• Korean Journal of Poultry Science
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• v.43 no.3
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• pp.149-157
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• 2016

This study was performed to investigate the effects of the stocking density (standard stocking density (SSD, $495cm^2/bird$)) vs. high stocking density (HSD,245cm2/bird) and challenge with lipopolysaccharide (LPS, 5mg/kg BW) on the stress-related physiological indicators in chicks. There was a significant (p<0.05) decrease in body weight, but not in the weight of immune organs, between the SSD and HSD groups. The LPS group resulted in a significant (p<0.05) increase in the weights of the thymus and bursa of fabricius compared with the SSD group. Plasma biochemical components, including aspartate transaminase (AST), alanine transaminase (ALT), blood urea nitrogen, Ca, P, creatine kinase and uric acid, markedly (p<0.05) increased in the LPS birds, although no difference in these parameters was observed between the SSD and HSD birds. Furthermore, the birds challenged with LPS showed a significant (p<0.05) increase in the plasma corticosterone level, although this hormone did not differ between the SSD and HSD groups. In the mRNA expression of pro-inflammatory cytokines, hepatic $IL-1{\beta}$, IL-6 and iNOS in the LPS group significantly (p<0.05) increased compared with those in the SSD group. Thymic mRNA expression of $IL-1{\beta}$, IL-6 and IL-18 in the LPS group also significantly (p<0.05) increased compared with those in the other groups. In addition, mRNA expression of $IL-1{\beta}$ in the bursa of fabricius of the LPS group increased (p<0.05) without affecting the other cytokines. Under high stocking density, thymic $IL-1{\beta}$ was the only cytokine that was up-regulated compared with the SSD group. In conclusion, an acute stress induced by LPS challenge profoundly affected immune organ weight, blood biochemical profiles and pro-inflammatory cytokine expression, while chronic stress did not markedly affect biochemical and immunological parameters, suggesting that chicks under high stocking density could be adapted to prolonged stressors.

• Journal of Life Science
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• v.22 no.12
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• pp.1672-1679
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• 2012

The effect of high stocking density (HSD) on the expression of stress and lipid metabolism associated genes in the liver of broiler chickens was examined by chicken genome array analysis. The chickens in a control group were randomly assigned to a $495cm^2/bird$ stocking density, whereas the chickens in a HSD group were arranged in a $245cm^2/bird$ stocking density with feeding ad libitum for 35 days. The chickens assigned to the HSD group had a significantly lower body weight, weight gain, and feed intake compared with those of the control group (p<0.05). The mortality of chickens was higher in the HSD group than in the control group. The microarray analysis indicated up-regulation of stress associated genes such as HMGCR, $HSP90{\alpha}$, HSPA5 (GRP78/Bip), DNAJC3 and ATF4, and down-regulation of interferon-${\gamma}$ and PDCD4 genes. The endoplasmic reticulum stress associated genes, HSPA5 (GRP78/Bip), DNAJC3 and ATF4, were highly expressed in the HSD group. The genes, ACSL5, TMEM195 and ELOVL6, involved in fatty acid synthesis, were elevated in the HSD group. The genes, ACAA1, ACOX1, EHHADH, LOC423347 and CPT1A, related to fatty acid oxidation, were also activated in the HSD group. These results suggest that a HSD rearing system stimulates the genes associated with fatty acid synthesis as well as fatty acid oxidation in the liver of broiler chickens.

• Journal of KIISE:Databases
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• v.33 no.1
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• pp.42-55
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• 2006

We propose a single Index approach for subsequence matching that supports moving average transform of arbitrary order in time-series databases. Using the single index approach, we can reduce both storage space overhead and index maintenance overhead. Moving average transform is known to reduce the effect of noise and has been used in many areas such as econometrics since it is useful in finding overall trends. However, the previous research results have a problem of occurring index overhead both in storage space and in update maintenance since tile methods build several indexes to support arbitrary orders. In this paper, we first propose the concept of poly-order moving average transform, which uses a set of order values rather than one order value, by extending the original definition of moving average transform. That is, the poly-order transform makes a set of transformed windows from each original window since it transforms each window not for just one order value but for a set of order values. We then present theorems to formally prove the correctness of the poly-order transform based subsequence matching methods. Moreover, we propose two different subsequence matching methods supporting moving average transform of arbitrary order by applying the poly-order transform to the previous subsequence matching methods. Experimental results show that, for all the cases, the proposed methods improve performance significantly over the sequential scan. For real stock data, the proposed methods improve average performance by 22.4${\~}$33.8 times over the sequential scan. And, when comparing with the cases of building each index for all moving average orders, the proposed methods reduce the storage space required for indexes significantly by sacrificing only a little performance degradation(when we use 7 orders, the methods reduce the space by up to 1/7.0 while the performance degradation is only $9\%{\~}42\%$ on the average). In addition to the superiority in performance, index space, and index maintenance, the proposed methods have an advantage of being generalized to many sorts of other transforms including moving average transform. Therefore, we believe that our work can be widely and practically used in many sort of transform based subsequence matching methods.

• Journal of KIISE:Databases
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• v.28 no.4
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• pp.529-544
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• 2001

Prefetching is an effective method to minimize the number of roundtrips between the client and the server in database management systems. In this paper we propose new notions of the type-level access pattern and the type-level access locality and developed an efficient prefetchin policy based on the notions. The type-level access patterns is a sequence of attributes that are referenced in accessing the objects: the type-level access locality a phenomenon that regular and repetitive type-level access patterns exist. Existing prefetching methods are based on object-level or page-level access patterns, which consist of object0ids of page-ids of the objects accessed. However, the drawback of these methods is that they work only when exactly the same objects or pages are accessed repeatedly. In contrast, even though the same objects are not accessed repeatedly, our technique effectively prefetches objects if the same attributes are referenced repeatedly, i,e of there is type-level access locality. Many navigational applications in Object-Relational Database Management System(ORDBMs) have type-level access locality. Therefore our technique can be employed in ORDBMs to effectively reduce the number of roundtrips thereby significantly enhancing the performance. We have conducted extensive experiments in a prototype ORDBMS to show the effectiveness of our algorithm. Experimental results using the 007 benchmark and a real GIS application show that our technique provides orders of magnitude improvements in the roundtrips and several factors of improvements in overall performance over on-demand fetching and context-based prefetching, which a state-of the art prefetching method. These results indicate that our approach significantly and is a practical method that can be implemented in commercial ORDMSs.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.42-57
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• 2017

The Joseon Dynasty (1392~1910) had a long tradition of making official seals to commemorate the granting of official royal titles, including posthumous honorary titles, to its kings, queens, crown princes and queen dowagers. These royal seals were typically gold-plated or made of jade. After the death of its holder, each seal would be stored in the royal seal depository in the Royal Ancestral Shrine. Extensive efforts were made to restore the traditions and culture of the royal family of Joseon during the reign of King Sukjong (r. 1674~1720). In 1705, discussions were held about the royal ceremonial objects, including the royal seals, stored in the Royal Ancestral Shrine, resulting in the reproduction of a set of accessories related with the storage of royal seals and ten golden royal seals which had been lost during wars or had yet to be made. With these reproductions, each shrine chamber of the Royal Ancestral Shrine would have had at least one seal. The details of the reproduction project were meticulously recorded in The Royal Protocol by the Directorate for the Restoration of Golden Royal Seals("金寶改造都監儀軌"). Given that the restoration project was the single event that led to the reproduction of all the golden royal seals, it is reasonable to conclude that the directorate had fulfilled a historically significant function. In this study, the main discussion is focused on the establishment of the directorate and the storage and management of the damaged royal seals. The discussion includes the manufacturing process of the golden seals, for which The Royal Protocol is compared with other similar documents in order to gain more detailed knowledge of the measurements of the turtle knob, the lost-wax casting technique, the gold plating with mercury amalgamation technique, and other ornamentation techniques. The discussion also covers the activities of the artisans who made the royal seals, based on a study of the royal protocols; the styles of the artifacts, based on an examination of the remaining examples; and the techniques used by the Directorate for the Restoration of Golden Royal Seals to produce the royal seals in 1705.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.387-419
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• 2005

Material characteristics and provenance interpretation of the raw materials for the stone moulds of bronze artifacts excavated in Galdong Prehistoric site were studied. The stone moulds are made of igneous hornblendite with coarse-grained holocrystalline textures. The surface color shows greenish grey to dark green with greasy luster. The value of magnetic susceptibility of the moulds ranges from 19.2 to 71.0 (mean ; $39.2{\times}10^{-3}$ SI unit).High value of magnetic susceptibility indicates high contents of magnetite as a ferromagnetic mineral and the wide range of the values are due to heterogeneous distribution of magnetite. These are characteristics of basic igneous rocks. The rock-forming minerals of the moulds mainly consist of amphibole, plagioclase and biotite. Pyroxene, chlorite and opaque minerals are also rarely present. A large quantity of carbon was detected on the dark black crust near the surface of the moulds by quantitative analysis. Geological field survey was carried out to identify a source of the raw materials of the stone moulds around Galdong site. Hornblendite or gabbroic rocks being similar to the moulds forming rock occur at Daeseongri, Sikcheonri and Gyodongri in Jangsoo, and Illdaeri in Namwon about 50 kilometers away from the site in a straight line. They have similarity with the moulds forming rock in magnetic susceptibility ranging from 16.1 to 72.4 (mean ; $39.9{\times}10^{-3}$ SI unit). Among those hornblendite or gabbroic rocks, one in Jangsoo area is the most similar to the moulds forming rock on the basis of petrological and mineralogical characteristics. Comparing normalized patterns of major, minor, rare earth and immobile elements contents of the moulds to them of hornblendite in Jangsoo area, geochemical evolution trend and behavior characteristics show affinities between them. It suggests that the moulds forming rock and hornblendite in Jangsoo area have been originated from cogenetic magma. This hornblendite is easy to engrave an inscription or detail graphics on the surface because of its softness, and has good thermal conductivity. Hornblendite in Sikcheonri, Jangsoo is particularly produced and used for stone wares until the present day. Therefore, it is probable that the stone materials of the moulds has been imported from Daeseongri, Sikcheonri and Gyodongri in Jangsoo area. However, it cannot be completely excluded the possibility that the material of the moulds was supplied from Illdaeri in Namwon area appearing the same type of hornblendite on a small outcrops. It is necessary to carry out further archaeological studies to identify several possibilities of migration process of raw materials.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.180-193
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• 2022

The East Nine Royal Tombs is a representative place in the Royal Tombs of Joseon (a World Heritage Site). It consists of 1,289 stone artifacts including 979 related stone structures, 310 stone statues, and objects. Most of the stone structures in the East Nine Royal Tombs are composed of biotite granite, but some tombs are composed of light red granite. As a result of magnetic susceptibility measurement, the average data from Geonwolleung to Mongneung, excluding Hyeolleung, were similar, so it is estimated that stones were obtained from the same quarry. In the case of Sungneung, Sureung, and Gyeongneung, the range of susceptibility measurement is widely distributed. It assumed that the newly produced stones were mixed in the moving and construction process. Also, stones might be gathered from different quarries. As a result of a conservation status investigation, both the mound member and the ridge stone had the highest damage rate due to peeling and granular decomposition according to surface weathering. In the case of surface discoloration, yellowing and soils were found in the burial mound members. Yellowing, blackening, and soil were identified in the ridge stone structures. Bio-degradation is the major factor of deterioration of the East Nine Royal Tombs and the conservation status of the tombs were detected as grades 4 to 5. It seems that it is easy for the environment of the royal tombs to form soil for the microorganisms and fine conditions for continuous moisture. In the case of structures, they are in relatively good condition. As a result of a comprehensive damage rating for each tomb, the overall condition is good, but the Geonwolleung Royal Tomb and Hyeolleung Tomb, which were created in the early period, had relatively high weathering ratings. Stone objects in East Nine Royal Tombs have lost many pieces and gateway members due to surface deterioration. Also, secondary damage is ongoing. Each damage factor of the stone artifacts of the East Nine Royal Tombs combines to cause various and continuous damages. Therefore, it is necessary to establish regular conservation status data of the stone artifacts for efficient management after processing as well as conservation treatment of the royal tombs, and specific management manuals and systems. This study investigated the conservation status of stone structures in the East Nine Royal Tombs, a World Heritage Site, and systematically classified them to provide priority and necessity for conservation processing. We look forward to establishing a plan for the conservation and management of the East Nine Royal Tombs with this database in the future.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.82-108
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• 2024

With the transition of archaeological recording method's transition from analog to digital, the 3D scanning technology has been actively adopted within the field. Research on the digital archaeological digital data gathered from 3D scanning and photogrammetry is continuously being conducted. However, due to cost and manpower issues, most buried cultural heritage organizations are hesitating to adopt such digital technology. This paper aims to present a digital recording method of relics utilizing open-source software and photogrammetry technology, which is believed to be the most efficient method among 3D scanning methods. The digital recording process of relics consists of three stages: acquiring a 3D model, creating a joining map with the edited 3D model, and creating an digital drawing. In order to enhance the accessibility, this method only utilizes open-source software throughout the entire process. The results of this study confirms that in terms of quantitative evaluation, the deviation of numerical measurement between the actual artifact and the 3D model was minimal. In addition, the results of quantitative quality analysis from the open-source software and the commercial software showed high similarity. However, the data processing time was overwhelmingly fast for commercial software, which is believed to be a result of high computational speed from the improved algorithm. In qualitative evaluation, some differences in mesh and texture quality occurred. In the 3D model generated by opensource software, following problems occurred: noise on the mesh surface, harsh surface of the mesh, and difficulty in confirming the production marks of relics and the expression of patterns. However, some of the open source software did generate the quality comparable to that of commercial software in quantitative and qualitative evaluations. Open-source software for editing 3D models was able to not only post-process, match, and merge the 3D model, but also scale adjustment, join surface production, and render image necessary for the actual measurement of relics. The final completed drawing was tracked by the CAD program, which is also an open-source software. In archaeological research, photogrammetry is very applicable to various processes, including excavation, writing reports, and research on numerical data from 3D models. With the breakthrough development of computer vision, the types of open-source software have been diversified and the performance has significantly improved. With the high accessibility to such digital technology, the acquisition of 3D model data in archaeology will be used as basic data for preservation and active research of cultural heritage.

• 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.