• Korean Journal of Weed Science
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• v.12 no.1
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• pp.61-69
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• 1992

Weed control in mid season of rice fields was systemized earlier in Korea than in Western Europe or China. The most representative method was pull out the weeds by hand followed by 'Seojibeob'(鋤地法 : method of hoeing) after draining. It was practiced 3 to 4 times to do extensively. Also, the purposes of transplanting arid direct seeding in rows were to manage weed problems effectively, which means that the development of cultural techniques is closely related to 'Seojibeob'(鋤地法). From the 17th century, techniques of deep plowing(because of principal : 'Simkyonginu'(深耨易耕 : Deep plowing make easy to hoe) and 'Hwanubeob'(火耨法 : derived from 'Hwakyong soonubeob) for effective weed management of waste lands were newly adopted and spreaded due to the situations ant that time. Thus, the practice of large-scale farming resulted from the adaptation of the techniques and methods described above. In the 18th to 19th century, the cultural methods, not much different from 'Seojibeob', were changed and the number of weeding was decreased. Especially, the techniques of dry seeding of rice were practiced by originating the ideal 'Seojibeob', in which water availability was improved in northern drought areas and also weed problems were easily managed. In addition, intensively large-scale farming showed weed management problems, so that 'Cheonilrok'(千一錄) by Woo Ha-young described the techniques of 'Banjongbeob'(反種法) or 'Hwanubeob' and in the end of the Chosun dynasty extensively large-scale farming was practiced by putting intensive and extensive techniques together. As the results, agricuitural productivity of Korea was increased 5 times by that time.

• Journal of Preventive Medicine and Public Health
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• v.19 no.1 s.19
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• pp.16-30
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• 1986

In order to prepare the fundamental data for the improvement of noisy working environments and the effective hearing conservation program on workers exposed to industrial noise, the authors surveyed the working processes and evaluated the noise levels on 56 manufacturing industries in Pusan area from April to July in 1985. The results were summarized as follows : 1. The noise level was the highest in shipbuilding and repairing(95.6 dBA), and followed by steel rolling(94.0 dBA), manufacture of motor vehicles(93.1 dBA), manufacture of fishing nets(92.9 dBA), manufacture of testiles(92.5 dBA), iron and steel foundries(89.3 dBA), manufacture of metal products(89.1 dBA), preserving and processing of marine foods(87.0 dBA), manufacture of rubber products(85.3 dBA), manufacture of plywood(84.9 dBA) and manufacture of paints(84.5 dBA). 2. Among fifty surveyed working processes, the noise level of twenty-one processes (42%) exceeded the threshold limit value for 8 hours per day. 3. As the allowable exposure times by governmental threshold limit values to industrial noise level(dBA), cocking of shipbuilding and repairing and plating(CGL) of steel rolling were the shortest(30 minutes), and followed by assembling(rivet) of manufacture of motor vehicles(1 hour) weaving of manufacture of textiles and shot, machine, pipe laying of shipbuilding and repairing(2 hours). 4. By the result of octave band analysis on noisy working processes in excess of 90 dBA, the sound level was the highest at 2,000 Hz or 4,000 Hz. 5. It was recognized that the measurement of overall sound pressure level was also effective as octave band analysis in evaluating the industrial noise.

• KSBB Journal
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• v.14 no.3
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• pp.309-314
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• 1999

In order to produce high concentration of sodium gluconate, optimization of the fermentation conditions, such as glucose concentration, inoculum size, dissolved oxygen concentration and glucose feeding method, was examined. When the glucose concentration was maintained in the range of 30∼50 g/L during the batch fermentation, glucose conversion yield and productivity were 92.2% and 6.0 g/L/hr, respectively. In the case of the low concentration below 30 g/L, the yield decreased by about 25%. As the inoculum size increased above 20%(w/v), lag phase was shortened but the productivity decreased. The dissolved oxygen level of 60∼70% was shown to be the threshold point for 75% of increase in the productivity of sodium gluconate. Finally, optimal glucose feeding rate was determined using various feeding methods such as exponential feeding, feeding based on the average glucose consumption rate and was determined using various feeding methods such as exponential feeding, feeding based on the average glucose consumption rate and on the oxygen uptake rate and etc. Our result shows that glucose feeding, based on the oxygen uptake rate is a very simple, efficient and robust method, especially when oxygen is consumed as a substrate for the bioconversion. Using the above glucose feeding strategy under the optimized condition, 255 g/L of sodium gluconate concentration, 12 g/L/hr of productivity and 95% of glucose conversion yield were achieved with A. niger ACM53.

• (The)Study of the Eastern Classic
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• no.68
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• pp.35-67
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• 2017

This paper examines the petition to the king of Doam(陶菴) Leejae(李縡), one of the key figures of 18th century. He wrote a total of 49 he petition to the king, mostly resignation petition to the king. He emphasized the genuine feelings and emphasized the accurate persuasion logic when he was writing a petition to the king. It is not contradictory to these elements, looking at his actual situation he wrote. He wrote the resignation petition to the king three times to resign Daejehak (大提學), he changed his persuasion logic in each of the resignation petition to the king. We can look at the aspect of transforming persuasion logic on the same topic. His resignation petition to the king, for the first time, was particularly well structured in terms of composition, and used a proper accent method. His resignation petition to the king has the beautiful literary art of gomun(古文), such as the expression of the so-called munjongjasoon(文從字順) and the composition of paragraph organically corresponding. The best work of his resignation petition to the king is Maneonso(萬言疏). The contents criticized Yeongjo(英祖)'s tangpyeongchaek(蕩平策) while evaluating Sinimoksa(辛壬獄事). It consists of a total of 5,300 letters. This work repeatedly used the irony, the method of seolui(設疑), and the incremental method to criticize the tangpyeongchaek(蕩平策), and put Yeongjo(英祖)'s position to the corner. This work is an example of other the resignation petition to the king.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.37 no.1
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• pp.104-115
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• 1992

The rice culture techniques included 'Jodosukyungbeob'(旱稻水耕法 : culture techniques of early-ripening paddy rice), 'Mandosukyungbeob' (晩稻水耕法) : culture techniques of late-Ripening paddy rice 'Handobeob'(旱稻＆lt;山稻＆gt;法 : culture techniques of upland rice), 'Myojongbeob'(苗種法 : culture techniques of paddy rice by transplanting), 'Kunangbeob'(乾秧法 : culture techniques of rice by transplanting which rears seeding in dry paddy) and 'Sudogunpanongbeob'(水稻乾播農法 : culture techniques of paddy rice seeding in dry field). Especially, 'Kunangbeob' and 'Sudogunpanongbeob' were originally developed in Korea as seen in 1600s(Kyoungje : 經濟) and early 1800s (Yoji : 要旨). In 'Jodosukyungbeob' it took 9 days for seed dipping, water-sprouting and prevent damage by birds, each for 3 days in China, but in Korea seed dipping in water took 3 days and the rest of the procedures were flexibly established. In matured soils, practices were fall plowing right after harvest, recognition of effective tillering and additional fertilization use of human manure, and stimulation of sprouting by lime application. The unique culture techniques adequate for Korean situations were practiced, which included weed control after draining accurately for 3 to 4 times, draining at mid season for improving wind and drought tolerance, rice harvesting at appropriate time for preventing grain shattering, and seeding in rows. 'Mandosukyungbeob' was improved techniques contrast to those of China, and the major contents were selection of proper varieties, good stand establishment by seeding high rates, induction of vigorous tillers, and adoption of 'Jokjongbeob'(足種法 : seeding method by foot). Also, one of the most prominent rice cultures by our ancestors was 'Kunpanongbeob' that was systemized form habitual practice of Pyongan Province. The unique technique actualized was 'Hando [旱稻(山稻)]' culture technique which was the combinations of 'Jokjongbeob', root stimulation method, and disaster-tolerant mixture cropping with adoptation of variety theory, although it was originated from China. The transplanting techniques has come before 'Jikseol'($\ulcorner$直說$\lrcorner$) and its merits were sufficiently realized. However, this method was basically prohibited from the early Chosun dynasty because extremely bad harvest was expected under drought conditions and insufficient conditions of water storage. But, it was permitted in the areas that contained water all the times and in case of large-scale farming especially. Most of rice culture was transplanted in the end of the Chosun dynasty because transplanting was continuously spreaded in the three southern provinces of Korea. Under these circumstances, transplanting technique was improved from the early to the end of the Chosun dynasty by weed control, fertilizing, water management, and quadratic transplanting. Based on these techniques, agricultural productivity was improved 5 times by that time. 'Kunpanongbeob' was created and developed properly for Korean conditions that is dry in early season and flooding in late season. This was successively developed and established into transplanting technique of nursery seedling.

• 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.