• Journal of agricultural medicine and community health
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• v.43 no.4
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• pp.258-269
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• 2018

Objectives: There was an outbreak of foodborne and waterborne disease among high school students at Okcheon in June, 2018. First attack occurred June $5^{th}$ but seven days later it was notified. The purpose of this investigation was to evaluate the pathogen of outbreak and cause of delayed notification. Methods: First, we did a questionnaire survey for 61 cases and 122 controls to find what symptoms they had and whether they ate foods or drank water from June $2^{nd}$ to June $12^{th}$. Second, we investigated the environment of cafeteria and drinking water. Third, we examined specimen of cases and environment to identify bacteria or virus. Results: Attack rate of this outbreak was 7.8%. Drinking water was strongly suspected as a source of infection in questionnaire survey but we could not find the exact time of exposure. Norovirus was identified in specimen of cases (2 students), drinking water (at main building and dormitory) and cafeteria (knife, dishtowel, hand of chef) Conclusions: We decided norovirus as the pathogen of this outbreak based on the clinical features of cases with diarrhea vomiting, abdominal pain and recovery within 2 or 3 days after onset, outbreak due to drinking water and microbiologic examination, And the cause of delayed notification might be the non-existence of the nurse teacher at that time and the lack of understanding of teachers on immediate notification under the outbreak. To prevent the delayed notification, notification system about outbreak of foodborne and waterborne disease in school is needed to be improved.

• Korean Journal of Environmental Biology
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• v.36 no.4
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• pp.525-537
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• 2018

The Korean coast is divided into the West Korea Coastal zone (WKC), the South Coastal zone of Korea (SCK), the East Korea Coastal zone (EKC), and Jeju Coastal zone of Korea (JCK). Each coastal zone has different marine environment characteristics. This study analyzed zooplankton data of KOEM (Korea Environment Management Corporation) collected in the Korean coastal waters the spring and summer of 2015 and 2016. In spring, water temperature was lowest in the JCK, and gradually increased in the order of EKC, SCK, and WKC, while in summer lowest in WKC and increased in the order of EKC, SCK, and JCK. Salinity was lowest in WKC which had many rivers flowing inland, and increased in the order of SCK, EKC and JCK in spring. In summer it was lowest in JCK and increased toward WKC, SCK, and EKC. In summer, Chlorophyll-a concentrations were generally low, but was lowest in JCK in spring. In the study area, a total of 77 species occurred, of which 50 species did in spring and 65 species in summer. The number of species was lowest in JCK and highest in SCK in spring and summer, respectively. Paracalanus parvus s. l. was the most dominant species or the second dominant species in Korean coastal areas in spring, but it was predominant in summer. In addition, in spring Acartia hongi, Calanus sinicus, Oithona similis were predominant in WKC, Oithona similis and Corycaeus affinis in SCK, O. similis and Corycaeus sp. in EKC, C. affinis and O. setigera in JCK. In summer Corycaeus spp., O. similis, A. hongi, Tortanus forcipatus were predominant in WKC, C. affinis, Pseudodiaptomus marinus in SCK, O. similis, A. omorii, Corycaeus sp. in EKC, and A. steueri, A. pacifica, Oithona sp., C. sinicus in JCK. The copepod community in the Korean coastal areas were classified into four areas, WKC-western SCK, eastern SCK, EKC and JCK according to differences in environmental factors such as water temperature, salinity, Chl-a concentration, and suspended matter concentration of each coastal area.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• Korean Journal of Environment and Ecology
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• v.33 no.3
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• pp.266-279
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• 2019

We investigated the characteristics of fish communities and habitat status of endangered species Rhodeus pseudosericeus in Heuk Stream, a tributary of the Han River, from April to October 2018. During this period, we collected 47 species of 14 families from 10 survey stations using kick nets, cast nets, and long bag set nets. The dominant and subdominant species were Zacco platypus (37.6%) and Z. koreanus (13.8%), respectively. The next most abundant species were Squalidus gracilis majimae (11.1%), Pungtungia herzi (7.7%), Rhodeus pseudosericeus (5.0%), Microphysogobio yaluensis (4.3%), and Hemibarbus longirostris (3.0%). Among the fish collected, 19 species (40.4%) were Korean endemic species. Endangered species were R. pseudosericeus and Acheilognathus signifer while exotic species were Micropterus salmoides and Oncorhynchus mykiss, and land-locked species were Plecoglossus altivelis and Rhinogobius brunneus. The community analysis showed that the dominance and evenness indexes were mostly low and that the diversity and richness indexes were high. Moreover, the river health (index of biological integrity) was mostly excllent (1 site is good, 9 sites are very good). R. pseudosericeus inhabited widely from St. 3 to St. 9 in Heuk Stream, and its population size was large. Age groups for R. pseudosericeus estimated by the frequency distribution of total length in spawning season (April) indicated the 32~45 mm group as 1-year old, the 46~59 mm group as 2-years old, 60~69 mm group as 3-years old, and the 70~89 mm group as 4-years or older. Total length range of male and female was similar, and the sex ratio of female (426) to male (394) was 1 : 0.95. A. signifer, which had been released in Heuk Stream, inhabited from St. 4 to St. 5, but its population size was small. Lastly, this paper discusses a conservation plan for fish in Heuk Stream.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.118-135
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• 2020

It is not uncommon in Korea to see the structure and function of a garden remain intact as well as its form. Yi Cheon-bo's Historic House (Gyeonggi-do Cultural Heritage Item No. 55), located in Sang-myeon, Gapyeong-gun, Gyeonggi-do, is considered an example of very valuable garden heritage, although its family history, location, and remaining buildings and natural cultural assets are not fully intact. Along with Yi Cheon-bo's Historic House, this study attempted to explore the possibility of restoration of the forest houses and gardens by highlighting the high value of Yi Cheon-bo's Historic House through research into the typical layout of private households in northern Gyeonggi Province and Gapyeong County, comparative review of aerial photographs from 1954, and interviews with those involved. The results of the study are as follows: In this study, the presence of Banggye-dongmun and Bansukam in the Banggyecheon area, where the location of the garden was well-preserved, was examined across the landscape of the outer garden, while the location of Yi Cheon-bo's Historic House, the appearance of feng shui, and the viewing axis were considered. Also, the appearance of the lost main house was inferred from the arrangement and shape of the Sarangchae and Haengrangchae that remain in the original garden, and the asymmetry of the Sarangchae Numaru and the hapgak shape on the side of the roof. In addition, the three tablets (Pyeonaeks) of Sanggodang (尙古堂), Bangyejeongsa (磻溪精舍), and Okgyeongsanbang (玉聲山房) were used to infer the landscape, use, and symbolism of the men's quarters. Also, a survey was conducted on the trees that existed or existed in the high prices. Incidentally, it was confirmed that information on boards and cultural properties of Yeonha-ri juniper (Gyeonggi-do Monument No. 61) was recorded to a much lesser extent than the actual required standard, and the juniper trees remaining in the front of Haengrangchae should also be re-evaluated after speculation. On the other hand, as a result of estimating the original shape as a way of pursuing completeness of the garden through restoration of the lost women's quarters and shrine, it is estimated that the main house was placed in the form of a '口' or a 'be warped 口' on the right (north) side of the men's quarters. By synthesizing these results, a restoration alternative for Yi Cheon-bo's Historic House was suggested.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.252-271
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• 2022

This article examines the characteristics of the royal tombs of the late Silla Dynasty with the statues of the 12 animal deities(Zodiac) and estimates the process of change. The features of the statues show a difference in their combination in terms of continuity and similarity of the object in their hands. In addition, there is a difference in the shape of the face of the stone statue, and differences are observed in the orientation and aspect ratio of the statue according to the sculptural method. The characteristics of these statues are somewhat different from the previously studied protected-stone and manufacturing techniques. For example, the Zodiac statues that are flattened from high relief to low relief are known to be decorated in realistic expressions, but they tend to be treated as separate conditions because they do not match the change of the stone. In addition, there was a characteristic that did not show regular changes, such as appearing and disappearing again when there was no balustrade in the tomb. Summing up the characteristics of each part, the Zodiac statues are largely divided into curved angles and flat angles according to the sculptural technique, and the head orientation and clothing of the statue are related. They are divided into two categories and can be viewed as having temporality according to the aspect ratio. These characteristic changes are consistent with the continuity of features and changes in the object in the hands of the 12 Zodiac statues. Therefore, the number of faces with protected-stone changes were gradually increasing in trend. As a result, there is a possibility that the Gujeongdong Square-shape Tomb and King Jindeok Tomb are earlier royal tombs than the Wonseong Royal Tomb. Therefore, the royal tombs of the late Silla Dynasty have a complete, tomb structure, containing the 12 animal god statues, ceremonial spaces(拜禮空間), Shindo(神道), stone statues(石像), and tombstones. This can be understood as a basic motif for the royal tomb structures of Goryeo and Joseon.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Korean Journal of Remote Sensing
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• v.39 no.6_2
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• pp.1615-1633
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• 2023

Sargassum horneri is one of the floating algae in the sea, which breeds in large quantities in the Yellow Sea and East China Sea and then flows into the coast of Republic of Korea, causing various problems such as destroying the environment and damaging fish farms. In order to effectively prevent damage and preserve the coastal environment, the development of Sargassum horneri detection algorithms using satellite-based remote sensing technology has been actively developed. However, incorrect detection information causes an increase in the moving distance of ships collecting Sargassum horneri and confusion in the response of related local governments or institutions,so it is very important to minimize false detections when producing Sargassum horneri spatial information. This study applied technology to automatically remove false detection results using the GOCI-II-based Sargassum horneri detection algorithm of the National Ocean Satellite Center (NOSC) of the Korea Hydrographic and Oceanography Agency (KHOA). Based on the results of analyzing the causes of major false detection results, it includes a process of removing linear and sporadic false detections and green algae that occurs in large quantities along the coast of China in spring and summer by considering them as false detections. The technology to automatically remove false detection was applied to the dates when Sargassum horneri occurred from February 24 to June 25, 2022. Visual assessment results were generated using mid-resolution satellite images, qualitative and quantitative evaluations were performed. Linear false detection results were completely removed, and most of the sporadic and green algae false detection results that affected the distribution were removed. Even after the automatic false detection removal process, it was possible to confirm the distribution area of Sargassum horneri compared to the visual assessment results, and the accuracy and precision calculated using the binary classification model averaged 97.73% and 95.4%, respectively. Recall value was very low at 29.03%, which is presumed to be due to the effect of Sargassum horneri movement due to the observation time discrepancy between GOCI-II and mid-resolution satellite images, differences in spatial resolution, location deviation by orthocorrection, and cloud masking. The results of this study's removal of false detections of Sargassum horneri can determine the spatial distribution status in near real-time, but there are limitations in accurately estimating biomass. Therefore, continuous research on upgrading the Sargassum horneri monitoring system must be conducted to use it as data for establishing future Sargassum horneri response plans.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.144-166
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• 2024

The Cultural Heritage Committee is an important organization that has been deliberating on important matters related to the preservation of cultural properties in the Republic of Korea for more than 60 years since 1962. The Cultural Heritage Preservation Committee was active in 1961, which was a short period of about a year, but the minutes prepared at the time confirmed that it had the following meanings. First of all, legally, it was meaningful in that the concept of cultural property or intangible cultural property was used for the first time in Korea in laws and regulations on the term of office of professional members. These matters became the basis for the operation of the current Cultural Heritage Protection Act and the Cultural Heritage Committee. The following confirms that, unlike previously known activities, they were active despite political upheaval at the time. In spite of rapid regime change at the time, the committee had no change in its members, and the meetings continued without interruption. At that time, there was an exclusive relationship between different groups in relation to the preservation of cultural heritage, and this relationship was confirmed by the minutes that disappeared with the establishment of the Cultural Heritage Management Bureau, which integrated these groups. Finally, the form of the minutes prepared then shows the form of documentation at the time, where it is confirmed that the traditional documentation format is changing into a new form. It can be good research material in terms of modern and contemporary bibliography. As discussed earlier, the Cultural Heritage Conservation Committee of 1961 has historical significance in terms of legal and actual activities. The reason why the committee's activities were low valued is presumed to be that the minutes and related documents prepared at the time were not organized well due to the lack of a related administrative system. The minutes of the Cultural Heritage Conservation Committee record various facts about cultural heritage policies and decisions at that time. Therefore, analysis and research on these contents can reveal more facts about the cultural heritage policies and perceptions of that time.