• Korean Journal of Heritage: History & Science
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• v.37
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• pp.445-469
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• 2004

The Avatamsaka Sutra copied in ink on the white paper of Shilla Period is the oldest manuscript in korea. This Avatamsaka Sutra is volume 1-10 and 44-50 of the 80 volume's transcription. According to the postscript, written with 528 letters at the end of the volume 10 and 50, this sutra is made during A.D. 754-755, for six months by the order Master Yon-gi(綠起 法師) who founded Hwaumsa Temple(華嚴寺.) It explains the procedure of the ritual and production method of the sutra-copying, and also shows the 19 participants with their name, address, official title, and etc. When the sutra was founded, volume 1-10 were so congealed that we could not open the volumes. And volume 44-50 was prohibited to take photograph for preservation. According to the recent examination, it proved that this sutra is the treasure for the study of the characters made by Empress Wu Zetian(則天武后.) The characters made by Empress Wu Zetian(A.D. 625-705) are new shape of chinese characters which is different from the traditional characters. After the demise of the Queen, the characters were not used any more officially, but privately some people used the characters for personal tastes and interest. The characters in the sutra includes 512 characters of 13 kinds of Empress We Zetians'. Compared to the Tun-huang version of the sutra, this is far better treasure for the study of Empress We Zetians' characters in terms of the number of the character and the their use of frequency. The Avatamsaka Sutra of Shoso-in(正倉院) in japan copied in A.D. 768 does not use the Empress We Zetians' characters. In this respect, this Shilla Avatamsaka-Sutra is a unique one preserves the original forms of Chinese translation at that time.

• Journal of The Korean Society of Grassland and Forage Science
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• v.40 no.1
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• pp.19-28
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• 2020

This study was conducted to compare the agronomic characteristics and productivity according to the species and varieties of winter forage crops in reclaimed land. Winter forage crops used in this study were developed in National Institute of Crop Science, RDA. Oats ('Samhan', 'Jopung', 'Taehan', 'Dakyung' and 'Hi-early'), forage barley ('Yeongyang', 'Yuyeon', 'Yujin', 'Dacheng' and 'Yeonho'), rye ('Gogu', 'Jogreen' and 'Daegokgreen') and triticale ('Shinyoung', 'Saeyoung', 'Choyoung', 'Sinseong', 'Minpung' and 'Gwangyoung') were planted in the reclaimed land of Sihwa district in Hwaseong, Gyeonggi-do in the autumn of 2018 and cultivated using each standard cultivation method, and harvested in May 2019(oat and rye: 8 May, barley and triticale: 20 May.) The emergency rate was the lowest in rye (84.4%), and forage barley, oat and triticale were in similar levels (92.8 to 98.8%). Triticale was the lowest (416 tiller/㎡) and oat was the highest (603 tiller/㎡) in tiller number. Rye was the earliest in the heading date (April 21), triticale was April 26, and oat and forage barley were in early May (May 2 and May 5). The plant height was the highest in rye (95.6 cm), and triticale and forage barley was similar (76.3 and 68.3cm) and oat was the lowest (54.2 cm). Dry matter(DM) content of rye was the highest in the average of 46.04% and the others were similar at 35.09~37.54%. Productivity was different among species and varieties, with the highest dry matter yield of forage barley (4,344 kg/ha), oat was similar to barley, and rye and triticale were lowest. 'Dakyoung' and 'Hi-early' were higher in DM yield (4,283 and 5,490 kg/ha), and forage barley were higher in 'Yeonho', 'Yujin' and 'Dacheng' varieties (4,888, 5,433 and 5,582 kg/ha). Crude protein content of oat (6.58%) tended to be the highest, and TDN(total digectible nutrient) content (63.61%) was higher than other varieties. In the RFV(relative feed value), oats averaged 119, while the other three species averaged 92~105. The weight of 1,000 grain was the highest in triticale (43.03 g) and the lowest in rye (31.61 g). In the evaluation of germination rate according to the salt concentration (salinity), the germination rate was maintained at about 80% from 0.2 to 0.4% salinity. The correlation coefficient between germination and salt concentration was high in oat and barley (-0.91 and -0.92) and lowest in rye (-0.66). In conclusion, forage barley and oats showed good productivity in reclaimed land. Adaptability is also different among varieties of forage crops. When growing forage crops in reclaimed land, the selection of highly adaptable species and varieties was recommended.

• Journal of The Korean Society of Grassland and Forage Science
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• v.41 no.2
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• pp.110-118
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• 2021

This study was conducted to investigate the effects of species and varieties of summer forage crops on growth characteristics and productivity in Sihwa reclaimed land. The summer forage crops used in the trial were silage corn, sorghum×sudangrass hybrid(SSH), and proso millet. For each forage species, Gwangpyeongok(GPO), P15453, P1952 and P2088 were used for silage corn, and 877F, Green star, Honey chew, and Turbo gold cultivars were used for SSH. For proso millet, Ibaekchal, Geumsilchal and Manhongchal developed by the National Institute of Crop Science were used. Silage corn and SSH were sown on May 21, 2019 and proso millet on June 4, and harvested on September 2. There was no significant difference in plant and ear height of silage corn among varieties. P1543 was the highest and P2088 was the lowest in yield of silage corn, but there was no significant difference among treatments. Among the SSH, the plant height of 877F was the highest and Turbo gold variety had the smallest (p<0.05). As for the dry matter(DM) yields, 877F had the highest at 3,862 kg/ha and Green star had the lowest at 2,669 kg/ha (p<0.05). The fresh matter yield of proso millet was 15,778 kg/ha, which was higher than that of corn or SSH, The average dry matter yield was 4,780 kg/ha, and Ibaekchal variety had the highest DM yield compared to other varieties (p<0.05). P2088 had the highest TDN content and GPO was the lowest (p<0.05). As for the SSH, the TDN content of Green star and Honey chew varieties was significantly higher, and the RFV value was the lowest in Turbo gold. The average crude protein content of proso millet was 7.03%, and the highest TDN and RFV values were 64.36% and 106 in Geumsilchal. In the experiment of the germination rate of summer forage crops according to salt concentration, silage corn showed a germination rate of 83.1% even at 0.4% salinity. In particular, P2088 and P1921 varieties had more than 80% germination rate even at 0.6% salt concentration. As for the SSH, the germination rate of 877F was 93.3% even at 0.8% salinity, and 88.3% with Honey chew, indicating higher resistance to salt concentration compared to other varieties. Proso millet showed a high germination rate of 84.0 to 88.7% even at a salt concentration of 0.6%. Considering the above results, proso millet was recommended as the most suitable forage crop species in the Sihwa reclaimed land with high salt concentration, and the Ibaekchal variety is recommended as a suitable forage crop due to its high yield.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.196-221
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• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Asian Journal of Turfgrass Science
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• v.20 no.1
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• pp.33-40
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• 2006

Many soil amendments have been used nowadays to improve physical and chmical condition of turf soil, which might ultimately optimize turfgrass growth in golf courses. This study was carried out to Investigate the effects of new organic soil amendment containing pig excreta 50% and sawdust 50% on growth of zoysiagrass (Zoysia japonica L.) and kentucky bluegrass (Poa pratensis L.) in greenhouse. Three applicable treatments with soil mixtures of 10, 20, and 30% (v/v) animal organic soil amendment (AOSA) with sand, were tested for chemical property, physical property, visual quality and root length of zoysiagrass and Kentucky bluegrass. As results, application of $10{\sim}30%$ AOSA mixtures were proper to grow turfgrass in soil nutrition. Especially, the treatment with 20% AOSA mixtures showed 0.7% in organic matter, which meets to green standard of USGA. Also, 30% AOSA mixtures was 1.1% in organic matter, which might be desirable for zoysiagrass-planted golf courses in Korea. It was turned out that addition of AOSA decreased the hydraulic conductivity in soil physical property Because the sand possess high hydraulic conductivity, it is recommended to combine $10{\sim}30%$ AOSA with sand in order to sustain soil balance. The treatment with $10{\sim}30%$ AOSA noticeably increased visual quality of both zoysiagras and Kentucky bluegrass during 90 days. However, treatments with either 20% or 30% AOSA were effective to develop root length of zoysiagrass but treatments with 20% AOSA were more effective than that of 30% AOSA mixtures to promote root length of Kentucky bluegrass at 60 days. In conclusion, considering all vital factors such as visible quality, root growth, organic matter content, and economical efficiency, was taken, it is recommended that a $20{\sim}30%$ mixture of AOSA with sand is good for the growth of zoysiagrass and 20% mixture for Kentucky bluegrass.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• Journal of The Korean Society of Grassland and Forage Science
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• v.39 no.2
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• pp.97-104
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• 2019

This experiment was conducted to investigate the effect of whole crop rice (WCR) based TMR on growth performance and carcass characteristics of Hanwoo steers. WCR "Yeongwoo"was harvested at yellow ripen stage and ensiled for 60 days. The crude protein (CP), acid detergent fiber (ADF), neutral detergent fiber (NDF), in vitro dry matter digestibility (IVDMD) and total digestible nutrient (TDN) content was 8.4 %, 28.0 %, 53.8 %, 72.4 % and 66.8 %, respectively. For silage quality, pH was 4.37 and lactic and butyric acid content were 2.84 and 0.04 % in DM. Sixteen Hanwoo steers (8-mon-old) were allocated into either a control (commercial TMR) and WCR-TMR (WCR-based TMR) group. The TMR were fed according to the feeding stage phase: growing (Initiate~14 month), early fattening (15 month~21 month) and late fattening (22 month~30 month). The body weight of control group increased (P<0.05) until early fattening stage, but late growing stage of WCR-TMR group was higher than that of control (P<0.05). Average daily gain (ADG) was significantly greater (P<0.05) in WCR-TMR group (total 0.78 kg/head) compared to control (total 0.66 kg/head) except for late fattening stage. The marketing weight and carcass weight were higher in WCR-TMR group (726 vs 765 kg; 417.8 vs 450.4 kg). The back fat thickness (11.75 vs 13.00 mm), Longissimus dorsi area (88.00 vs $89.88cm^2$) and yield index (65.87 vs 64.30) were not different between the two groups (P>0.05) and also no difference in meat yield grade (A : B : C = 2 : 4 : 2). Marbling score (4.00 vs 4.13), meat color (4.75 vs 4.75), fat color (3.13 vs 2.88), texture (1.25 vs 1.50) and maturity (2.00 vs 2.00) were not significant difference between the two groups and meat quality grade ($1^{{+}{+}}:1^+:1:2:3=0:2:4:2:0$) was also not different. In conclusion, TMR feeding based on WCR silage showed superiority in carcass yield and ADG compared to control TMR. It is considered that the use of WCR for feed is a necessary option for the substitution of the imported forages and the government's policy for rice production adjustment.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.209-223
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• 2019

The Iron Seated Buddha sculpture in the National Museum of Korea had long sat unregistered in storage at the museum. However, a new accession number "bon9976" has recently been assigned to it. This sculpture was excavated from the neighborhood of Heungnyongsa Temple in Baekun-ri, Yidong-myeon, Pocheon-gun, Gyeonggi-do Province together with another Iron Seated Buddha sculpture(bon9975) called "Iron Buddha from Pocheon." A comparison and examination of Gelatin Dry Plate and official documents from the Joseon Government-General Museum during the Japanese occupation period have revealed that these two Iron Buddha sculptures were transferred to the Museum of the Government-General of Korea on December 17, 1925. The Iron Seated Buddha sculpture(bon9976) has a height of 105 centimeters, width at the shoulders of 57 centimeters, and width at the knee of 77 centimeters. The Buddha is wearing a robe with rippling drapery folds and the right shoulder exposed. He is seated in the position called gilsangjwa(the seat of good fortune) in which the left foot is placed over the right thigh. The features of the Buddha's oval face are prominently sculpted. The voluminous cheeks, eye sockets in a large oval shape, slanted eyes, short nose, and plump lips can also be found in other ninth-century Iron Seated Buddha sculptures at Silsangsa Temple in Namwon, Jeollanam-do Province, Hancheonsa Temple in Yecheon, Gyeongsangbuk-do Province, and Samhwasa Temple in Donghae-si, Gangwon-do Province. Moreover, its crossed legs, robe exposing the right shoulder, and rippling drapery folds suggest that this sculpture might have been modeled after the main Buddha sculpture of the Seokguram Grotto from the eighth century. The identity of this Iron Seated Buddha can be determined using the Gelatin Dry Plate(M442-2, M442-7). In them, the Buddha has its right palm facing upwards and holds a medicine jar on its left palm. Until now, the Iron Seated Bhaiṣajyagura(Medicine) Buddha(bon1970) excavated from Wonju has been considered the sole example of an iron Medicine Buddha sculpture. However, this newly registered Iron Seated Buddha turns out to be a Medicine Buddha holding a medicine jar. Furthermore, it serves as valuable material since traces of gilding and lacquering clearly remain on its surface. This Iron Seated Buddha sculpture (bon9976) is presumed to have been produced around the ninth century under the influence of Esoteric Buddhism by the Monk Doseon(827~898), a disciple of the Monk Hyecheol, to protect the temple and help the country overcome geographical shortcomings. According to the records stored at Naewonsa Temple(later Heungnyongsa Temple), Doseon selected three significant sites, including Baegunsan Mountain, built "protector" temples, created the Bhaisajyagura Buddha triad, and enshrined them at the temples. Moreover, the inscription on the stele on the restoration of Seonamsa Temple states that Doseon constructed temples and produced iron Buddha sculptures to help the country surmount certain geographical shortcomings. Heungnyongsa Temple is located in Dopyeong-ri, Yidong-myeon, Pocheon-si, Gyeonggi-do Province. This region appears to have been related to rituals directed to the Medicine Buddha since Yaksa Temple(literally, "the temple of medicine") was built here during the Goryeo Dynasty, and the Yaksa Temple site with its three-story stone pagoda and Yaksadong Valley still exist in Dopyeong-ri.