• Journal of Conservation Science
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• v.27 no.1
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• pp.101-114
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• 2011

The rock-carved Buddha statue at Dosolam (Korea Treasure No. 1200) of the Seonunsa temple in Gochang is unique style sculptured on natural rock cliff of 13.0m height. The Buddha statue is composed of volcanic complex with tuff, dacitic tuff breccia, tuff bereccia and lithic tuff. Especially, the Buddha statue is characterized by hydrothermal alteration and fragmentation on the upper and lower part. As a result of damage diagnosis, exfoliation and detachment of physical weathering are high of 11.3% and 9.3%, respectively. Infrared thermography analysis, exfoliation and micro-cracks occurred in the measuring parts that have not been confirmed by naked eyes. Chemical index of alteration and weathering potential index of host rock for the Buddha statue are 55.16 to 64.01 and 6.14 to 9.92 which are represented within highly weathering degree. In surface, dark black, reddish brown and white discoloration are observed prominently in the lower. Brown discoloration 6.9% is highest. According to the P-XRF measurements, high concentration of Fe in common, in part of dark black discoloration was Mn, white and brown discoloration in part of S and Ca content were higher. Biological weathering that yellowish brown and dark gray crustoes lichenes appeared by 20.8% and 13.3%, respectively. Therefore, comprehensive deterioration rate of Buddha statue show physical damage by 21.2%, discoloration for inorganic contaminants by 10.8% and biological damage by 39.4%. Ultrasonic velocity measurement carried out of Buddha statue on the surface by 555 points. Measured value of ultrasonic velocity was about 2,273m/s(1,067 to 3,215m/s, and weathering coefficient is 0.5(0.4 to 0.8) that progress on MW(moderately weathered) to HW(highly weathered) grade of rocks.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.31 no.5
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• pp.695-706
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• 1998

SST (Sea Surface. Temperature) fronts which were found in the South-West Sea of Korea and the northern area of the East China Sea were examined in order to clarify their positions, shapes, seasonal changes and the formation mechanism, For this study used SST data rearranged from the SST IR image during 1991 to 1996 and oceanographical data obtained by National Fisheries Research and Development Institute. Temperature front in the Cheju Strait was analyzed by the data obtained from a fisheries guidance ship of Cheju Provincial Government, The coastal frontal zone in the South-West Sea of Korea and the offshore frontal zone in the northern area of the East China Sea can be divided into several types (Type of Winter, Summer, Spring, Autumn and late Autumn), Short term variations of SST fronts have a tendency not to move to any Bleat extent for several days. The location of the frontal zone in the southwestern sea of Cheju Island changes on a much large scale than that of the one in the southern coast of Korea, The frontal Tone, formed every year in the southern sea of Korea approaches closer to the coastal area in winter, and moves closer to the south in spring and autumn. The frontal zone of the southwestern sea of Cheju Island moves in a westerly direction from the east, and reaches its most westerly point in the winter and its most easterly point in the summer related to the seasonal change of the Tsushima Current. Additionally, the frontal zone of the southwestern sea of Korea becomes extremely weak in March, April and November. SST fronts are formed every year around the line connecting Cheju Island to Yeoseo Island or to Chungsan Island in the Cheju Strait. A Ring-shaped tidal mixing front appears along the coastal area of Cheju Island throughout the year except during the months from November to January. Especially, in May and October fronts are formed between the coastal waters of Cheju Island and the Tsushima currents connecting the frontal zone of the coastal region in the southern sea of Korea with that of the southwestern sea of Cheju Island.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.30 no.2
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• pp.253-261
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• 2004

Ginsenosides and green tea extracts show a variety of biomedical efficacies such as anti-aging, anti-oxidation and anti-tumor-promotion effects. (-)-Epigallocatechin-3-gallate (EGCG) has been reported to inhibit the UVB-induced apoptosis by increasing the Bcl-2-to-Bax ratio. We have previously shown that ginsenoside Fl protects human HaCaT cells from ultraviolet-B (UVB)-induced apoptosis by maintaining constant levels of Bcl-2 and Brn-3a. Here, we investigate the combined effect of ginsenoside Fl and EGCG on the protection of human HaCaT keratinocyte against UVB-induced apoptosis. When treated individually, although 5 ${\mu}$M ginsenoside Fl and 50${\mu}$M EGCG protected cells from UVB-induced apoptosis, 2${\mu}$M ginsenoside Fl or 10${\mu}$M EGCG treatment showed very little protection effect. However, cotreatement of 2${\mu}$M ginsenoside Fl and 10${\mu}$M EGCG successfully protected HaCaT cells from UVB-induced cell death. As expected, combining ginsenoside Fl and EGCG efficiently prevented UVB-induced decrease of Bcl-2 and Brn-3a expression. In addition, cotreatment with ginsenoside F1 and EGCG prevented the dephosphorylation of Rb, whereas individual treatment with ginsenoside Fl or EGCG failed to prevent the dephosphorylation of Rb even at high concentrations.

• Journal of the Korean Society of Food Science and Nutrition
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• v.24 no.6
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• pp.1026-1038
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• 1995

Although aloe lost a lot of its previous popularity in modern clinical uses as medicine numerous scientific researches still have claimed the beneficial properties(curing and general tonic effect) of aloe gel. Whereas considerable contradictory reports have helped to confuse the aloe gel issue and continually aroused controversy about aloe gel efficacy. However health food, cosmetic and medicinal products made from aloe gel are widely available in the world market especially in U.S.A. so the growing of Aloe plant and the processing of A. vera gel have become big industries in some countries. In some previous papers the salicylic acid, one of the common trace gel components, was thought to have an analgetic and antinflammatory effect. Large amount of Mg ion in the gel was suggested to act as anesthetic, Mg-lactate as antihistamic, and Aloctin A(a glycoprotein) as wound healer by promoting the cell growth. The carboxypeptidase and bradykinase activity in the gel were proposed to have the pain relieving and antiinflammatory effect. But any of thes etheories concerining the physiological action of the trace gel components has not been demonstrated by modern pharmacology, and failed to be supported by clinical research. It was suggested by some research workers that trace amount of anthraquinone compounds in the gel play an important role to act as false substrate inhibitors for PG and TX production(antiprostanoid effect), by which, they believed, inflammation, burn and frostbite, and infected wound could be healed. This hypothesis has not been substantiated. Butthe suggested antimicrobial action, antidiabetic, and antidotic effect of aloe gel are likely to be attributed to the trace anthraquinone compounds. In a lot of recent experimental reports it has been claimed that aloe gel polysaccharides(acetylglucomannan, acetylmannan, and glycoprotein) have the antimicrobial, antinflammatory, antitumour, and infected wound healing effect by immunoenhancement. It is hoped that these effects will be soon documented in clinical studies, then the controversy on aloe gel beneficial effect will cease. In the 30 days subchronic toxicity test the lowest observed adverse effect level of acemannan(acetylmannan) on dog was 5.0 mg/kg, IP. But the aloe gel is generally agreed to be harmless and non toxic even for the internal use such as health food. In the case of idiosynrasy one must keep the delayed type hypersensitivity reaction of aloe gel in mind. In conclusion it seem to be impossible to simply refuse a lot of evidences made by research workers who have claimed aloe gel's beneficial effects and to deny the fact that there had been long therapeutic histories of Aloe plants.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.41 no.4
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• pp.341-350
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• 2015

Skin carrys out protective role against harmful outer environment assaults including ultraviolet radiation, heavy metals and oxides. Especially, ultraviolet-B (UVB) light causes inflammatory reactions in skin such as sun burn and erythma and stimulates melanin pigmentation. Furthermore, the influx of UVB into skin cells causes DNA damage in keratinocytes and dermal fibroblasts, inhibition of extracellular matrix (ECM) synthesis which leads to a decrease in elasticity of skin and wrinkle formation. It also damages dermal connective tissue and disrupts the skin barrier function. Prolonged exposure of human skin to UVB light is well known to trigger severe skin lesions such as cell death and carcinogenesis. Haloarcula vallismortis is a halophilic microorganism isolated from the Dead Sea, Its growth characteristics have not been studied in detail yet. It generally grows at salinity more than 10%, but the actual growth salinity usually ranges between 20 to 25%. Because H. vallismortis is found mainly in saltern or salt lakes, there could exist defense mechanisms against strong sunlight. One of them is generation of additional ATP using halorhodopsin which absorbs photons and produces energy by potential difference formed by opening the chloride ion channel. It often shows a color of pink or red because of their high content of carotenoid pigments and it is considered to act as a defense mechanism against intense UV irradiation. In this study, the anti-inflammatory effect of the halophilic microorganism, H. vallismortis, extract was investigated. It was found that H. vallismortis extract had protective effect on DNA damage induced by UV irradiation. These results suggest that the extract of halophilic bacterium, H. vallismortis could be used as a bio-sunscreen or natural sunscreen which ameliorate the harmful effects of UV light with its anti-inflammatory and DNA protective properties.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.164-179
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• 2014

The Buddhas of the Three Words in a form of arranging Bhaiṣajyaguru and $Amit{\bar{a}}bha$ at its side based on ${\acute{S}}{\bar{a}}kyamuni$ at the center is enshrined in Daeungbojeon Hall of Daeheungsa Temple located at Haenam. So far, this Buddhas of the Three Words has been known as a wooden Buddha statue. However, as a result of X-ray screening, in left/right Buddha statues excepting main Buddha, wood and molding clay layer were observed at the same time. Therefore, this study intended to observe its internal structure, grafting method and to clarify making technique of Buddha statue during Joseon era based on image information being obtained through X-ray screening of The Buddhas of the Three Words of Daeheungsa Temple. As its result, it was revealed that form of ${\acute{S}}{\bar{a}}kyamuni$ was completed by mainly grafting 5 pieces of timber and this statue shows a typical wood grafted Buddha statue during Joseon era. Form of Bhaiṣajyaguru and $Amit{\bar{a}}bha$ were completed based on molding technique by applying clay on sculpture similar to its appearance after sculpturing more than 10 pieces of timber through its grafting. In other words, internal timber is considered to play a role of its core and grafting method of timber is more close to a technique of molding Buddha statue than to that of wooden Buddha statue during Joseon era. However, clay was directly applied on timber thinly, not applying clay thickly on it after winding straw rope on wooden core and its characteristic is that its facial area was completely composed of wooden construction only. Therefore, it is hard to rule out a possibility that the original sculpturing intention of an artist might be a wooden Buddha statue but in view of the fact that a word, 'molding' was used in a record of relics buried in statue, it could be seen that this Buddha statue might have been recognized as a molding statue at the time when creation of this statue was completed. It is considered that number of case of making statue based on this technique would be more increased when more results of X-ray screening should be accumulated and if more data should be collected, it would provide a significant evidence for identifying chronological, regional aspects of making technique of Buddha statue.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.120-147
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• 2019

In this study, we divided the portraits in the reign of King Seonjo into those which were created before and after the Japanese invasion. We then examined various aspect of costumes expressed in the portraits of meritorious vassals. To analyze official uniforms (Heuk-Danryeung), we examined the Samo height; the side wings' type and pattern; the Danryeung pattern; the Mu style; the processing method of lateral lines in Danryeung the rank badge and rank belt, the color of Dabho and Cheolrik, which were undergarment of Danryeung and Heuk-wa. The meritorious vassals' portraits, prior to Imran, were analyzed with a portrait of Han Eung-in, a Gwang-kuk Pyeong-nan meritorious vassals. The Samo was the highest of the Choson dynasties, and the cloud and treasure pattern was identified on the side wings. The Heuk-Danryeung was a dark blue(acheongsaeg) Danryeung of manja-shaped cloud patterns with a large outward wrinkled Mu, and it had a wild goose badge (second rank) and a Sabgeumdae. It did not coincide with the Pumgye(Jaheondaebu) recorded in Gugjo-inmulgo. Reddish Dabho for Dangsang-kwan, green Cheolrik which was undergarment of Danryeung, and Heuk-wa. were identified. After the invasion of Japan, portraits of Hoseong, Seonmu, and Cheong-nan meritorious vassals were analyzed through eighteen portraits, including Lee Hyeon-bok. After the invasion of the Japanese, the height of the Samo's top was much lower and the width of the side wings was wider than before the invasion of Japanese. The Heuk-Danryeung was a dark blue (acheongsaeg) Danryeung of manja-shaped cloud patterns with a stretching backward Mu. Rank badge and rank belts were almost identical with the record, but there were two exceptions (Sin-jab and Kim, Sae-sin). Therefore, it was reaffirmed that the meritorious vassals' portraits were drawn by the Pumgye at the time of appointment. Among the undergarments of Heuk-Danryeung, green Dabho(11), blue Dabho(4), reddish Dabho(3), and blue Cheolrik(10), green Cheolrik(6), reddish Cheolrik(1), and yucheongsaeg Cheolrik(1) were identified, However, it is suggested that the Dabho of Hoseong, Seonmu, and Cheong-nan meritorious vassals should be the reddish Dabho of Dangsang-kwan, which is the same as the previous Imran, and a green Cheolrik.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

• (The) Research of the performance art and culture
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• no.36
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• pp.185-221
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• 2018

This study examined the process of the formation of Deoneum, Sugungga(水宮歌), and its tendency of the change through the trace of the Pansori masters who worked in 19th century. The time that the main group of the Sugungga masters appeared in the Pansory history is estimated in early 19th century. The Sugungga masters in this time could be divided in two groups, one is the early days masters who worked in early 19th century and the other is the latter days masters who worked in middle and late 19th century. Kwon Sam-deuk(權三得), Song Heung-lok(宋興祿), Yeom Gyeo-dal(廉季達), and Shin Man-yeob(申萬葉) are the Sugungga masters who worked in early 19th century. By the records they left, I could confirm that they used the description about the dramatic characteristics in the work and Soritjo(Pansori master's tonality), like the appearance of 'Bangge(crab)' and 'Tiger', and particularly they developed which has the scene of the Rabbit's deceiving the Dragon King and Rabbit's return, 'Goandaejangja(寬大長者)', 'Gaja-Eoseoga', 'Sojinowha(笑指蘆花)', 'Apnae-Beodeuleun' and the scene of 'Rabbit's curse(the part that Rabbit curses Byeljubu)' etc. I could understand that the interest of the early days Pansori masters about Sugungga is on the characters and the latter part of the work. The separation of Dongpyeonje(東便制) and Seopyeonje(西便制) of Pansori was done in the middle and late 19th century. As the Dongpyeonje master, Song Wu-ryong(宋雨龍), Park Man-sun(朴萬順), Song Man-gab(宋萬甲), Shin Hak-jun(申鶴俊) and Yu Seong-jun(劉成俊) worked. As the Seopyeonje masters, Park Yu-jeon(朴裕全), Kim geo-bok(金巨福), Kim Su-yeong(金壽永) and Baek Gyeong-jun(白慶順) etc. sang Sugungga. The Dongpyeonje masters developed the 'Toggigibyeon(토끼奇變)' related Deoneum paying attention on the latter part of Sugungga same as the early days masters. Meanwhile it looks like that they had interest in developing the parts which belong to the middle and early parts of Sugungga like 'Toggiwhasang(토끼畵像)', 'Gogocheonbyeon(皐皐天邊)' and 'Tobyeolmundab(兎鱉問答)'. The Seopyeonje masters developed the parts belong to the early part of Sugungga, which are related to Dragon King and the courtiers in Sugung palace, like 'YongwangTansik(龍王歎息)'. And I could confirm that they developed the parts influenced by Shin Jaehyo's editorials like 'Tosahobi(兎死狐悲)' and 'Goguksancheon(故國山川)' etc. In short, I could confirm the trend that the Pansori masters in 19th century had interest in from the latter part to the early part of Sugungga. If taking a look focusing on main characters, they moved their interest in from Rabbit to the courtiers including Byeoljubu(鱉主簿) and Dragon King in Sugung palace, and it could say that, in this trend, Sori part and Deoneum were developed.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.24-55
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• 2010

Jangmyeongdeung Lantern (貞陵長明燈) refers to the stone lantern placed in front of the royal tomb. It serves both symbolic and decorative purposes; symbolic because it is supposed to guard and illuminate the buried, and decorative because it is a work of sculpture that adorns the entire graveyard. The Jangmyeongdeung of Jeongneung was the earliest stone lantern to be produced during the Joseon period. Its square shape is unique among those from the early to mid-Joseon period. The three major parts of Jangmyeongdeung - the stand, the lantern, and the roof-shaped cover parts - are square in shape, differing from the octagonal shaped Jangmyeongdeung. The stand consists of three single stone blocks, the Hadaeseok(下臺石), Ganjuseok(竿柱石), and Sangdaeseok(上臺石). The Hwasaseok(火舍石), or the lantern part, is also a single stone block. Jangmyeongdeung of Jeongneung succeeds the style of those of Hyeon-neung and Jeongneung(玄正陵) of the Goryeo period and is of a better artistic quality. As the first Jangmyeongdeung lantern, it is a refined work of art that marks the foundation of the Joseon Kingdom. This paper tries to ascertain the stylistic origin of the square-shaped Jangmyeongdeung of Jeongneung and compare it with those of Buddhist temples. Consequently, similarities were found among the stone lanterns of Zen priests 'Jigong'(指空) and 'Nawong'(懶翁) in the Hweamsa Temple(檜巖寺) site from the late Goryeo period, those of Zen priest 'Muhak'(無學) of the Hweamsa Temple site, and those of national priest 'Bogak'(普覺) of Cheongnyongsa Temple(靑龍寺) from the early Joseon period. Primarily, this is because the three components(the stand, the lantern part, and the roof-shaped cover) are essentially square-shaped. Second, as the Ganjuseok(one of the components of the stand) became shorter, the stand took a more stable form. Third, the Hwasaseok(the lantern part) consists of two stone blocks joined together. Fourth, the roof-shaped cover is also in square in shape. Similarly, the Jangmyeongdeung of Jeongneung contains Buddhist elements as well. The three-bead pattern that decorates the Ganjuseok stand is an example. The three-bead pattern is one of the symbolic elements related to Tantric Buddhism. It is found on the diadems worn by Bodhisattvas from the Goryeo and early Joseon periods. The Jangmyeongdeung of Jeongneung in early Joseon directly influenced the production of the square-shaped stone lanterns used to decorate the tombs during the Joseon period. After the latter half of the 15th century, however, the octagonal-shaped Jangmyeongdeung style began to prevail. The Jangmyeongdeung of Jeongneung reflects the succession of the tradition of royal tombs from Goryeo to Joseon, the introduction of square-shaped stone lanterns to Buddhist temples, and the influence of the Buddhist philosophy of the time. It is a living testimony to various elements of each time and corresponding cultural trends.