• Korean Journal of Poultry Science
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• v.36 no.1
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• pp.39-45
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• 2009

This study was carried out to investigate the effect of dietary supplementation of Acanthopanax (A) senticosus and Eucommiaceae on the expression of lipogenic, myogenic and oxidative stress genes in broiler chickens. Birds were subjected (assigned) to one of the following 5 dietary treatments: control (CON), A. senticosus 0.5% (T1), 1.0% (T2), Eucommiaceae 0.5% (T3) and 1% (T4). Each treatment was replicated 8 times with 4 birds per replication, housed in 4 birds per cage. Birds were arranged according to randomized block design. Feeding trial was conducted from day 4 to 35th day of age. Liver and muscle tissues were collected for analysis. Broilers subjected to 1% A. senticosus had higher feed conversion ratio than the other treated birds whereas no significant differences were found in body weight, weight gain and feed intake. The gene expression levels of fatty acid synthase were not different among the treatments while the transcription factor $PPAR{\gamma}$ was highly expressed in Eucommiaceae but not in control and A. senticosus. The gene expression levels of myogenin were high in both A. senticosus and Eucommiaceae compared to control group. MyoD also showed high expression in treated groups furthermore, Eucommiaceae stimulated the expression of MyoD more than that of A. senticosus. The antioxidant gene expressions (SOD, CAT, SOD, GPX) generally were not much different among the treatments, however, SOD and GPX were stimulated in broilers consumed 1% Eucommiaceae diet. The result of this experiment showed that dietary supplementation of A. senticosus and Eucommiaceae in broiler may improve the antioxidant defence system through SOD and GPX without affect of growth performance in broilers.

• Korean Journal of Poultry Science
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• v.36 no.4
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• pp.301-309
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• 2009

The present study was conducted to determine the effect of energy restricted (ER) diet on the expressions of lipogenic genes in liver and myogenic genes in muscle tissue of broiler chickens. Energy restriction was accomplished by providing chicks with 70% (ER70) or 85% (ER85) energy level of control diet intake. Energy restricted groups of chickens were restricted for 7 days, starting at 8 days of age. Ad libitum feeding was resumed after the restriction period, and continued through the end of the experiment. The body weight of chickens in the restricted groups gained less during the energy restriction period (P<0.05). The body weight of the ER groups were similar to the control group during the re-alimentation period. However, the body weight of the ER70 group did not catch up with that of the control group by 35 days of age. The energy restrictions during early life of chicks decreased the contents of triglycerides and cholesterol in blood (P<0.05), but those were not different among treatments after re-alimentation. The genes of fatty acid synthase (FAS) and transcription factors including SREBP and PPARγ were down regulated by restriction regimen only in ER70 (P<0.05). However, those genes were not completely recovered after re-alimentation in ER70 group. The RNA expression levels of Myo-D, Myf-5 and myogenin in all treatment groups were decreased by restriction regimen when compared with control group (P<0.05). Myogenin was highly expressed after re-alimentation, but the other genes were not different among groups. These results suggest that ER85 group shows the best growth performance by re-alimentation and the higher muscle differentiation by expressing myogenin.

• Korean Journal of Poultry Science
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• v.39 no.2
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• pp.121-131
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• 2012

To investigate the effect of dietary supplementation of freeze-dried plum (Prunus mume Siebold and Zucc., PMS) or omija meal (Schizandra chinensis Baill.; SCB) on growth performance, organ weights, blood biochemical profiles and antioxidant defense system, a total of 96, 3-day-old male broiler chickens were assigned to three dietary groups: (1) control diet, (2) control diet supplemented with PMS at 0.2%, (3) control diet supplemented with SCB at 0.2%. In vitro antioxidant activity, plum and omija extracts showed a significantly higher radical scavenging activity (RSA). In particular, omija extract showed much higher RSA than plum extract. Dietary addition of plum or omija did not affect body weight, feed intake, feed conversion and the relative weight of digestive organ in birds. Plasma triglyceride significantly (P<0.05) increased in birds fed the diet supplemented with omija compared with those fed control diet without affecting the other blood biochemical components. Furthermore, reduced form of glutathione (GSH) in the liver or muscle significantly (P<0.05) increased in birds fed the diet fortified with plum and omija. However, the specific activities of superoxide dismutase (SOD), glutathione peroxidase (GPX) and glutathione-S-transferase (GST) and MDA (malondealdehyde) in the intestine, liver and muscle were not altered by dietary antioxidant sources. In conclusion, dietary plum and omija resulted in a positive effect on some antioxidant indicators such as increased in vitro RAS in extracts and in vivo GSH level in the liver and muscle without affecting growth performance. Therefore, dietary addition of 0.2% of plum or omija could be applicable as potential antioxidant sources in broiler chick production.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.130-141
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• 2012

This study examines the characteristics of landscape elements and the reappearance techniques of traditional landscape image in Chinatown of the Shanghai Street in Busan, Korea. The subjects of the study are commercial buildings owned by Chinese residents, commercial buildings' naming design and environmental sculptures in the Shanghai Street. The results are as follows: First, the design methods of the front side of commercial buildings were classified into two parts: facede design of buildings and signboard design. The design form of the buildings' facades were classified into five types, there are: emphasis type on Chinese characters' signboard, addition type on decorative signboard, introduction type of traditional patterns, imitation type of traditional architectures and modern architectures' modes. The signs of chinese commercial buildings were observed mostly as having a traditional Chinese font in yellow/white on a red background. It has been found that this style was the most popular method of sign design. Secondly, The commercial buildings' naming design was analyzed into design methods and meanings. Design methods were classified into three types: a combination of meaning and place, a combination of season and atmosphere and tourist attractions. The meaning of the commercial buildings' names was divided into three kinds: the wishes of the prosperity, elegant type and the appropriation of local attractions. Thirdly, the environmental sculptures of Shanghai Street were found to have been influenced by both through out Chinese culture with mixed Korean culture. Finally, as for characteristics of landscape elements, we found three reappearance techniques - addition, replacement, juxtaposition. The technique of addition is added new face to the base map by just two methods - extending and overlapping area. Replacement is created new faces from base map by the action of replacing, it has three types - local replacement, package replacement, successive replacement. Juxtaposition is the fact of two or more things placed together with contrasting effect, it also has three types - the same kind juxtaposition, a different kind juxtaposition, topological juxtaposition. This study is the basic research which is analyzing the landscape design in chinatown. But the research only on Shanghai Street may have some limits in scope. It is considered an necessary study to add, which is about chinatown in other city such as Incheon, Jeonju. Then it is expected that the results of this study can be used for the basic data of the landscape plans, that municipalities are actively progressing their respective development projects of Chinatown.

• 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.

• 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.