• Korean Journal of Medicinal Crop Science
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• v.2 no.1
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• pp.7-13
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• 1994

This study was conducted to investigate the relationships between yearly variations of climatic factors and yearly variations of productivity in Alisma plantago L. In addition, correlation coefficients among yield and yield components were estimated. The data of yield and yield components were collected from the Statistical Year Book of Seungju province, Reserach Report of Seungju Extension Station of Rural Development Administration, and farmers for 10 years from 1983 to 1992. The meteorological data gathered at the Seungju Weather Station for the same period were used to find out the relationships between climatic factors and productivity. Yearly variation of the amount of precipitation in October and the minimum temperature in November were large with coefficients of variation(C.V.) of 106.44, 144.08%, respectively, but the variation of the average temperature, maximum temperature, minimum temperature from July to September were relatively small. Fresh weight and dry weight of roots vary greatly with C. V. of 30.62, 31.85%, respectivly. Plant height and stem length show more or less small C. V. of 5.51, 6. 26%, respectively and leaf width, leaf length, number of stems and root diameter show still less variation. Correlation coefficients between maximum temperature in November and plant height, stem diamter, number of stems, root diamter and dry weight of roots are positively significant at the 5% level. There are high signficant positive correlations observed, between yield and yield components. The maximum temperature would be used as a predictive variable for the estimation of dry weight of roots and number of stems. Simple linear regression equations by the least square method are estimated for number of stems $(Y_1)$ and the maximum temperature in November(X) as $Y_1=4.7114+0.5333\;X\;(R^2=0.4410)$, and for dry weight of roots$(Y_2)$ and the maximum temperature in November(X) as $Y_2=55.0405+14.3233\;X\;(R^2=0.4511)$

• Applied Biological Chemistry
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• v.32 no.3
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• pp.240-248
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• 1989

The effects of the soil properties on the contents of catalpol, sugar and ash in the rhizoma of Ji-whang (Rehmannia glutinosa Lib. var. purpurea Makino) were studied to get information on cultivation for higher quality production. Catalpol contents of the rhizoma of Ji-whang ranged from 3.75 to 4.36%. It was shown that the sand contents of soil was positively correlated with the catalpol contents, and negatively correlated with the contents of fructose and galactose in the rhizoma of Ji-whang. The sand contents of subsoil was also negatively correlated with the contents of ash and acid insoluble ash in rhizoma. The clay contents of subsoil was negatively correlated with the catalpol contents, and positively correlated with the contents of fructose, galactose and sucrose in rhizoma, respectively. The clay contents of soil was positively correlated with the ash contents, and negatively correlated with the contents of ethanol extract and water extract in rhizoma, respectively. The organic matter contents of surface soil and subsoil were negatively correlated with the contents of catalpol and extracts (ethanol and water), and positively correlated with the contents of fructose and ash in rhizoma. The total nitrogen contents of surface soil was negatively correlated with the catalpol contents, and positively correlated with the contents of fructose and sucrose in rhizoma. The potassium contents of soil was highly positively correlated with the fructose contents in rhizoma.

• Korean Journal of Medicinal Crop Science
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• v.4 no.1
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• pp.68-73
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• 1996

Stem length, main root length and main root diameter showed rapid increasement in two-years-old and three-years-old peony. And there after, the increasement was almost finished. Occurrence of disease was increasing every cultivated year, especially the development of leaf spot was most serious. In propagation by root dividing method, the radix yield (kg/10a) was increasing every cultivated year. However, the difference of radix yield at four and five-years-old peony were not significant. The radix yield of four-years-old peony was higher 26% than three-years-old one. As cultivated year goes by, content of paeoniflorin was increasing then the content was highest at four-years-old peony (4.06%). In 1995, the content, had no certain tendency, was highest at three-years-old peony (3.14%). At hot air drying, browing of peony radix was increasing every cultivated year. If we consider radix yield and color, three-years-old peony was proper object of harvesting.

• Horticultural Science & Technology
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• v.19 no.1
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• pp.22-28
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• 2001

An optimum seeding date for carrots growing in Jeju was determined. In early growth stage, the number of leaves was more in Hyang-yang #2 cultivar (HY2) than that in the others, meanwhile that of Hukjun 5 chon (H5) and Shinhukjun 5 chon (S5) was higher in the latter half of the growing season. The weight of leaves was greater in HY2 until 2 months after seeding, but thereafter drastically increased and resulted significant difference at harvest in S5. The length of roots was greater in H5 and S5 than in HY2 when seeded on July 17 and measured after September 13, but it was similar in all cultivars when seeded on August 1 and later. The diameter of the roots was greatest in HY2, regardless of seeding dates, meanwhile no difference was found among other cultivars. The weight of roots was greatest in HY2 when seeded on July 17, August 1 or later, meanwhile it was greater in H5 after November, when seeded on August 15. The percentage of roots cracked was 20, 15, and 10% respectively for HY2, S5 and H5. The percentage of roots branched was 0.3% in HY2. The percentage of roots cracked or branched was much higher when seeded on August 1 than on July 17, and was high (40%) in HY2 and S5, compared to H5 when seeded on August 15. The content of sucrose, glucose and fructose increased until 110 days after seeding in all cultivars, but fructose and glucose contents decreased in about 135 days after seeding, but sucrose contents increased continuously even after 135 days. Sucrose content increased and fructose and glucose contents decreased in S5, but this trend was reversed after late November. Sugar contents was different among the cultivars seeded on August 15, while sucrose content decreased and glucose and fructose contents increased with time. The content of ${\beta}$-carotene was more than 12,000 IU in all cultivars, but decreased in 170 days after seeded on July 17. The content was highest in HY2 and followed by S5 and H5 in order. It was not different among the cultivars in 170 days after seeding on August 1, but was higher in S5 than the other cultivars in 170 days after seeded on late and decreased with seeding date.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.55-64
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• 2022

This study aims to shed light on the cultural history of Hajodae(河趙臺) enjoyed by writers of the Joseon Dynasty by analyzing the origin and the contents of the landscape based on the literature materials of Hajodae in Yangyang(襄陽). The results of the study are as follows. First, Hajodae is a space that is said to have been visited by Ha Ryun(河崙) and Jo Jun(趙浚). However, since this story has not been confirmed in the literature, various opinions coexisted in history. Jo Wi-Han(趙緯韓) quoted the opinions of aged people who lived in Yangyang, saying that it could be Jo In-Byeok(趙仁壁), not Jo Jun(趙浚), and Jo Deok-Rin(趙德鄰) recorded it as "遐眺臺", which means "a stand for a distance view." There is a need to clearly present the origin of Hajodae by revealing the literary authority. Second, Hajodae was talked about as the best scenic site in Gwandong(關東) in the middle of the Joseon Dynasty. during the mid-Joseon Dynasty. The writers of the time mentioned Hajodae as one of the best scenic sites in Gwandong, which soon became a symbol of Yangyang. These records of Hajodae show a relatively decreasing trend entering the late Joseon Dynasty. It is believed to be the result of the slight degrading in the status of Hajodae as the Eight Views of Gwandong were established and Naksansa Temple(洛山寺) gained fame. Third, the writers of Joseon enjoyed the scenic sites through various landscapes of Hajodae. The open terrain on three sides allowed a sea view and provided an opportunity to develop a great spirit or to reflect on oneself. On the other hand, the strange rock formations and cliffs, which correspond to a close-up view, drew the attention of tourists, and the Rosa rugosa Thunb. blooming in the Hajodae area was enough to show a bizarre charm. This shows the various charms of Hajodae, suggesting that the management of such landscape is necessary. Fourth, a Chinese poem about Hajodae shows the spatial meaning of Hajodae. Looking into all sides of the Chinese poem about Hajodae, a case of unburdening one's mind on the landscape, and the aspect a person compared oneself to the natural landscape or projected one's consciousness onto it, and a case of recalling Ha Ryun and Jo Jun, illustrious retainers in the early Joseon Dynasty are confirmed. It can be seen that it results in the aspect of expressing one's impressions and looking back on history through the landscape.

• Journal of the Korean Orthopaedic Association
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• v.55 no.1
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• pp.78-84
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• 2020

Purpose: This paper compares the clinical outcomes of patients who were treated with a cervical nerve block by ultrasound and C-arm and reports the complication. Materials and Methods: A total of 97 patients were treated with an ultrasound-guided nerve root block from May 1, 2015 to February 8, 2018. On the other hand, 94 patients were treated with a C-arm guided nerve root block. The consequences of the cervical pain and the radiating pain before and after the procedures were reviewed using the verbal numeric rating scale (VNRS). In addition, the complications related to the procedures from the daily notes from the chart were inspected. Results: Sixty-six cases out of 97 cases of ultrasound-guided nerve root block were enrolled in the study. The average age of the patients was 57 years, including 41 males and 25 females. Seventy seven out of 94 cases by a C-arm guided root block were included in the study. The average age of the patients was 55 years, including 40 males and 37 females. Before the nerve root block, the mean numeric rating pain scale (NRS) of the cervical pain in ultrasound-guided block decreased from 5.4 points to 2.7 points at three weeks and 1.4 points at six weeks (p=0.0023, p<0.001), and 3.1 points in the C-arm (p<0.001, p<0.001) at three weeks and 1.5 points at six weeks (p<0.001, p<0.001). In the case of radiating pain, the mean NRS in the ultrasound-guided nerve root block group improved from 6.3 points after the procedure to 2.8 points at three weeks and 1.5 points at six weeks (p<0.001, p<0.001). In the C-arm guided nerve root block group, the NRS improved from 7.4 points after the procedure to 3.3 points at three weeks and 1.9 points at six weeks. In the case of complications, Horner's syndrome and propriospinal myoclonus were observed in one case of C-arm guided block group. Conclusion: The clinical results of the patients who underwent ultrasound-guided cervical nerve root block were not significantly different from those who underwent a C-arm guided cervical nerve root block.

• Journal of Korean Society of Forest Science
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• v.52 no.1
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• pp.1-30
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• 1981

The origin and development of adventitious roots was studied using hypocotyl and epicotyl cuttings of 34 species, 24 genus of woody plants. These cuttings obtained from young seedlings cultured in vials containing distilled water only. The several characteristics of cuttings materials studied are shown in Table 1. The results are summerized as follows: 1. The circumference shapes of cross-sections of hypocotyl and epicotyl cuttings can be divided into six categories, namely, round, irregular round, ellipse, irregular ellipse, square, and triangle. Species differences within a genus did not show any difference of hypocotyl and epicotyl cross-sections shape, however, a noticeable variation among genus or higher taxa. 2. The arrangements of vascular bundles in the cross-sections of hypocotyls or epicotyls were almost all collateral types and generally showed generic characteristics differing one to the other. However, there were some variations between species within the genus. Six models of vascular bundle arrangement were proposed for all the above speices. 3. The rooting portions of hypocotyl and epicotyl cuttings in this experimental materials can be grouped as follows: (1) Interfascicular parenchyma; (Thuja orientalis. T. orientalis for. sieboldii, Acer microsieboldianum, A. palmatum, A. saccharinum, Cercis chinensis, Lespedeza bicolor, Magnolia obovata, M. sieboldii, Mallotus japonicus, Staphylea bumalda) (2) Cambial and phloem parenchyma: (Chamaecyparis obtusa, C. pisifera, Albizzia julibrissin, Buxus microphylla var. Koreana, Cereis chinensis, Euonymus japonica, Firmiana platanifolia, Lagerstroemia indica, Ligustrum salicinum, L. obtusifolium, Magnolia kobus, M. obovata, Mallotus japonicus, Morus alba, Poncirus trifoliata, Quercus myrsinaefolia, Rosa polyantha, Styrax japonica, Styrax obassia) (3) Primary ray tissues; (Euonymus japonica, Styrax japonica) (4) Leaf traces; (Quercus acutissima, Q. aliena) (5) Cortex parenchyma; (Ailanthus altissima) (6) Callus tissues; (Castanea crenata, Quercus aliena, Q. myrsinaefolia, Q. serrata) 4. As a general tendency throughout the species studied, in hypocotyl cuttings, the adventitious root primordia were originated from the interfascicular parenchyma tissue, however, leaf traces and callus tissues were contributed to the root primordia formation in epicotyl cuttings. The hypocotyl cuttings of Ailanthus altissima exhibited a special performance in the root primordia formation, this means that cortex parenchyma was participated to the origin tissue. And in Firmiana platanifolia, differening from the other most species, the root primordia were formed at the phloem parenchyma adjacent outwardly to xylem tissue of vascular bundle system as shown photo. 48. 5. All the easy-to, or difficult-to root species developed adventitious roots in vials filled with distilled water. In the difficult-to-root species, however, root formations seemed to be delayed because they almost all had selerenchyma or phloem fiber which gave some mechanical hindrance to protrusion of root primordia. On the other hand, in the easy-to-root species they seemed to form them more easily because they did not have the said tissues. The rooting portions between easy-to-root and difficult-to-root species have not clearly been distinguished, and they have multitudinous variations. 6. The species structured with the more vascular bundles in number compared with the less vascular bundles exhibited delayed rooting. In the cuttings preparation, the proximal end of cuttings was closer to root-to-stem transition region, the adventitious root formation showed easier. 7. A different case occured however with the mature stem cuttings, in both the needle-leaved and the broad-leaved species. In the hypocotyl cuttings, parenchymatous tissues sited near the vascular bundles become the most frequent root forming portions in general and relevant distinctions between both species were hardly recognizable. 8. In the epicotyl cuttings, root primordia originated mainly in leaf traces in connection with cambial and phloems or callus tissues itself. In the hypocotyl cuttings, interfascicular parenchyma was the most frequent portion of the root primordia formation. The portions of root primordia had more connection with vascular cambium system, as the tissues were continuing to be developed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.