caused by phengitic or Tschermark substitution (Al3+,VI+Al3+,IV <-> (Fe2+ or Mg2+)VI+(Si4+)IV) and octahedral Fe2+ <-> Mg2+ (Mn2+) substitution. Therefore, laminated quartz vein and alteration minerals of the Unsan Au deposit was formed during ductile shear stage of orogeny.

• Korean Journal of Culture and Social Issue
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• v.21 no.3
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• pp.551-573
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• 2015

The rise of single living has been one of the most important demographic shifts of recent decades. The solo household is a little less than 40% in Europe areas and that of Tokyo is over 45%. Being impacted this figure, the formation of single economy is the key word in World Economic Forum(WEF) 2008. Seoul' single household is increasing rapidly. Between 2000 and 2005, the growth of single person is around 34%, the population of single person reached 700,000 people. Now 20% of total household in Seoul is Single household. Living alone or solo living is not exceptional or special in Seoul Metropolitan City. The rise in single living will create pressures towards poverty and inequality and so on. Seoul should develop and prepare the urban policy for single household. We figured out the four key trends which composed of single household in Seoul. Four types of single person are like below : Gold Mr and Miss, Reserved labor forces, depressed single and silver generation. Gold group is amonst people aged 30 and 40 who is working in the area of white collar and professional. They are usually elective single person household who have chosen solo living. Reserved labor forces group is usually among 20s people who have not get the regular hob. For this group, job acquiring is the most important issue. Depressed single person household group is among people aged late 30s and 40s. Its group is the result from the broken family. The silver group is among aged over 65 that is the main issue of the aged society. In this research, we stressed that people living alone can be split into two types - elective single person households who have chosen single living, and forced single person household who have been constrained to this lifestyle by circumstances. Except gold group, the rest of the group is the forced single household who are faced to poverty. The monthly income of single person household is almost under 2 million won. Single person household is usually working in the blue collar job and service area. So, except gold group that is the smallest part of single person household, almost single person is not the target of private market, but the object of public policy.

• Journal of the Korean Society of Costume
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• v.32
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Archives of Plastic Surgery
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• v.35 no.4
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• pp.419-422
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• 2008

Purpose: Absorbable bone fixation materials for operation of facial bone fracture are composed of poly- lactic acid(PLA) & poly-glycolic acid(PGA). These materials are absorbed after facial bone healing period. Therefore, these materials are harmless in human body. But because of it's radioopacity, the number and the location of the materials are not checked in follow-up X-ray examination. We studied absorbable bone fixation materials checked radiological examination. So, we made the absorbable plate composed of PLA, Hydroxyapatite (HA) and Gold(Au). Methods: Plate 1 was consisted of pure PLA. Plate 2 was consisted of PLA(50%) and HA(50%). Plate 3 - 7 were consisted of PLA(50%), and variable composition of HA & Au. The ratio of Au was as following. From the plate 3 to plate 7, the Au ratio was 1%, 5%, 10%, 17%, and 25%, respectively. Total 3 examinations were used-naked eye examination, simple X-ray examination, and Haunsfield unit of plate in CT examination. Results: Naked eye examination found out that the color of plate 1 was most white. As the Au ratio increases, the color of plate was getting close to khaki color. the radioopacity of plate 2 was similar cortical bone of face in simple X-ray. The Haunsfield unit of cortical bone of face was 1000 HU. Haunsfield unit of titanium plate was 2900 HU. Haunsfield unit of plate 1 through plate 7 were -242, 1489, 1776, 3052, 3092, 3095, and 3095, respectively. Conclusion: Radioopacity of plate 2 was similar to cortical bone of face. In CT examination, Hanusfield unit of plate 2 was similar to Hanusfield unit of cortical bone of face. Hanusfield unit of plate 4 - 7 were similar to Hanusfield unit of titanium plate. So to trace bone fixation materials after facial bone surgery, the best ratio of Au is about 1 - 5%. If this study is applied to facial bone surgery, radiologic follow up would be easy after facial bone surgery.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.359-369
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• 2018

When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

• Journal of Korean Orthopaedic Sports Medicine
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• v.1 no.1
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• pp.55-60
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• 2002

Purpose : To assess the change in the number of mechanoreceptors of posterior cruciate ligament(PCL) after transecting posterior cruciate ligament of the rabbit. Materials and Methods : We selected 10 skeletally-matured New Zealand white rabbits and one of the two posterior cruciate ligaments was transected and the other underwent sham-operation on each rabbit. Afterward, PCLs with synovium were obtained at femoral attach area in both knees in 20 weeks postoperatively, but in one of the cases, the transected PCL did not heal and had to be excluded from this study. Consequently, histologic examination of the ligament for the remaining 9 cases was done after being prepared with modified gold chloride stain. Results : The study showed a little bit more decrease in the number of mechanoreceptors in the transected group compared with that in the sham-operated group, but the number was statistically negligible. Conclusions : It is considered that the knee joint with injured PCL may still maintain proprioception since the decrease in the number of mechanoreceptors is not considerable, but further study on biomechanical role and function of mechanoreceptor of healed PCL is required.

• Journal of Conservation Science
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• v.28 no.3
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• pp.277-283
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• 2012

This study conducted analysis of paint samples from a streetcar No. 381 (Registration Cultural Property No. 467) to identify the characteristics of the modern paint. The samples were analyzed by Microscopic observation, infrared spectroscopy and SEM-EDS. The upper part is consist of 26 layers and the under part is 29 layers. And the layers were painted various thickness from $10{\mu}m$ to $100{\mu}m$, and confirmed that several color had been used. The putty was used for surface treatment before painting. According to the results of infrared spectroscopy, paint specimens were identified as alkyd resin. Some bands such as C-H and C=O stretcing, aromatic, C-H bending, C-O stretching were found in spectra. Inorganic analysis showed that gold color on the surface was used copper-based paint. And type of the putty was lacquer-putty that was consist of kaolin, talc and zinc white.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.6
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• pp.796-809
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• 2014

This study identifies formativeness and the Korean consciousness of the vernacular design in a Korean designers' collection in order to discover the internal characteristics of vernacular expression elements. The study is based on a theoretical review and an analysis of cases collected from Korean fashion designers' clothes. Research is limited to international collections of clothes presented by Korean fashion designers since 2,000. The process of Korean vernacular designs in fashion were analyzed for formativeness in form, color, pattern and detail. The research findings identified formativeness and Korean's consciousness of modern fashion designs that reflect vernacular designs as follows. First, they are round, flexible line and shape based on assimilated with nature, rhythmic curve to express life force and asymmetry based on an ecstatic world based on nature. Second, a white color explained the pure mind and racial peculiarities in regards to the five colors that expressed the thinking of traditional rituals such as prayers for comfort of life and ancestor worship. Third, there were patterns around shape of nature, praying, and Korea culture. Finally, there were skills of Korean traditional handcrafts such as embroideries, knit-works, gold foils, and quilts where clothes expressed the hardship of life and strong willpower to overcome. In conclusion, the clothing of Korean vernacular designs contains characteristics such as natural beauty, decorativeness, shamanism, and eclecticism.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.36-44
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• 1998

The purpose of this study was to identify and to classify the names of costume colors of women of Silla. The results of this study can be summarized as follows; Until now scholars and researchers interpreted nine colors in Sam Guk Sa Ki as nine colors explained in the dictionaries. However, term, nine colors in the contexts did not refer to the literary meaning of nine colors such as blue, red, yellow, white, black, green, purple, pink, and navy blue as explained in the dictionaries. 'Nine colors' of Silla were women's costume colors which were specified in the royal edict in the texts. Thus, 'nine colors' of Silla had a specific meaning rather than literary meaning. 'Nine colors' of Silla women's costume were identified as red( ), yellow(黃), purple(紫), purplish pink(紫粉), gold powder(金屑), pink(紅), yellow powder(黃屑), dark pink(緋) and dark purple(滅紫). These 'nine colors' were actually prohibited colors in women's costume in the royal edict. Women from true bone, the highest class, were prohibited the use of tow colors of red and yellow out of nine colors. While women from four du pum and common class were forbidden the use of nine colors out of total of nine colors. Kinds and numbers of colors of costume were used as a means of differentiating the social class and rank of women in Silla. Also it was found that women of Silla favored red purple, pink tones and yellow color in their costume and these colors were fashionable colors among women of Silla. These fashionable costume colors of Silla women seems to be influenced by fashions of women of T'ang dynasty of China. Red, purple, pink, yellow and green were favorite colors of women of T'ang dynasty of China.