• Korean Journal of Environmental Biology
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• v.36 no.3
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• pp.392-399
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• 2018

Toxicity assessment of antifouling agent, zinc undecylenate (ZU) has been investigated using the rate of survival and population growth in marine rotifer, Brachionus plicatilis. The survival rate of Brachionus plicatilis was determined after 24 h of exposure to ZU and was not affected up to the maximum level of $100.0mg\;L^{-1}$ of ZU. The population growth rate (r) was determined after 72 h of exposure to ZU. It was observed that r in the controls (absence ZU) was greater than 0.5 but exhibited a sudden decrease with an increase in the concentration of ZU. ZU reduced r in a dose-dependent manner and a significant reduction occurred at a concentration greater than $12.5mg\;L^{-1}$. The 50% effective concentration ($EC_{50}$) value of r during ZU exposure was $26.4mg\;L^{-1}$, No-observed-effect-concentration (NOEC) was $6.3mg\;L^{-1}$ and Lowest-observed-effect-concentration (LOEC) was $12.5mg\;L^{-1}$, respectively. Based on the results, it is apparent that ZU concentration greater than $12.5mg\;L^{-1}$ exhibited a toxic effect on the r of zooplankton, B. plicatilis in natural ecosystems.

• 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 Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Korean Journal of Agricultural and Forest Meteorology
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• v.21 no.1
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• pp.55-64
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• 2019

The flowering seasons can be advanced due to climate change that would cause an abnormally warm winter. Such warm winter would increase the frequency of crop damages resulted from sudden occurrences of low temperature before and after the vegetative growth stages, e.g., the period from germination to flowering. The degree and pattern of freezing damage would differ by the development stage of each individual fruit tree even in an orchard. A critical temperature, e.g., killing temperature, has been used to predict freeze damage by low-temperature conditions under the assumption that such damage would be associated with the development stage of a fruit flower bud. However, it would be challenging to apply the critical temperature to a region where spatial variation in temperature would be considerably high. In the present study, a phenological model was used to estimate major bud development stages, which would be useful for prediction of regional risks for the freeze damages. We also derived a linear function to calculate a probabilistic freeze risk in spring, which can quantitatively evaluate the risk level based solely on forecasted weather data. We calculated the dates of freeze damage occurrences and spatial risk distribution according to main production areas by applying the spring freeze risk function to apple, peach, and pear crops in 2018. It was predicted that the most extensive low-temperature associated freeze damage could have occurred on April 8. It was also found that the risk function was useful to identify the main production areas where the greatest damage to a given crop could occur. These results suggest that the freezing damage associated with the occurrence of low-temperature events could decrease providing early warning for growers to respond abnormal weather conditions for their farm.

• Korean Journal of Food Science and Technology
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• v.51 no.2
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• pp.160-168
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• 2019

This study aimed to determine whether double-processed ginseng berry extract (PGBC) could improve learning and memory in an $A\hat{a}42$-induced Alzheimer's mouse model. Passive avoidance test (PAT) and Morris water-maze test (MWMT) were performed after mice were treated with PGBC, followed by acetylcholine (ACh) measurement and glial fibrillary acidic protein (GFAP) detection for brain damage. Furthermore, acetylcholinesterase (AChE) activity and choline acetyltransferase (ChAT) expression were analyzed using Ellman's and qPCR assays, respectively. Results demonstrated that PGBC contained a high amount of ginsenosides (Re, Rd, and Rg3), which are responsible for the clearance of $A{\hat{a}} 42$. They also helped to significantly improve PAT and MWMT performance in the $A{\hat{a}} 42-induced$ Alzheimer's mouse model when compared to the normal group. Interestingly, ACh and ChAT were remarkably upregulated and AChE activities were significantly inhibited, suggesting PGBC to be a palliative adjuvant for treating Alzheimer's disease. Altogether, PGBC was found to play a positive role in improving cognitive abilities. Thus, it could be a new alternative solution for alleviating Alzheimer's disease symptoms.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Food Science and Industry
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• v.50 no.4
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• pp.82-91
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• 2017

The purpose of this study was to investigate development and nutrient analysis of traditional food in the Sunchang area. A total 6 kinds of set tables was excavated from storytelling. Among set tables, taste and season food were the best in Sunchang gochujang hanjeongsik and Sunchang arirang season table. Shape color, smell, and commercialization possibility and differentiation were best in Sunchang arirang season table. Mole Ratio of sodium and potassium was 1:1 in Sunchang gochujang hanjeongsik and Sunchang arirang season table. The calcium contents in Sunchang gochujang hanjeongsik and Sunchang arirang season table were higher than other traditional foods. This result indicated that Sunchang gochujang hanjeongsik and Sunchang arirang season table are useful for traditional functional food. Also, it is highly suggested to make a database system about local food and standardization of traditional foods cookery.

• The Journal of Korean Philosophical History
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• no.43
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• pp.231-266
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• 2014

The main contents of Baopuzi inner chapters becomes the basis for the claim "to be achieved Xian the way people can be" named and Shenxian theory that is deployed in the center of the universe body theory with a focus on Xuan and YI and Tao and a problem of "demonstration of Shenxian exist", or ancient science that describes the Chinese alchemy and Taoism spell in other words, inner chapters are writing and how to get prescription way of Shenxian, of medicine to become a predecessors, elephant of some of the changes in the ghost apparition, the longevity, how to avoid the epidemic out of the evil. Inner chapters are presented a regimen thought, the rationale for its mystical religion and philosophy of Monasticism ship on the basis of the theory Shenxian so. Baopuzi Inner chapters is presented in detail how to reach a comprehensive and realistic Shenxian long life in prison without the pre-Qin dynasty Taoism and Qinhan dynasty and times across the Weijin dynasty Shenxian ideas. And is presented in a typical Waidan and Neidan Taoism exercise this system and that in Taoism (Regimen) Thought the important position. Thought of Regimen is very important right information Inner chapters which constitutes the establishment of an important theoretical basis Shenxian Taoism of Gehong this research right in that you can see at a glance the thought of Regimen of Inner chapters is the desperate need for this requirement. It aims to illuminate the entire look of Regimen ever appeared immediately in Inner chapters this paper. After the analysis of the body Tao theory, The theory of the body and the spirit, The theory of Xingming, The theory of Shenxian theoretical foundations of thought appeared in Inner chapters Based on this, the first one conducted regulating the qi flowing in the channels method, Daoyin method, Pranayama, Closed breath, I saw one at the specifics of regimen method such, art of controlling and swallowing breath from the mouth, Convinced, Tuna breathing, Sishenshouyi method, Jinehuandan method, Fangzhongshu. And reporting features found Inner chaptersfinally saw the spirit of Regimen weigh its value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.1-11
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• 2020

Noksan is a green area in the form of a hill located inside Gyeongbokgung Palace, unrecognized as a cultural heritage space. This study analyzed the literature and the actual site to derive its landscape meaning by examining the background for the formation of Noksan and how it changed. As a result, the identity of Noksan was related to the geomagnetic vein, pine forest, and deers, and the following are its landscape meaning. First, several ancient maps, including the 「Map of Gyeongbokgung Palace」 depicted the mountain range continuing from Baegaksan(Bugaksan) Mountain to areas inside Gyeongbokgung Palace, and Noksan is a forest located on the geomantic vein, which continues to Gangnyeongjeon Hall and Munsojeon Hall. On Bukgwoldo(Map of Gyeongbokgung Palace), Noksan is depicted with Yugujeong Pavilion, Namyeogo Storage, office for the manager of Noksan, the brook on north and south, and the wall. It can be understood as a prototypical landscape composed of minimal facilities and the forest. Second, the northern palace walls of Gyeongbokgung Palace were constructed in King Sejong's reign. The area behind Yeonjo(king's resting place) up to Sinmumun Gate(north gate of the palace) was regarded as the rear garden when Gyeongbokgung Palace was constructed. However, a new rear garden was built outside the Sinmumun Gate when the palace was rebuilt. Only Noksan maintained the geomantic vein under the circumstance. However, the geographical features changed enormously during the Japanese colonial era when they constructed a huge official residence in the rear garden outside the Sinmumun Gate and the residence of the governor-general and road in the site of the Blue House. Moreover, Noksan was severed from the foothill of Baegaksan Mountain when 'Cheongwadae-ro(road)' was constructed between the Blue House and Noksan in 1967. Third, the significant characteristics and conditions of the forest, which became the origin of Noksan, were identified based on the fact that the geomatic state of the northeastern side of Gyeongbokgung Palace, the naecheongnyong area in geomantic terms(the innermost 'dragon vein' among the veins that stretched out from the central mountain toward the left side), and they planted pine trees to reinforce the 'ground vein' and the fact that it was expressed as the 'Pine Field' before the Japanese Invasion of Korea in 1592. The pine forest, mixed with oaks, cherries, elms, and chestnuts, identified through the excavation investigation, can be understood as the original vegetation landscape. Noksan's topography changed; a brook disappeared due to mounding, and foreign species such as acacia and ornamental juniper were planted. Currently, pine trees' ratio decreased while the forest is composed of oaks, mixed deciduous trees, some ailanthus, and willow. Fourth, the fact the name, 'Noksan,' came from the deer, which symbolized spirit, longevity, eternal life, and royal authority, was confirmed through an article of The Korea Daily News titled 'One of the seven deers in Nokwon(deer garden) in Gyeongbokgung Palace starved to death.'

• Korean Journal of Ecology and Environment
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• v.54 no.1
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• pp.49-60
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• 2021

We examined the flow characteristics by direct runoff and base flow in a headwater stream during observed 59 rainfall events of flood season (June~September) from 2017 to 2020 yrs. Total precipitation ranged from 5.0 to 400.8 mm, total runoff ranged from 0.1 to 176.5 mm, and runoff ratio ranged from 0.1 to 242.9% during the rainfall events. From hydrograph separation, flow duration in base flow (139.3 days) was tended to be longer than direct runoff (78.3 days), while the contribution of direct runoff in total runoff (54.2%) was greater than base flow (45.8%). The total amount and peak flow of direct runoff and base flow had the highest correlation (p<0.05) with total precipitation and duration of rain among rainfall and soil moisture conditions. Dominant rainfall events for the total amount and peak flow of base flow were generated under 5.0~200.4 and 10.5~110.5 mm in total precipitation. However, when direct runoff occurred as dominant rainfall events, total amount and peak flow were increased by 267.4~400.8 and 169.0~400.8 mm in total precipitation. Therefore, the unique aspects of our study design permitted us to draw inferences about flow characteristic analysis with the contribution of base flow and/or direct runoff in the total runoff in a headwater stream. Furthermore, it will be useful for the long-term strategy of effective water management for integrated surface-groundwater in the forested headwater stream.