• KOREAN JOURNAL OF CROP SCIENCE
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• v.18
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• pp.1-27
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• 1975

Experiment I: A field experiment was conducted in an attempt to find the effect of top-dressing at heading time in different levels of nitrogen application and of different positioned leaf blades formed by the treatment of leaf defoliation at heading time on the ripening and the yield of rice. The results obtained are as follows: 1. Average number of ears per hill and average number of grains per ear in different levels of nitrogen application were increased as the amount of nitrogen applied was increased. while the rate of ripened grains the yield of rough rice and the weight of 1, 000 kernels of brown rice were decreased respectively as the amount of nitrogen applied was increased. 2. The rate of ripened grains and the weight of 1.000 kernels of brown rice in different levels of nitrogen, top-dressing at heading time were larger than those in control and increased. The yield of rough rice although statistically significant differences were not recognized, were numerically increased. 3. The rate of ripened grains, the yield of rough rice, the weight of 1, 000 kernels of brown rice and the rate of hulling in different treatments of leaf defoliation were remarkably decreased as the degree of leaf-defoliation became larger. 4. The rate of ripened grains, the yield of rough rice, the weight of 1, 000 kernels of brown rice and the rate of hulling in different combinations of number of remained leaves positioned differently, formed the order of $L_1(flag leaf)>L_2>L_3>L_4$ when only one leaf blade was remained, and were increased as the positions of leaves were higher when two leaf blades. were, remained. 5. In case of decrease in the number of leaf blades positioned differently, by the treatment of leaf. defoliation, rate of ripened grains, the yield of rough rice, the weight of 1, 000 kernels of brown rice and the rate of hulling were increased as the area of remained leaves became larger and the nitrogen content of a leaf blade was increased. 6. There was a tendency that the increase in the amount of fertilizer application made the rate of ripened grains and the weight of 1, 000 kernels of brown rice reduced in any number of remained leaf blades, but the application of top-dressing at heading. time resulted in the reverse tendency. The yield of rough rice showed a tendency to be increased as the amount of basal dressing and top-dressing increased and for the application of top-dressing at heading time, the yield of rough rice was less at the smaller number of those. 7. The productivity effect of the rate of ripened grains and the yield of brown rice covered by leaf blades was more than 50 per cent and that of the. weight of 1, 000 kernels of brown rice was not more than 1.0 percent. As the amount of nitrogen application increased the. effect of leaf blades on the rate of ripened. grains and the weight of 1, 000 kernels of brown rice was increased. The effect of leaf blades on the weight of brown rice was increased as the amount of basal dressing-application, but the effect was decreased as the amount of top-dressing at heading time increased, 8. The productivity effects of different positioned leaf blades on the rate of ripened grains, the yield of rough rice and the weight of 1, 000 kernels of brown rice were in order of $L_1(flag leaf)>L_2>L_3>L_4$ the productivity effects of $L_1$ and $L_2$ had a tendency to be increased as the amount of nitrogen applied was increased. Experiment II: A field experiment was done in order to disclose the effect of the time of nitrogen application on yield component and the effect of different positioned leaves formed by leaf defoliation at heading time on the rate of ripened grains and the yield of rice. The results obtained are as follows: 1. Average number of ears per hill was increased in the treatment of nitrogen application from basal dressing to 22 days before heading and in the treatment of application distributed weekly. Number of grains was increased in the treatment of nitrogen application from 36 days to 15 days before heading. The rate of ripened grains was, lower in the treatment of nitrogen application from top-dressing to 15 days before heading than in that of non-application, was higher in the treatment of nitrogen application within 8 days before heading, and was the lowest in that of application 29 days before heading. The yield of rough rice was the highest in the treatment of nitrogen application from 29 days to 22 days before heading. The weight of 1, 000 kernels of brown rice was a little high in the treatment of application from 29 days to 8 days before heading. 2. The rate of ripened grains the yield of rough rice, the weight of 1, 000 kernels of brown rice and the rate of hulling in different treatments of leaf defoliation were remarkably decreased as the degree of leaf defoliation got larger and there were highly significant differences among treatments. There was also a recognized interaction between the time of nitrogen application and leaf defoliation. 3. In relation to the rate of ripened grains, the weight of 1. 000 kernels of brown rice and the rate of hulling in different numbers of remained leaves positioned differently and their combinations, the yield components were in order of $L_1(flag leaf)>L_2>L_3>L_4$ when only one leaf was remained, which indicated that the components were increased as the leaf position got higher. When two laves were remained, the rate of ripened grains, the yield of rough rice and rate of hulling were high in case of the combinations of upper positioned leaves, and the increase in the weight of 1, 000 kernels of brown rice appeared to be affected most]y by flag leaf. When three leaf blades were remained similarly the components were increased with the combination of upper positioned leaf blades. 4. In case of decreased different positioned leaf blades by treatment of leaf defoliation, there was a significant positive regression between the leaf area, the dry matter weight of leaf blades and the nitrogen contents of leaf blades, and rate of ripened grains and the yield of rough rice, but there was no constant tendency between the former components and the weight of 1. 000 kernels of brown rice. 5. The closer the time of fertilizer application to heading time, the more the rate of ripened grains and the weight of 1, 000 kernels was decreased by defoliation, and the less were the remained leaf blades, the more remarkable was the tendency. The rate of ripened grains and the weight of 1. 000 kernels was increased by the top-dressing after heading time as the number of remained leaf blades. When the number of remained leaf blades was small the yield of rough rice was increased as the time of fertilizer application was closer to heading time. 6. Discussing the productivity effects of different organs in different times of nitrogen application, the productivity effect of a leaf blade on the rate of ripened grains was higher as the time of nitrogen application got later, and in the treatment of non-fertilization the productivity effect of a leaf blade and that of culm were the same. In the productivity effect on the yield of brown rice, the effect of culm covered more than 50 percent independently on the time of nitrogen application, and the tendency was larger in the treatment of non-fertilizer. The productivity effect of culm on the weight of 1. 000 kernels of brown rice was more than 90 percent, and the productivity effect of a leaf blade was increased as the time of application got later. 7. The productivity effect of a leaf blade in different positions on the rate of ripened grains, the yield of rough rice and the weight of 1, 000 kernels of brown rice had a tendency to be increased as the time of application got later and as the position of leaf blades got higher. In the treatment of weekly application through the entire growing period, the rate of ripened grains and the yield of rough rice were affected by flag leaf and the second leaf at the same level, the but the weight of 1, 000 kernels of brown rice was affected by flag leaf with more than 60 percent of the yield of total leaves.

• Journal of the Korean Wood Science and Technology
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• v.16 no.2
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• pp.1-41
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• 1988

For the purpose of utilizing the sawdust having poor combining properties as board raw material and resulting in dimensional instability of board, polypropylene chip (abbreviated below as PP chip) or oriented PP thread was combined with sawdust particle from white meranti(Shorea sp.). The PP chip was prepared from PP thread in length of 0.25, 0.5, 1.0 and 1.5 cm for conventional blending application. Thereafter, the PP chip cut as above was combined with the sawdust particle by 3, 6, 9, 12 and 15% on the weight basis of board. Oriented PP threads were aligned with spacing of 0.5, 1.0 and 1.5cm along transverse direction of board. The physical and mechanical properties on one, two and three layer boards manufactured with the above combining conditions were investigated. The conclusions obtained at this study were summarized as follows: 1. In thickness swelling, all one layer boards combined with PP chips showed lower values than control sawdustboard, and gradually clear decreasing tendendy with the increase of PP chip composition. Two layer board showed higher swelling value than one layer board, but the majority of boards lower values than control sawdustboard. All three layer boards showed lower swelling values than control sawdustboard. 2. In the PP chip and oriented thread combining board, the swelling values of boards combining 0.5cm spacing oriented thread with 1.0 or 1.5cm long PP chip in 12 and 15% by board weight were much lower than the lowest of one or three layer. 3. In specific gravity of 0.51, modulus of rupture of one layer board combined with 3% PP chip showed higher value than control sawdustboard. However, moduli of rupture of the boards with every PP chip composition did not exceed 80kgf/cm2, the low limit value of type 100 board, Korean Industrial Standard KS F 3104 Particleboards. Moduli of rupture of 6%, 1.5cm-long and 3% PP chip combined boards in specific gravity of 0.63 as well as PP chip combined board in specific gravity of 0.72 exceeded 80kgf/$cm^2$ on KS F 3104. Two layer boards combined with every PI' chip composition showed lower values than control sawdustboard and one layer board. Three layer boards combined with.1.5cm long PP chip in 3, 6 and 9% combination level showed higher values than control sawdustboard, and exceeded 80kgf/$cm^2$ on KS F 3104. 4. In modulus of rupture of PP thread oriented sawdustboard, 0.5cm spacing oriented board showed the highest value, and 1.0 and 1.5cm spacing oriented boards lower values than the 0.5cm. However, all PP thread oriented sawdustboards showed higher values than control saw-dustboard. 5. Moduli of rupture in the majority of PP chip and oriented thread combining boards were higher than 80kgf/$cm^2$ on KS F 3104. Moduli of rupture in the boards combining longer PP chip with narrower 0.5cm spacing oriented thread showed high values. In accordance with the spacing increase of oriented thread, moduli of rupture in the PP chip and oriented thread combining boards showed increasing tendency compared with oriented sawdustboard. 6. Moduli of elasticity in one, two and three layer boards were lower than those of control sawdustboard, however, moduli of elasticity of oriented sawdustboards with 0.5, 1.0 and 1.5cm spacing increased 20, 18 and 10% compared with control sawdustboard, respectively. 7. Moduli of elasticity in the majority of PP chip and oriented thread combining boards in 0.5, 1.0 and 1.5cm oriented spacing showed much higher values than control sawdustboard. On the whole, moduli of elasticity in the oriented boards combined with 9% or less combination level and 0.5cm or more length of PP chip showed higher values than oriented sawdustboard. The increasing effect on modulus of elasticity was shown by the PP chip composition in oriented board with narrow spacing. 8. Internal bond strengths of all one layer PP chip combined boards showed lower values than control sawdust board, however, the PP chip combined boards in specific gravity of 0.63 and 0.72 exceeded 1.5kgf/$cm^2$, the low limit value of type 100 board and 3kgf/$cm^2$, type 200 board on KS F 3104, respectively. And also most of all two, three layer-and oriented boards exceeded 3kgf/$cm^2$ on KS F. 9. In general, screw holding strength of one layer board combined with PP chip showed lower value than control sawdustboard, however, that of two or three layer board combined with PP chip did no decreased tendency, and even screw holding strength with the increase of PP chip composition. In the PP chip and oriented PP thread combining boards, most of the boards showed higher values than control sawdustboard in 9% or less PP chip composition.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.