• KOREAN JOURNAL OF CROP SCIENCE
• /
• v.58 no.1
• /
• pp.1-7
• /
• 2013

The purpose of this study was to provide basic information for breeding cowpeas (Vigna unguiculata L.) by investigating the crop characteristics of 245 accessions of cowpea collected in Korea and abroad. All specimens flowered within 41 to 50 days (51.5%) or 51 to 60 days (43.7%) of sowing and matured 21 to 30 days (53.9%) or 31 to 40 days (23.7%) from flowering. Thus, the total time from sowing to maturity was either 71 to 80 days (26.9%) or 81 to 90 days (23.4%) for all specimens. The accessions were classified into indeterminate type (72.7%), intermediate type (25.7%) and determinate type (1.6%) based on growth; prostrate type (78.8%) and erect type (21.2%) based on plant type; heart shape (98.4%) and lanceolate (1.6%) based on leaflet shape; and purple (85.2%), white (13.6%) and light green (1.2%) based on corolla color. The accessions were classified into brown (54.7%) and yellowish brown (37.6%) based on color at pod maturity; and downward (90.6%), middle (5.7%) and standing upright (3.7%) based on pod setting position. Seed coat color varied as 25.3% were brown, 23.3% were black, and 20.8% were white. Seed shape also varied as 66.9% were egg-shaped, 24.9% were rectangular and 8.2% were kidney-shaped. Pod lengths ranged from 10.1-20.0 cm and from 20.1-30.0 cm in 89.0% and 8.6% of specimens, respectively. There were 12.1-15.0, 9.1-12.0, and 15.1-18.0 seeds per pod in 62.0%, 25.7% and 9.1% of specimens, respectively. The weight of one hundred seeds ranged from 15.1-20.0 g (37.6%) and 10.1-15.0 g (28.6%). Seed yields per plant were 100.1-200.0 g (52.7%), less than 100 g (22.9%), and 200.1-300.0 g (15.9%). The starch content in the seeds of the seven selected resources ranged from 44.1 to 57.0% while the protein content ranged from 23.3 to 27.5% with significant differences. The sucrose content ranged from 1.46 to 2.03%, also with significant differences.

• Archives of design research
• /
• v.12 no.2
• /
• pp.157-168
• /
• 1999

Stone in the Cho Sun Dynasty has been used as the material of industry arts, widely building materials and an important material for the artistic design. But it has been generally used as an use of practical living Product like, suban, a metal printing type, a fire place, a pillowcase, a pencil case, etc, and ornament with the quality of stone material and the aesthetic view. There are several problems as like size, quantity, delivery and processing method with the stne material according to its variety and selection. Accordingly it has been studied through the whole process of shape, a material selection of design and processing method as well as studying about small stone crafts which were manufactured in the Cho Sun Dynasty, considering these problems. Stone crafts in Cho Sun Dynasty has been widely used as a living tool. There was some what difference on manufacturing purpose on its technique of folk crafts of stone crafts, but, through the research of collected crafts, they were almost the same that social need, user's taste and hobby in those days were reflected in. In the result of analysis as dividing the stone crafts into daily living product, stationery and tool, the major of daily products have been manufactured with emphasis of practicability. And they have been manufactured from agalmatolite for the propose of use. further, kitchen product had no design due to the function and living products which has been used in the main living room has been carved with the decorative expression of the various form by using intaglic, relieve, inlaid technique, etc. For the stationery, it has been characterized with aesthetic point considering the decorative effects & selection of material in accordance with use. A material for manufacturing has been used in the range of agalmtolite, atopaz, a sapphire, white stone etc. As the result of this research, It was noticeable that there was the spleudidness on the expression of design and carving. It was also noticeable that black stone and guanite have been widely esed because it didn't need the delicacy as a tool.

• Journal of The Korean Society of Grassland and Forage Science
• /
• v.34 no.1
• /
• pp.21-25
• /
• 2014

Singwangok, a new single cross variety, was developed by the maize breeding team at the National Institute of Crop Science (NICS), RDA in 2012. This hybrid, consisting of a high yield of grain, was produced by crossing two inbred lines, KS172 and KS173. KS172 is the seed parent and KS173 is the pollen parent of Singwangok. It is a yellow-orange intermediate maize hybrid (Zea mays L.). After the preliminary yield trial and advanced yield trial of Singwangok (Suwon185) in Suwon for 2 years, the regional yield trial of that was subsequently carried out for its growth characteristics and yield at 3 different locations from 2010 to 2012. It was named as Singwangok. The silking date of Singwangok is similar to the check hybrid, Jangdaok. The plant height of Singwangok is similar to Jangdaok, but its ear height ratio is lower than that of Jangdaok. Moreover, it has a resistance to lodging. The ear number per 100 plants of Singwangok is more 17 than that of Jangdaok, whereas the ear length of Singwangok is similar to Jangdaok. Further, the weight of 100 seeds of Singwangok is similar to Jangdaok. It has a moderate resistance to southern leaf blight (Bipolaris maydis) and a strong resistance to northern leaf blight (Exserohilum turcicum). Furthermore, it has a moderate resistance to the black streaked dwarf virus (BSDV), ear lot and corn borer. The grain yield of Singwangok, 7.81 ton/ha, was similar to that of Jangdaok. The seed production of Singwangok was well processed due to the good match during crossing between the seed parent, KS172 and the pollen parent, KS173, in Yeongwol; the F1 seed yield was 3.84ton/ha. Singwangok would be a suitable cultivar to all plain areas in Korea.

• Journal of Korean Classical Literature and Education
• /
• no.35
• /
• pp.87-122
• /
• 2017

1) The passage "Sila seongdae so-seongdae cheonha daepyeong nahu-deog (新羅盛(聖)代 昭盛代 天下大平 羅侯德)" of the Korean Dynasty , corresponds to the primary passage of Cheonyong Rang Manghaesa(처용랑 망해사)>. These passages are ironic expressions of King Heongang's reign. This passage can therefore be interpreted as having the meaning of "People talk about King Heongang who ruined the kingdom. The bright politics of Silla's loyalty is the virtue of King Heongang." 2) "Cheoyong aba isi insaeng-ae sangbuleo hasilandae isi insaeng-ae samjaepalnan-i ilsi somyeol hasyatda (處容 아바 以是人生애 相(常)不語시란 以是人生애 相(常)不語시란 三災八難이 一時消滅샷다)." This was said by Cheoyong(처용), who was unable to reveal his anger while witnessing his wife being raped by Yuk-sin(疫神). This passage means, "Father Cheoyong(처용), in this world if a man does not express anger about the absurdity of the world, he can escape from catastrophe," or, "Father Cheoyong (처용), because in this world you had not expressed anger about the absurdity of world, you could escape from catastrophe." 3) In "maa-man maa-man haniyeo sibi jegug-i moda jiseo syeon aeu cheoyongbi-hal maa-man haniyeo (마아만 마아만 니여 十二諸國이 모다 지 셰온 아으 處容아비 마아만 니여)," the most likely interpretation of Maa is "마아(麻兒)," which means "scarecrow." In this way, this passage emphasizes that Cheyong(처용) is not a scarecrow, but a representative of the eyes of all people in all kingdoms. 4) In "meoja oeyaja logliya ppallina nae singohal maeyara (머자외야자 綠李야 리나 내 신고 야라", meoja (머자) is the double arranging shape of meotda(멎다), and oeyaja(외야자) is the double arranging shape of oeda(외다); those characters mean "ugly" and "wrong for each other." Additionally, Rokri(綠李) can be regarded as an administrator in blue or black clothes who is performing an errand of the yuksin(疫神).

• Korean Journal of Heritage: History & Science
• /
• v.54 no.4
• /
• pp.192-211
• /
• 2021

In Seongju, Gyengsangbuk-do, the Placenta Chamber (胎室, Taesil) of 18 sons and a son of the crown prince of King Sejong(世宗大王) is located in one place. Taesil refers to the place where the umbilical cord and placenta, which are separated when the baby is born, are placed in a jar made of pottery and stone box and then buried on the ground. The placenta chamber in Seongju has the Buncheong ware (粉靑沙器) cover buried on the ground to protect the baby's placenta. These covers are all hemispherical, with a diameter of more the 20cm. The decorations were made using black and white inlaid techniques only on the outside. The Buncheong ware cover with this shape and pattern has been confirmed only in the placenta chamber in Seongju. This study targets 6 of the Buncheong ware cover whose owners were identified, when and where they were prepared, what the stylistic features and meanings are, and where it was produced. The results of the study are as follows. First, ss a result of reviewing the production background and procurement system of this bowl, it was inferred that it was sourced from Jangheunggo (長興庫) at the central government office, between 1436 and 1439, when the event to bury the placenta of royal members in the ground was the most active. Second, it analyzed the unique features of this cover, such as the shape, pattern, and baked traces. The shape and pattern were compared to the ritual objects contained in the Sejong Silok Oryeui (『世宗實錄』 「五禮」, Five Rites of King Sejong Chronicle) and the lid of the royal placenta jar made in the 15th and 16th centuries. Third, this study suggests that the baking method was based on the shape and location of the traces remaining outside the cover. Finally, the following data were used to estimate the production site: the relationship with the 'Jagiso (磁器所, ceramic workshop) registered in the Sejong Silok Jiriji (『世宗實錄』 「地理志」, Geographical Appendix of King Sejong Chronicle); various records of contribution and dedication about the Buncheong ware made here; and the Buncheong ware and related tools excavated from the kiln site in the area. The place where the Buncheong ware cover was produced is estimated to be the most likely production site for the kiln site in Chunghyo-dong Kiln Site, located in Jeolla-do province by synthesizing the data above.

• Korea Science and Art Forum
• /
• v.37 no.4
• /
• pp.149-159
• /
• 2019

This research was started to identify the color status of signboards at the target site and suggest the direction of improvement for the signboard project in Dongsang-dong, Jongno-gil, a central area of the old city center of Gimhae. The area under study forms a depressed street atmosphere with old facilities, and is a typical type of old city center sign that needs to be rebuilt. The purpose of this study is to investigate prior research related to signage and similar signboard improvement cases, and then to identify the current status of colors by sorting out the casting, auxiliary and highlighted colors through the survey of the color of the signboard in the target area, and to propose a desirable direction for the future sign business based on the basis of these findings. This paper divided the target sections by industry and conducted a color analysis of signboards. The results and contents of the research are as follows. First, cast-colored signboards in general businesses showed a variety of primary color distributions with high L* values, on average, with high intensity and high chromaticity. Second, the auxiliary colors were mostly white or black in color-free, making a contrast between the casting colors. Third, the highlight was that a* value showed a high distribution in positive water plus and was mainly distributed in obsolescence, such as red or yellow, and color was used to reflect the characteristics of each store. However, the stores in the entire section lack unity because they were using colors that were higher in color than middle colors, which was causing the street's aesthetic look to be undermined. Based on the results of these studies, it is thought that the future color scheme for Gimhae's signature improvement project will limit the number of colors to a certain extent and give a sense of security and visual comfort to the use of colorlessness and obscurity around the representative colors of Gimhae.

• Korean Journal of Breeding Science
• /
• v.42 no.3
• /
• pp.262-266
• /
• 2010

'Josaengheugchal', a new blackish purple pigmented glutinous japonica rice cultivar, was developed by the rice breeding team of Department of Functional Crop, NICS, RDA in 2004. This cultivar was derived from a cross between 'Tohoku 149' as black glutinous source and 'Sx 864' as purple colored rice in 1992 and 1993 winter season, and selected by pedigree breeding method until $F_6$ generation. As a result, a promising line, YR15907-6-8-1-5, was advanced and designated as the name of 'Milyang 194' in 2001. The local adaptability test of 'Milyang 194' was carried out at seven locations from 2002 to 2004 and it was named as 'Josaengheugchal'. 'Josaengheugchal' is an early maturing cultivar and has 71 cm culm height. It has higher anthocyanian content compared with 'Heugnambyeo'. It is moderately resistant to leaf blast but susceptible to other disease and insect pests. The yield potential of 'Josaengheugchal' in brown rice was about 4.21 MT/ha at ordinary fertilizer level in local adaptability test. This cultivar would be adaptable to the plain paddy field of middle, Honam, and Yeomgnam in Korea under ordinary and double cropping system.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.4
• /
• pp.74-91
• /
• 2014

The stone statues in the site of Mireuksaji Temple(Iksan, South Korea) were created after the stone pagoda was built in 639. They, transitional statues between animal sculptures and human shaped statues made from the late Goryeo dynasty until the early Joseon dynasty, were set up at the four corners of the stone pagoda by way of guardians. In the case of three statues, their surfaces were denudated and their iconographies have been indiscernible. However, the one in the southwest clearly shows its iconography. It is inferior in properties to the other three statues in the northwest, the northeast and the southeast respectively, but on the other hand its iconography has been well maintained. The reason is related to exposure to harmful environments; specifically, the retaining wall, built around the stone pagoda in the 17th century, had the southwest statue inside and could naturally worked as a buffer against harmful environments. As a result, for about 400 years there has been difference in weathering conditions between the three stone statues and the southwest statue, which brought denudation, the consequent indiscernibleness of iconography and biological invasion to the three statues, notwithstanding superior properties(northwest statue:$176kgf/cm^2$, northeast statue:$109kgf/cm^2$, southeast statue:$273kgf/cm^2$). In contrast, the southwest statue significantly shows its iconography with black contaminants and granule decomposition, despite inferior properties($133kgf/cm^2$). Defenseless exposure to external environment is not recommended for the stone statues, because it is hard to preserve the extant iconography. Herein lies the application of the data on microclimate around Mireuksaji Temple. As regards the weathering zone in which the stone statues are located, Conservation increases in acidity and frequency as years go by, Hereat, in the approach to the Conservation of stone statues, the first consideration needs to be morphological historicity rather than geographical location.

• Korean Journal of Heritage: History & Science
• /
• v.50 no.4
• /
• pp.122-147
• /
• 2017

The Jungsandong sites are distributed across quartz and mica schist formations in Precambrian, and weathering layers include large amounts of non-plastic minerals such as mica, quartz, felspar, amphibole, chlorite and so on, which form the ground of the site. Neolithic pottery from Jungsandong exhibits various brown colors, and black core is developed along the inner part for some samples, and sharp comb-pattern and hand pressure marks can be observed. Their non-plastic particles have various composition, size distribution, sorting and roundness, so they are classified into four types by their characteristic mineral compositions. I-type (feldspar pottery) is including feldspar as the pain component or mica and quartz. II-type (mica pottery) is the combination of chloritized mica, talc, tremolite and diopside. III-type (talc pottery) is with a very small amount of quartz and mica. IV-type (asbestos pottery) is containing tremolite and a very small amount of talc. The inner and outer colors of Jungsandong pottery are somewhat heterogeneous. I-type pottery group shows differences in red and yellow degree, depending on the content of feldspar, and is similar to III-type pottery. II-type is similar to IV-type, because its red degree is somewhat high. The soil of the site is higher in red and yellow degree than pottery from it. The magnetic susceptibility has very wide range of 0.088 to 7.360(${\times}10^{-3}$ SI unit), but is differentiated according to minerals, main components in each type. The ranges of bulk density and absorption ratio of pottery seem to be 1.6 to 1.7 and 13.1 to 26.0%, respectively. Each type of pottery shows distinct section difference, as porosity and absorption ratio increase in the order as follows: I-type (organic matter fixed sample) < III-type and IV-type < I-type < II-type (including IV-type of IJP-15). The reason is that differences in physical property occur according to kind and size of non-plastic particles. Although Jungsandong pottery consists of mixtures of various materials, the site pottery has a geological condition on which all mineral composition of Jungsandong pottery can be provided. There, it is thought that raw materials can be supplied from weathered zone of quartz and mica schist, around the site. However, different constituent minerals, size and rock fragments are shown, suggesting the possibility that there can be more raw material pits. Thus, it is estimated that there may be difference in clay and weathering degree.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.1
• /
• pp.134-151
• /
• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.