• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Journal of Mushroom
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• v.12 no.1
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• pp.67-72
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• 2014

This study was carried out to provide standardization for mushroom production of high quality at farmhouse. The standardization does much to improve merchantable quality, distribution efficiency and fair dealings by shipping of the standard agricultural products. Therefore, modification of these standards is required to fit farmhouse situations. The standardization for production of Pleurotus eryngii of high quality follows like this. A grades were above 90 g at average weight, more 50 mm at stipe thick, 1.6~1.7 at stipe length/stipe thick rate and 1.1~1.2 at pileus diameter/stipe thick ratio. B grades were more 45 g at average weight, above 40 mm at stipe thick, 1.8~1.9 at stipe length/stipe thick ratio and 1.2~1.4 at pileus diameter/stipe thick ratio.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.36-59
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• 2021

This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.23 no.2
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• pp.1-24
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• 1978

To obtain basic information on the breeding of early maturing, short culm naked-barley varieties, the following 10 varieties, Ehime ＃ 1, Shikoku ＃42, Yamate hadaka, Eijo hadaka, Kagawa ＃ 1, Jangjubaeggwa, Baegdong, Cheongmaeg, Seto-hadaka and Mokpo ＃42 were used in diallel crosses in 1974. Heading date, culm length and grain yield per plant for the parents, $F_1's$ and $F_2's$ of the 10X10 partial diallel crosses were measured in 1976 for analysis of their combining ability, heritability and inheritance. The results obtained are summarized below; 1. Heritabilities in broad sense for heading date, culm length and grain yield per plant were 0.7831, 0.7599 and 0.6161, respectively. Narrow sense heritabilities for heading date were 0.3972 in $F_1$ and 0.7789 in $F_2$ and for culm length 0.6567 in $F_1$ and 0.6414 in $F_2.$ These values suggest that earliness and culm length could be successfully selected for in the early generations. Narrow sense heritability for grain yield was 0.3775 in $F_1$ and 0.4170 in $F_2.$ 2. GCA effects of the $F_1$ and $F_2$ generations for days to heading were high in the early direction for early-heading varieties, while for late-heading varieties the GCA effects were high in the late direction. Absolute values for GCA effects in $F_1$ were higher than in $F_2.$ SCA effects of the $F_1$ and $F_2$ generations were high in the early-heading direction for Shikoku ＃ 42 x Mokpo ＃ 42, Ehime ＃ 1 x Yamate hadaka, Shikoku ＃ 42 x Yamate hadaka and Shikoku ＃42 x Eijo hadaka. 3. The GCA effects for culm length in the $F_1$ and $F_2$ generations for tall varieties were high in the tall direction while short varieties were high in the short direction. Absolute values for the GCA effects in $F_1$ were higher than in $F_2.$ SCA effects were high in the short direction for the combinations of Mokpo ＃ 42 with Ehime ＃ 1, Yamate had aka and Eijo hadaka. 4. The GCA effects for grain yields per plant in the $F_1$ and $F_2$ generations for varieties with high yields per plant were high in the high yielding direction, while varieties with low yields per plant were high in the low yielding direction. Absolute values of the $F_1$ GCA effects were higher than the $F_2$ effects. The combinations with high SCA effects were Mokpo ＃ 42 x Shikoku ＃ 42, Mokpo ＃ 42 x Seto hadaka and Mokpo ＃ 42 x Cheongmaeg. 5. Mean heading dates of the $F_1$ and $F_2$ generations were earlier than those of mean mid-parent. Mean heading date of the $F_1$ generation was earlier than the $F_2$ generation. Crosses involving early-heading varieties showed a greater $F_1, $ mid-parent difference than crosses involving late-heading varieties. 6. Heading date was controlled by a partial dominance effect. Nine varieties excluding Mokpo ＃ 42 showed allelic gene action. Ehime ＃ 1, Shikoku ＃ 42, Kagawa ＃ 1 and Mokpo ＃ 42 were recessive to the other tested varieties. 7. The $F_2$ segregations of the 45 crosses for days to heading showed that 33 cosses were of such complexity that they could not be explained by simple genetic inheritance. One cross showed a 3 : 1 ratio where earliness was dominant. Another cross showed a 3 : 1 ratio where lateness was dominant. Four other crosses showed a 9 : 7 ratio for earliness while six crosses showed a 9 : 7 ratio for lateness. 8. Many transgressive segregants for earliness were found in the following crosses; Eijo hadaka x Baegdong, Ehime ＃ 1 x Seto hadaka, Yamate had aka x Kagawa ＃ 1, Kagawa ＃ 1 x Sato hadaka, Shikoku ＃ 42 x Kagawa ＃ 1, Ehime ＃ 1 x Kagawa ＃ 1, Ehime ＃ 1 x Shikoku ＃ 42, Ehime ＃ 1 x Eijo hadaka. 9. Mean culm length of the F, and F. generations were usually taller than the mid-parent where tall parent were used. These trends were high in the short varieties, but low in the tall varieties. 10. Culm length was controlled by partial dominace which was gonverned by allelic gene(s). Culm length showed a high degree of control by additive genes. Mokpo ＃ 42 was recessive while Baegdong was dominant. 11. The F_2 frequency for culm length was in large part normally distributed around the midparent value. However, some combinations showed transgressive segregation for either tall or short culm length. From combinations between medium tall varieties, Ehime ＃ 1, Shikoku ＃ 42, Eijo hadaka and Seto hadaka, many short segregants could be found. 12. Mean grain yields per plant of the F_1 and F_2 generations were 6% and 5% higher than those of mid-parents, respectively. The varieties with high yields per plant showed a low rate of yield increase in their F_1's and F_2's while the varieties with low yields per plant showed a high rate of yield increase in their F_1's and F_1's. 13. Grain yields per plant showed over-dominnee effects, governed by non-allelic genes. Mokpo ＃ 42 showed recessive genetic control of grain yield per plant. It remains difficult to clarify the inheritance of grain yields per plant from these data.

• Economic and Environmental Geology
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• v.11 no.4
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• pp.127-141
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• 1978

The major structures characteristic of the Taebaegsan sedimentary basin were regionally analyzed with special reference to its southeastern extension to the Yeonhwa-Ulchin district of economic interest in zinc-lead mineralization. The basin geometry, basement setting, sedimentary components, and the characteristics of deformation and igneous activity of the Taebaegsan basin differ basically from those of the adjacent mobile belt of the Ogcheon geosyncline, although the latter affected the basin's western side considerably. The subrectangular shape of the Taebaegsan basin reflects the checkered pattern of basement-block arrangement, and the carbonate-dominated lithologic components of the basin-fill indicate a cratonic depositional setting, which is comparable to some of the North American mid-continental craton. The Taebaegsan basin, however, has somewhat been less stable than the North American megacraton that is reflected in the former's thicker sedimentary fill and steeper faults of later deformation, showing a tendency to increase in thickness close to the basement-block boundaries, which may indicate contacts of possibly detached cratonic blocks of Precambrian age; these weak zones of block boundaries have been the loci of repeated sedimentation, deformation and related igneous intrusions. A series of downthrown or uplifted tilted blocks, in which the Cambro-Ordovician sedimentary wedges and the late Cretaceous to early Tertiary igneous intrusives are involved, occurs intermittently across the Yeonhwa-Ulchin district in a noticeable pattern of en echelon type. These sedimentary wedges are correlated to the Cambro-Ordovician section of the Hambaeg syncline to the west in stratigraphy and lithology, and are considered to have resulted from the northeastern and/or northwestern cross-faulting of the pre-existing syncline belt of easterly trend, extended from the main portion of the Hambaeg syncline. These structural junctions (or intersections) of the earlier syncline belt and the later cross-faults have been acted as a guide to ascending igneous materials and hydrothermal ore-forming fluids to form a zone of zinc-lead skarn deposits across the Yeonhwa-Ulchin district showing a stepwise recurrence of these deposits toward the east.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.837-847
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• 2007

1,098 pieces of photographs($1995{\sim}2002$) of men's suit style have been classified according to fashion images in order to examine features and change aspects with statistical analysis. The findings of examining features of the trend by year with test of homogeneity, correspondence analysis, biplots, correlation analysis and regression analysis are as follows: (a) there are significant differences on fashion images as the trend by yew with test of homogeneity, (b) there are remarkable differences on the fashion trend by year with correspondence analysis and biplots. (c) There are significant correlations for appearance among fashion images by its frequency through correlation analysis, and (d) it is assumed that fashion images are going to be gradually outstanding according to regression analysis.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.89-122
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• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.

• Proceedings of the KOR-BRONCHOESO Conference
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• 1972.03a
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• pp.5-6
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• 1972

Noise and air pollution, which accompany the development of industry and the increase of population, contribute to the deterioration of urban environment. The air pollution level of Seoul has gradually increased and the city residents are suffering from a high pollution of noise. If no measures were taken against pollution, the amount of emission of pollutant into air would be 36.7 thousand tons per year per square kilometer in 1975, three times more than that of 1970, and it would be the same level as that of United States in 1968. The main sources of air pollution in Seoul are the exhaust has from vehicles and the combustion of bunker-C oil for heating purpose. Thus, it is urgent that an exhaust gas cleaner should be instaled to every car and the fuel substituted by less sulfur-contained-oil to prevent the pollution. Transportation noise (vehicular noise and train noise) is the main component of urban noise problem. The average noise level in downtown area is about 75㏈ with maximum of 85㏈ and the vehicular homing was checked 100㏈ up and down. Therefore, the reduction of the number of bus-stop the strict regulation of homing in downtown area and a better maintenance of car should be an effective measures against noise pollution in urban areas. Within the distance of 200 metres from railroad, the train noise exceeds the limit specified by the pollution control law in Korea. Especially, the level of noise and steam-whistle of train as measured by the ISO evaluation can adversely affect the community activities of residents. To prevent environmental destruction, many developed countries have taken more positive action against worsening pollution and such an action is now urgently required in this country.

• Korean Journal of Environment and Ecology
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• v.34 no.5
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• pp.396-401
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• 2020

As the world becomes more globalized, the non-native species issue has emerged as a problem that is growing internationally. In particular, the number of non-native turtles found in the wild has been increasing sharply in South Korea. At least 15 species of non-native turtles, including the red-eared slider (Trachemys scripta elegans) first imported in the 1970s, have been found in Korea. On October 15, 2019, an alligator snapping turtle (AST, Macrochelys temminckii) was found in a stream located in Gwangju city, South Korea. The discovery of AST became a big issue in South Korea as the animal is known for its large body size and aggressiveness and was featured widely in the mass media. In this study, to learn the public's perception of non-native species, we examined comments (opinions) to the online news articles about the AST. We collected 1,100 comments from the Internet news articles on the AST. Out of the 1,100 comments, 342 (31.1%) comments were related to non-native species' issues. Most of the respondents (97.7%, n=334) stated that the non-native species are a problem. Forty two comments mentioned potential threats posed by non-native species: non-native species' aggressive nature (n=11, 26.2%) and ecological disturbance (n=31, 73.8%). Lack of responsibility (n=122, 51.7%) was the major causative factor for the introduction of non-native species, and followed by indiscriminate pet trade (n=99, 42.0%), absence of relevant legislation (n=13, 5.5%), and absence of treatment (n=2, 0.8%). Animal registration (n=59, 45.7%) was the most commonly mentioned as the way to deal with the issue of the non-native species' invasion. Our results show that the public is aware of the seriousness of the invasion of non-native species, including AST. This study highlights that researchers and government officials need to consider the public's perception and opinions. We believe that our study can serve as an essential reference for the policy direction and the management of non-native species.