중국(中國) 귀주성(貴州省) 묘족(苗族)의 복식에 관한 연구(I) - 검동남(黔東南)지역의 여성복식을 중심으로 -

홍정민,김영신,Hong, Jung-Min,Kim, Young-Sin 한국의류산업학회 2001 한국의류산업학회지 Vol.3 No.1

The Miao nationality is one of China's major ethnic group. The Miao traditional costume, as an ideographic symbol of the Miao people, have preserved its unique characteristics up to the present time. Historically there were many old names given only for ciothings, still they have reflected the complexities of the ciothings of the Miao people. The southeast Guizhou (Qiandongnan) modal of dress and ornament are fashionable in countries in the valley of Qingshui River such as Taijiang, Kaili, Leishan, Jianhe, Huangping, Shibing, which are densely populated with the Miao nationality. Women's traditional wear for the most part consists of a short coat with straight sleeves and the left lapel of the collar overlaps the right one (In some areas, the right lapel overlaps the left one). For lower garments, they wear long or medium sized pleated skirts, broad waistbands and leggings. Their attire may be of the same style, but there exist marked regional differences and distinctive features in dress materials, workmanship, contents and variety of designs and colour matching, as evolved from tradition. Merely from the embroidering skill and the materials used, one can judge where the dress is made.

중국 귀주성(貴州省) 묘족(苗族)의 복식에 관한 연구 (II) - 태강현(台江縣) 묘족(苗族)의 여성복식을 중심으로 -

홍정민,김영신,Hong, Jung-Min,Kim, Young-Sin 한국의류산업학회 2001 한국의류산업학회지 Vol.3 No.2

The dress and ornaments in the Taijiang were fashionable, which were densely populated with Miao nationality. Women's traditional festive dress in Taijiang included an embroidered blouse and a pleated skirt. The garments are decorated with plenty of ornamental designs. The colours of festive dress were as rich and gorgeous as those of fashinable desses. Embroidery was very popular in Taijiang and its principal feature is embroidery with loose, coloured floss silk. The image of patterns changed ingeniously and colourfully but do harmony. In the using of colour, one kind of the festive dress was in the main red, which means a bright dress. The colour of another kind of festive dress was blue, which means a dark dress. There were many kinds of silver ornaments for women. Taijiang was most outstanding in this respect. The great variety of silver ornaments was a unique feature of women's dress in Taijiang.

한국산 무우 Peroxidase의 열변성 및 재활성화에 미치는 요인

이경아(Kyung-Ah Lee),홍정민(Jung-Min Hong),김기남(Gi-Nahm Kim),박인식(Inshik Park) 한국식품영양과학회 1990 한국식품영양과학회지 Vol.19 No.4

한국산 무우(Rhapanus sativus) peroxidase의 열안정성에 미치는 요인 및 열처리에 의해 불활성화된 peroxidase의 재활성화에 미치는 요인들을 검토하였다. 효소는 60℃이하의 열처리에는 안정하였으나, 80℃에서는 10분 후에 완전히 불활성화하였다. 효소의 불활성화에 미치는 PH의 효과 PH 6.0에서는 매우 안정하였으나, PH 4.0이하 및 PH 8.0이상에서는 매우 불안정하였다. 효소의 열안정성은 당, 염 및 단백질의 첨가에 의하여 증가하였다. 효소의 재활성화는 PH 9.0에서 재활성화율이 가장 높았으며, 그리고 열에 의한 불활성화와 다르게 첨가한 당, 염 및 단백질에 의해 거의 영향을 받지 않았다. 열에 의해 불활성화된 효소는 환원제인 dithiothreitol의 첨가에 의하여 재활성화가 억제되었다. Factors affecting thermal inactivation and reactivation of korean radish peroxidase were investigated. The enzyme was stable below 60℃, but it was completely inactivated by heat treatment at 80℃ for 10 min. The enzyme was stable at pH 6.0, but it was unstable below pH 4.0 and above pH 8.0. The thermostablity of the enzyme was increased by addition of glucose, sodium chloride and albumin. The inactivated enzyme by heat treatment was reactivated at room temperature. The optimal pH for reactivation of the enzyme was pH of 9.0. The reactivation rate of the enzyme was not affected by addition of glucose, sodium chloride and albumin. The reactivation was completely inhibited by addition of sulfhydryl reagent such as dithiothreitol.

육군사관생도 제복에 관한 연구

홍정민(Hong Jung Min),강태숙(Kang Tae-Sook),부애진(Boo Ae Jin) 한복문화학회 2001 韓服文化 Vol.4 No.4

This study was conducted to present basic data to research the culture of military clothing by examining the background and style by transition process of the cadets uniform with the change of the times. to the effect that the military culture must be discovered and established. The methods of the study included visit to the museums in military academies and the related military. collection and analysis of real uniform and materials housed in them. and interview with directors of the museums and other persons concerned for comparison and consideration. The results of the study were summarized as follows.<br/> 1. In the early stage the dress uniform of the cadets showed both the style of American military officer's uniform. the original of American military uniform. and the style of Japanese military uniform which were mixedly used. In 1960s the military uniform system was established although it has not completely broken from the effect of American military uniform. Since 1970s the uniform has been changed into a style with better Korean beauty and symbolizing an international superiority. Then. the uniform has remained without obvious change in style until know.<br/> 2. The basic styles of the dress uniform are same except for the colors that are different according to symbolism represented by each army. The basic style is commonly characterized by stand-uP collar. front zippered closing and shaped embroidery pattern.<br/> 3. The style of military cadet's full-dress uniform is same for both winter an d summer full-dress uniform. 4. The summer ordinary uniform of the military cadet In academy has the style characterized by half sleeve and no tie with buttoned closing of single breast in sports collar.<br/> 5. The coat type is midi with soutlen collar. double breast and buttoned closing.<br/> <br/>

東學敎 복식에 관한 연구-전복 및 포 중심으로-

홍정민(Hong. Jung-Min),서영남(Seo. Yougn-Nam),부애진(Boo. Ae-Jin) 한복문화학회 1999 韓服文化 Vol.2 No.1

The vestments of Tonghakkyo' were produced in those days of advocacy, the 1920's, which have been owned by headquarters of Tonghakkyo' in Sangju area. The colour of 'Jeonbok' and 'hakchangui' worn by common believers \VaS blue that symbolized 'Tonghakkyo'. 'Ugun' having ordinary forms had been worn with 'hakchangui' and 'Jeonbok' had typical forms. Hakchangui is characterized by no vent at all, having the colour of blue in ground, black in line, and red in a belt corresponding to relation of 'Sangsaing' each other. Underlying ceremonial dress having a role of 'Jungdan' has the same shape of 'hakchangui', and also had been applied to the relation of 'Sangsaing' among the colors of 'Dongjung' line ground.<br/>

Production and Properties of Invertase from Aspergillus niger

홍정민(Jung-Min Hong),이경아(Kyung-Ah Lee),김진율(Jinyull Kim),박인식(Inshik Park) 한국식품영양과학회 1990 한국식품영양과학회지 Vol.19 No.5

Aspergillus niger로부터 invertase 생성의 최적조건과 생성된 효소의 특성을 조사하였다. 곰팡이는 탄소원으로 inulin과 sucroce를, 질소원으로 yeast extract를 사용했을때 최대효소 생성을 얻을 수 있었다. 또한 사용한 배지의 pH를 4.5, 배양온도를 30℃로 유지했을때 효소생성이 높았다. 효소 활성을 위한 효소는 Hg^(2+), Ag^+ 및 Cu^(2+) 이온의 첨가에 의하여 불활성화 되었다. Production and properties of invertase from Aspergillus niger were investigated. Inulin and sucrose were best carbon source and yeast extract was most suitable for the production of the enzyme among tested carbon and nitrogen sources. The enzyme was maximally produced by cultivating the organism at medium of pH 4.5 and temperature of 30℃. The optimum pH and temperature for the enzyme activity were pH 5.0 and temperature of 50℃, respectively. Among tested metal ions, Hg^(2+), Cu^(2+) and Ag^+ ions inhibited the enzyme activity drastically.

아버지와의 진정한 만남에 관한 존재론적 탐구 - 가족관계 회복의 여정 -

홍정민(Hong, Jung-min),최선남(Choi, Sun-Nam) 한국미술치료학회 2020 美術治療硏究 Vol.27 No.2

본 연구는 나의 삶 속에서 존재의 의미를 발견하고 내 삶의 곳곳에 연결되어 있는 아버지의 삶을 주체적으로 만나게 되는 여정을 탐구한 것이다. 이 탐구는 나와 아버지가 만남을 수행하는 과정에서 무엇을 경험하는지, 삶의 주체로서의 나와 아버지의 만남이 주는 의미와 가족 간의 상담이 우리의 삶에 가지는 의미를 찾아보고자 하였다. 탐구는 2016년 9월부터 2017년 4월까지 이어졌고 6월까지 추가자료 수집을 하였다. 자전적 탐구와 함께 아버지가 존재하는 삶의 현장으로 들어가, 밭에서 함께 일하기도 하고 종교생활에 동행하며 일상을 관찰하고, 심층면담과 인공물 수집에 주력하여 탐구하고, 대화적 관계맺음과 미술작업을 통해 다면적인 관찰과 소통을 시도했다. 면담내용을 녹취하고, 탐구노트를 통해 면담과 관찰에서 나타나는 현상들을 기록하고, 가족들의 SNS상의 진술도 참고하였다. 나와 아버지의 만남의 여정은 ‘대화적 관계맺음으로 가족의 본래성을 회복’하고 ‘근본적 치유의 힘으로 존재의 집에 안착’하고 ‘미디어로 시․공을 초월한 가족공유의 호흡’을 누리게 되는 성과를 얻었다. 나와 아버지는 만남의 여정에서 봄을 여는 열쇠를 얻게 되었고 나의 원가족은 따스한 빛으로 가득한 봄의 문을 열었다. This study explored my journey to discover the significance of life and to subjectively encounter my father’s life, which was part of my life. This inquiry endeavored to explore the experience and significance of subjectively encountering my father and family counselling on a daily basis. The inquiry was performed from September 2016 to April 2017 with additional two months spend collecting additional data. Along with the autobiographical study, I first explored the place where my father dwelled, and then worked with him on his farm, joined his religious activities, observed his daily life, deeply interviewed and collected his artworks, observed his life from many perspectives and talked about building a communicative relationship and creating artworks. Interviews were recorded, phenomenon from interviews and observations in the inquiry note were written down, and a statement about my family on SNS was referred. The encountering journey with my father resulted in “the recovery of family’s nature through building interactive relationship,” “arrival at an ontological place by fundamental healing power,” and “breathing of family sharing beyond time and space by social media.” I found the key to celebrating the springtime of life s journey, and my family could open the door to a spring filled with warm sunlight.

백제금동대향로(百濟金銅大香爐)에 나타난 복식에 관한 연구

홍정민(Hong Jung-Min),김기엽(Kim Ki-Youb) 한복문화학회 2003 韓服文化 Vol.6 No.2

As a result of looking into the dresses and ornaments of the five musicians and relief works of figures on<br/> Geurndongdae-hyangro, an incense bumer created in the Baekje Dynasty, the following findings were aCQuired:<br/> In general, women musicians wear Po based on Yu and Sang, while men musicians wear Po based on Yu and Go.<br/> Musician's Po has very wide sleeves that are characterized by much wider sleeve holes than armholes. And Hute player's<br/> Go has a large groin trousers that is characterized by bound holes of trouser, while musician's Sang is widely wrinkled.<br/> There are lines on ooIlar, sleeve holes and edges of Yu and Po. The method to put on belt is not limited to specific procedures, but no belt is fastened around waist or chest. The common method to fasten belt showed pre-or post-connection. For Imjae, there is a mixture of right and left gusset.<br/> For straightening Yu and Po, both right and left gusset correspond to each other. For the length of Po, there are two<br/> types such as a little longer Po than knee and very long Po enough to cover ankles.<br/> For the hair style of personal figures, most women figures have braided hair(Pyeonbal) down on the back of their head<br/> or bound their hair up on a position of rear head.<br/> For personal figures, Yu has narrow and tight sleeves(Tongsu and Chaksu) in appearance. These characteristics are shown in some figures with rhythmic movement and equestrian hunter 2. whose sleeves are characterized by much wider sleeve holes than armholes.<br/> Equestrian and hunting figures wear their upper garment with narrow and tight sleeves(Tongsu and Chaksu). Moreover. both of them wear same narrow-holed trousers called Gung-go.<br/>

논문편 - 의생활편 : 마 , 폴리에스테르 혼방섬유의 열전사 (熱轉寫) 날염에 (捺染) 관한 연구

홍정민 ( Jung Min Hong ) 대한가정학회 1978 Family and Environment Research Vol.16 No.3

고구려 고분벽화의 복식에 관한 연구-장천 1호분, 삼실총 벽화를 중심으로-

홍정민(Hong Jung-Min) 한복문화학회 2001 韓服文化 Vol.4 No.3

This study investigated the costume of Jangcheon No.1 Tomb and the Samsilchong figure spainting in the Kogurye tombs mural by the documents, photograph and delineator. The tie of the Jeogori and Durumagi was at the left. Their collar had the two and three layered collar which had different color. They lined in the collar, Doryen, Sugu. Nso, Their collar tied Da. The Durumagi had yoke line in the shoulder. It showed social position. The kinds of Go were narrow Kunggo and wide Daegugo. The Sang was wide and long. It had narrow fold from Yobu to hemline and lined in the mikdan, but the second wife 01 a burial didn't have line in the mikdan on the Samsilchong procession picture. The shapes of Koanmo according a social position were Keon, Jeolpung, Joukoan, kagkoan, Keonkuig, the shapes of head were Subal, punggimyeng.