• Korean journal of applied entomology
• /
• v.60 no.2
• /
• pp.175-183
• /
• 2021

As a baseline study of (common name) Locusta migratoria (Orthoptera: Acrididae) to utilize as a food source, we investigated the developmental characteristics of ovaries and eggs. Locusta migratoria had a pair of ovaries and more than 90-104 panoistic ovarioles. The ovary length in the adult stage was longer than it is in the 5th nymph stage. The length on the first day of the adult stage was 2.5-fold longer than the first day of 5^th instar. The ovary length showed a tendency to increase until the 30th day of the adult phase, but decreased from the 35^th day. Ovarioles length was about half of the ovary length, showing a similar tendency to the variation of ovary length. The lengths of the ovaries and the ovarioles increased proportionally to body weight. The matured eggs were identifiable from the 15^th day of the adult stage, and the number was the highest on the 30^th day at 50.6 individuals. Spermatheca size was also affected by the ovary development. The ovaries of L. migratoria were highly matured until the 30th day of adult stage. Weight and size of eggs increased sharply from the 4th day after egg oviposition and remained from the 7th day after spawning. Based on the above results, we found that the ovary of L. migratoria was most developed on the 30th day of adult phase, and 1st nymph is being hatched on the 10th day of the oviposition.

• (The)Study of the Eastern Classic
• /
• no.34
• /
• pp.225-255
• /
• 2009

Few data on the epigraph from the Bal-Hae Dynasty have been reported so far. The present paper, based on an examination of the style of the epitaphic tombstones of Princess Jeong-Hye and Princess Jeong-Hyo, investigates the historical formation and characteristics of Balhae's epitaphic style and its influences on the posterior periods. The epitaphs from the Bal-Hae Dynasty have the following epigraphic characteristics and historical significances. First, Bal-Hae's epitaphs are similar to those from the Goguryeo Dynasty in the sense that they are angular in their form. Tombstones with angular head first appeared during the East Han period. During the Wi-Jin period, however, as tombstones were not allowed to be erected in front of the tomb, small-sized epitaphic tombstones were set up inside tombs. Typical tombstones from the Dang Dynasty had stone pole and square cover. Unlike those from the Dang and the Tong-Il Silla Dynasties, however, the epitaphs from Bal-Hae had angular head in their tombstone body. The Bal-Hae's angular headed tombstones are very likely to testify that Goguryeo's epitaphs, which features an influence from the Wi-Jin Nambuk-Jo period, in turn exerted an effect on those from the Bal-Hae Dynasty. Second, Bal-Hae's epitaphic tombstones are characterized by their hexagonal head,which were modified from the then typical pentagonal head by cutting out the sharp point. The hexagonal head, which has not been found in its neighboring countries during the same historical period, is peculiar to the epitaphic tombstones from the Bal-Hae Dynasty. Third, the edge lines and ornamental figures first appeared in Bal-Hae's epitaphic tombstones, as seen in those of Princess Jeong-Hye. In the fa?ade of the epitaphic tombstone, a carved line demarcates its rectangular body and trapezoidal head. Four faces of the body stonehave two parallel lines in their edges within which vignette was inscribed, and the trapezoidal head part was ornamented with flower figures. Fourth, Bal-Hae's epitaphic tombstone had an extensive influence on the posterior countries in its neighborhood. The epitaphic tombstones in the Bal-Hae style are very often found in those of the Goryeo Dynasty and the Yo Dynasty which were greatly influenced from Bal-Hae. The vestiges of Bal-Hae's epitaphic style are also found in those from the Song, the Geum, and the Won Dynasties.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
• /
• v.12 no.3
• /
• pp.125-132
• /
• 2007

We estimated the distribution of predator-prey interaction strengths for 12 species of herbivores (including amphipods, isopods, gastropods, and sea urchins) and made a regression model that may be applicable to other species. Laboratory experiments were used to determine per capita grazing rate (PCGR; g seaweeds/individual/day). Relationship between the biomass of individual grazers and fourth-root transformed PCGR was fitted to power curve ($y=0.2310x^{0.3290}$, r=0.8864). This finding supported that the grazing efficiency was not even as individual grazers increase in size (biomass). Therefore, the biomass-normalized PCGR was estimated and revealed that smaller size herbivores were more effective grazers. Grazing impact considering density of each taxon was calculated. The sea hare Aplysia kurodai had greatest grazing impact on the seaweed bed and the sea urchin Strongylocentrotus nudus and S. intermedius were ranked in descending order of the impact. The amount of seaweed grazed by the amphipod Elasmopus sp. (>4,000 $ind./m^2$) and Jassa falcata (>2,000 $ind./m^2$) were 3.435 and $1.697mg/m^2/day$ respectively. The combined grazing amount of herbivores was $5,045mg/m^2/day$ in the seaweed bed. Although sea hare and sea urchin had strong impacts on seaweeds, the effects of dense, smaller species could not be seen as negligible. Surprisingly, the calculated grazing potential of sea urchins with a mean density of 3 $ind./m^2$ exceeded the mean production of seaweed cultured in domestic coastal waters in Korea (ca., 5 ton/ha). Small crustaceans were also expected to consume up to 16% of the seaweed production if their densities were rising under weak predation conditions. Considering that the population density of herbivores are strongly controlled by fish, human interference like overfishing may have strong negative effects on persistence of seaweeds communities.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.12
• /
• pp.1837-1847
• /
• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.

• Korean Journal of Heritage: History & Science
• /
• v.57 no.1
• /
• pp.126-144
• /
• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.