• Korean Journal of Environmental Agriculture
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• v.39 no.3
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• pp.188-196
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• 2020

BACKGROUND: In order to cultivate upland crops in reclaimed land, economically appropriate crops should be selected. Jerusalem artichoke (Helianthus tuberosus L.) is one of the primary sources for inulin in higher plants. The objective of this study was to evaluate and compare growth and inulin of H. tuberosus L. according to the cultivation region in Korea. METHODS AND RESULTS: 21 varieties of H. tuberosus L. were collected in Korea, and then 7 varieties of H. tuberosus L. were selected for this study. To compare growth and inulin, those varieties were cultivated in reclaimed land and upland soils. The growth of H. tuberosus L. significantly decreased when cultivated in reclaimed land. There was an increas at 17.8% in the content of white H. tuberosus L. tuber inulin in reclaimed land. CONCLUSION: The content of inulin in H. tuberosus L. tubers was found to be dependent on cultivation region and tuber color. There was a difference of the inulin content between the tubers with different colors in reclaimed land. Purple tubers of P20 were considered suitable varieties for cultivation in reclaimed land. White tubers of W1 and W8 were also considered suitable varieties for cultivation in reclaimed land.

• Korean Journal of Environmental Agriculture
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• v.39 no.2
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• pp.95-105
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• 2020

BACKGROUND: In this study, in order to verify the effects of supplemented organic amendment fertilizers recommended by the soil testing on cabbages, we used various amounts of organic amendment fertilizers. The amount of organic amendment fertilizers was decided by calculating each ratio of inorganic nitrogen, phosphorus, and potassium based on the recommended fertilizer composition. METHODS AND RESULTS: The cabbages subjected to treatments 1 and 2 showed similar or greater leaf colors (SPAD values), head heights, head widths, head weight, soil organic matter content, nitrate-nitrogen level, and conductivity after harvest, when compared with cabbages treated with chemical fertilizers. The phosphorus and potassium fixation in the soil were higher in the plot where cabbages were treated with chemical fertilizers, and the nutrient use efficiency was greater in the plots with organic amendments and mineral addition. CONCLUSION: The treatments 1 and 2 that were supplemented with 180-200% of nitrogen, 100-130% of phosphorus, and 185-250% of potassium in comparison to chemical fertilizers, applied by the inorganic ratios of nitrogen, phosphorus, and potassium can be used as organic amendment fertilizers for cabbages.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.1-15
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• 2006

The purpose of this study is to present a new viewpoint in look by closely examining fashion and look through the past, present, and future. Specifically, the concept of time is studied and fashion is considered based upon the concept of time, finally, looks in fashion related to time are analysed. For this study, the literature of retro, modern, contemporary, futuristic looks that express the past, present, and future, and the classic look, the popularity of which transcends the concept of time was considered focusing on 20th century women's fashion. Design characteristics of these looks were analyzed utilizing photographs of collection images. The results of the study are as follows: first, although the retro look of different periods regularly rotate and appear, they change and develop in new and various ways depending on the Periodic background of the time they appear in, and thus show simultaneously the cyclical and straight nature of time. Second, the modern look includes not only the moaning of time concept of the present, but also of interpreting anew the formal significance of modernism in the present. In other words, because it cyclically repeats the times of past modern periods, the look can be said to focus on the cyclical nature of time. Third, the contemporary look is a style that expresses current time most exactly as it exists, and it can be said to be the look in which current time is most vividly expressed. Fourth, the time concept in futuristic look is a subjective time that selectively accommodates and expresses the objective time of the future which has not yet come, and that can be the look's most important point. Last, the classic look possesses an objective value that transcends the concept of time, and it keeps returning, showing the cyclical nature of time. The closer this study came to the present, it could be seen that a look communicated more complex meanings, Influenced by periodic phases such as diversification, individualization, and eclecticism, and that while it could not be defined as any one look, various elements were expressed eclectically by being mixed and matched with each other, and it could utilize more natural forms, colors, and materials.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.154-160
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• 2006

This study is performance thesis to examine structure of excessive consuming culture of modern people's desire turning away from modern people's original purpose of aiming life that is well-being. Method of the research is theological examination of people's desire into consuming and well-being culture is critically analyzed by creation of meanings and differences of showcase that symbolize consuming culture. Also my piece of work 'Well-buying Shop 1' that above theory is applied is selected for focused analysis of concept realization method in video configuration method and technique. The symbol Showcase in the animation represent laboratory of consuming culture and desire for ownership. The animation runs for 3 minutes and 50 seconds focused on animal characters raised in well-being farm. Through cut out animating environment, animal characters have life in the animation and they are completed with long take method and temperament editing type for effort of liberal devotion between audience and the animation. Lithographic technique is used for characters and background images for trial of pictural density by pressures and variety of colors. This study was conducted with the basis of above animation showing opportunity and it has significance on trial of various color of lithographic expression technique that are not commonly used in animation image production.

• The KIPS Transactions:PartB
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• v.13B no.7 s.110
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• pp.689-698
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• 2006

Pattern recognition is the study of how machines can observe the environment, learn to distinguish patterns of interest from their background, and make sound and reasonable decisions about the categories of the patterns. Color image consists of various color patterns. And most pattern recognition methods use the information of color which has been trained and extract the feature of the color. This thesis extracts adaptively specific color feature from images with several limited colors. Because the number of the color patterns is limited, the distribution of the color in the image is similar. But, when there are some noises and distortions in the image, its distribution can be various. Therefore we cannot extract specific color regions in the standard image that is well expressed in special color patterns to extract, and special color regions of the image to test. We suggest new method to reduce the error of recognition by extracting the specific color feature adaptively for images with the low distortion, and six test images with some degree of noises and distortion. We consequently found that proposed method shouws more accurate results than those of statistical pattern recognition.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.3 s.3
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• pp.11-18
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• 2004

The purpose of this study was to review the origin and background of well-being, the emerging well-being culture, and the phenomenon and features of the hair beauty affected by it. For this purpose, the researcher reviewed dissertations written between 199a and 2002, copies of the beauty journal Short Hair published between 2002 and 2003, beauty newspapers published between March, 2003 and June, 2004, and relevant Internet sites. When we review the well-being hair style tendency, we may be reminded of a light shaggy cut style with a thick wave volume or a natural wave highlighted, or a natural style with a natural color rendered by the braid technique. The well-being hair styles may be inspired by such natural images as the earth, sand, rock, wind, feather and flowers, while using cut, permanent wave or coloring technique for the hairs, in order to create new hair styles. The goal is to make men in contact with the nature. Meanwhile, as people are more concerned about diverse hair textures, natural and healthy hairs, they want their hairs to look comfortable and active rather than luxurious. The well-being cut styles may be categorized into cut style highlighting healthy hairs with a Bobos luxury and soft and light stroke cut reminiscent of a Bohemian freedom. The well-being permanent style may be divided into thick wave, natural wave, and the permanent style using a strong wave to make hairs look bloated. The hair colors reminding us of some natural images are used to highlight a well-being image. In addition, the concept of well-being pursuing a happy and healthy life has been being introduced into the permanent wave material liquids; such liquids made from natural materials, fruits or herbs increase, while environmental-friendly liquids or materials are used more for healthy hairs. The reason why the well-being culture influences hair styles importantly may be that people's desire of healthy body and mind and a comfortable life is reflected in hair styles. In conclusion, as the hair styles or an index for a new cultural current in our modern age are influenced by the well-being phenomenon, more and more people will put priority on healthy hairs. So, it is deemed necessary to apply the well-being hair styles appropriately to render satisfactory hair styles.

• Cross-Cultural Studies
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• v.27
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• pp.59-79
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• 2012

China and Japan are geographically close and the two countries had shared the Chinese Character Culture and the thoughts of Confucianism, Buddhism and Taoism since the ancient age. They also actively exchanged culture in various areas. Some cultural exchanges had been caused by surrounding environment and culture had been introduced to other country in a natural way; while some cultural exchanges had been forcibly introduced through artificial process. It is believed that such cultural phenomenon must have had impact on the make-up cultures of the two countries and it was assumed that there must have been commons and differences in the make-up cultures of the two countries. This study explored the historical background of the Ching dynasty of China and the Edo Age in Japan, which are in the same time frame, and studied the aesthetic consciousness of the two countries at the time. Then the make-up style of ladies in the two countries had been studied to find out how their aesthetic consciousnesses had been expressed in the make-ups of the two countries. Then the commons and differences in make-up skills between the two countries had been identified. According to the study results, the main stream of aesthetics during the Ching dynasty in China can be classified into Confucianism aesthetics and Taoism aesthetics. On the other hand, the main stream of aesthetics during the Edo Age in Japan can be classified into "mitate(見立)", "ikki(いき)" and "garumi(かるみ). The skin care in the make-up culture of Ching dynasty in China was based on "rouge (?脂, yanzhi)" and "powder(粉, fen)". The Ching ladies loved the make-up style using rouge. It had been same both in the high society and common people. The eyebrow care was delicate and curved so that the feminine beauty with elegant spirit could be emphasized. The lips had been expressed to be smaller and the ladies tried to express elegance and reliability, rather than frail and tender feminine image. The skin care in the make-up culture of Edo Age in Japan focused on even applying of white powder so that the face would look soft. The eyebrow make-up was a very important part of the make-up. The shapes of eyebrow had been advanced in various styles and there had been eyebrow make-up styles such as "crescent-shaped brow (三日月), "crane style brow (鶴眉) and "Tang style brow (唐眉). The lips had been applied of thick red color, imitating the make-up skill of the ladies in the entertainment business. The lips make-up skill expressing the lips in two colors had been quite popular. Among the make-up skills during the Edo Age in Japan, the "black teeth (齒黑)" can be said as the most unique make-up style of Edo Age.

• Journal of the Korea Society of Computer and Information
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• v.26 no.1
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• pp.19-26
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• 2021

Cultural assets excavated in historical areas have their own characteristics based on the background of the times, and it can be seen that their patterns and characteristics change little by little according to the history and the flow of the spreading area. Cultural properties excavated in some areas represent the culture of the time and some maintain their intact appearance, but most of them are damaged/lost or divided into parts, and many experts are mobilized to research the composition and repair the damaged parts. The purpose of this research is to learn patterns and characteristics of the past through artificial intelligence neural networks for such restoration research, and to restore the lost parts of the excavated cultural assets based on Generative Adversarial Network(GAN)[1]. The research is a process in which the rest of the damaged/lost parts are restored based on some of the cultural assets excavated based on the GAN. To recover some parts of dammed of cultural asset, through training with the 2D image of a complete cultural asset. This research is focused on how much recovered not only damaged parts but also reproduce colors and materials. Finally, through adopted this trained neural network to real damaged cultural, confirmed area of recovered area and limitation.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.6-21
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• 2022

This paper examines the material culture of the Goryeo-Joseon Period through changes in the design and crafting of the earpick. In Chapter 2, terminology regarding earpicks is presented, and the culture of using earpicks is examined through fragmentary literature of the late Joseon Dynasty. Earpicks were first a personal hygiene tool, and, secondly, they played a symbolic role as a style accessory used by men, analogous to the fan carried by women of the time. In Chapter 3, earpick form are classified by period, and characteristic decorative techniques for each form are examined. During the Goryeo Dynasty, earpicks were sanitary tools, and, according to their form, they were classified into single and complex types. From Unified Silla to Goryeo, there is an angled type of connecting rod, and in the Goryeo period, there appeared earpicks with colorful decorations on the handle, completely forged earpicks with a thin and long shape, and earpicks which were part of multitools. Common decorative techniques include line expression, gold plating, cheophomun on the background, and inlay. Earpicks of the Joseon Dynasty are classified into sanitary tools or ornaments, according to their purpose of use. Sanitary tools are divided into single type and complex type, and earpicks used as ornaments include headdress, norigae, and sunchu. For earpick accessories, headdresses and norigae were used for women, and sunchu was used for men. The decorative techniques of earpicks during the Joseon Dynasty were mainly seen in the headdress earpicks. They were decorated with various colors in the Cloisonné method or bejeweled. Research on everyday tools among crafts is lacking; greater attempts to read the flow of time and approaches to material culture through everyday tools should be made.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.