• Journal of the Korean Society of Food Culture
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• v.32 no.6
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• pp.487-497
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• 2017

This study was conducted to examine the 2nd broadcasting cooking program of Gyeongseong Radio from April 26th 1933, when the 2nd broadcasting for Koreans started, to December 1941. From its opening date, there were continuously regular cooking programs such as 'Recipes' and introducing 'Japchae'. Analysis of names broadcasted in cooking programs included a total of 452 foods (328 types); specifically, 332 Korean foods, 71 Western foods, 24 Japanese foods, 18 Chinese foods, and seven other foods. Korean foods included 35 staple foods, 223 side dishes, 64 deserts, and 11 sauces. Western foods included seven soups, 25 main dishes, and 25 deserts. Main dishes included many deep-fried dishes, while diverse types of desserts were also introduced. In the case of Japanese food, there were many foods combined with Western food. Chinese food included many types of dumplings and fried rice, as well as many dishes using pork. Among people broadcasting cooking programs, there were 11 whose names were shown in the schedule, all of whom were recognized as the best cooking specialists and educators of the time.

• Ocean and Polar Research
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• v.41 no.3
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• pp.169-181
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• 2019

The purpose of this study is to develop geochemical tracers to identify a specific source desert of mineral dust in China using the published data. In addition, we tested the applicability of these tracers to wet-deposits and soil samples collected in Jeju, Korea. Because of similarity in trace elemental compositions of mineral dust from the major arid regions in China, such as Taklimakan, West Ordos (Badain Jaran), East Ordos (Mu Us and Hobq), East Northern China (Horqin), West Northern China (Gurbantunggut), and Chinese Loess Plateau, there has been limited to the use of geochemical data for source identification. Here we propose the four (4) plots using combination of seven (7) geochemical variables as a source indicator to distinguish one from other source regions in China: $\frac{Y}{Tb_N}$ vs. $\frac{Th}{{\Sigma}REE_N}$, $\(\frac{La}{Gd}\)_N$ vs. $\frac{Y}{{\Sigma}REE_N}$, $\frac{Th}{Tb_N}$ vs. $\frac{Y}{Nd_N}$, and $\frac{Th}{Tb_N}$ vs. $\(\frac{Ce}{Ce}\)_N^*$, where $_N$ and $\(\frac{Ce}{Ce}\)_N^*$ stand for values normalized to Post-Archean Average Shale composition and Ce anomaly, respectively. Mineral dusts from aforementioned six major deserts are distinguished one from the others by the combined use of these variables. Jeju rock and soil samples form a separate domain from Chinese mineral dusts in all four plots. In contrast, most of Jeju dust samples were comparable with the West Ordos desert (Badain Jaran) domain, indicative of strong influence of Badain Jaran dust in Jeju in spring season when the mineral dust was collected. A weak positive Ce anomaly in Jeju samples implies minimal local contribution. Our study suggests that the combination of $\frac{Y}{Tb_N}$ vs. $\frac{Th}{{\Sigma}REE_N}$, $\(\frac{La}{Gd}\)_N$ vs. $\frac{Y}{{\Sigma}REE_N}$, $\frac{Th}{Tb_N}$ vs. $\frac{Y}{Nd_N}$, and $\frac{Th}{Tb_N}$ vs. $\(\frac{Ce}{Ce}\)_N^*$ can be used to identify a specific source region of mineral dust in China as well as Jeju mineral particles.

• Journal of Convergence for Information Technology
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• v.9 no.2
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• pp.115-120
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• 2019

Chinese xian-xia films is a new genre that occurred through the fusion of the genre of martial arts and fantasy. This study analyzed the development of xian-xia films and the space aesthetics of xian-xia films through the miseenscene of the journey to the west films. In particular, the space for xian-xia in the films is divided into the human, urinary, heaven world and the space of conflict. It looks like the fantastic Middle Earth that Tolkien presented, however it is discriminatory in that it shows a highly Chinese appearance and overlapping world centered on the natural environment (the world of Mountains and Livers), such as mountains, deserts, caves, and grasslands, which usually appears in traditional martial arts history. Resently, the boom of journey to the west films is regarded as the change of the Chinese film industry under the influence of the development of IP (Intellectual Property) industry and the western fantasy genre in the 21st century China. This change marks the birth of the new Chinese fantasy "xian-xia" genre with the spirit of the present era that transcends the original world of journey to the west through the hybridization of the genre.

• Journal of architectural history
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• v.31 no.4
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• pp.71-86
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• 2022

This study examines the process of the introduction of stupa, which has originated in India, to the Xinjiang Uyghur region and the features of the stupas in the Xinjiang Uyghur region in detail. This study examines the layout of the buildings in temple compounds and the types, structural elements, and construction methods of the stupas in the Xinjiang Uyghur region in particular by looking into the content of the Da Tang Xi Yu Ji and remaining stupas, which provide examples of stupas at the time. This study finds that due to the characteristics of dry deserts, stupas in Xinjiang Uyghur region, where assimilation between Eastern and Western cultures is seen, were mostly made by pressing clay into a mold and had no interior spaces. Also, construction materials and techniques had been developed and improved in a way that enabled stupas to combat the challenging desert conditions. However, the stupas in this region differed significantly from the wooden tower-like stupas discovered in central China(zhongyuan 中原). The shape of the dome of most stupas in Xinjiang Uyghur region was chosen under the influence of the Gandharan style. Some of the stupas in the region have taken the general forms of the wooden stupas and the others have taken many forms, from cylindrical drums to towers. Also, there have been forests of stupas and stupas similar in form to chaityas and stupas of Vajrayana. Such different forms were transformed and modified through regional history and it was related to the peoples and cultures that produced and used stupas. Stupas evolved into distinct forms in Xinjiang Uyghur region in this way.

• Journal of Science of Art and Design
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• v.13 no.1
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• pp.61-86
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• 2008

Buddhism and Buddhist art originated in India, but when they were introduced to different countries, they created an international environment. Buddhism was introduced as cultural package, with written texts, visual images, rituals, and the organization of monasteries. Buddhist art originated in India during the reign of King Asoka and then was developed under the political, intellectual, artistic, religious, social and natural environments of the regions. The stupa and the chaitya halls create monastic environment. The natural environment of the trade routes and caravans in the Central Asian deserts preserved brilliant-colored murals and helped spread tram India to China. When Buddhism and Buddhist art were introduced to China, Korea, and Japan, Buddhism became a part of government institution and social organization. Gigantic statues were carved in caves in mountains for political purposes. The Chinese transformed the stupa into a square pillar and created pagodas with tiled roofs in tower forms. Koreans not only transmitted the Buddhist art from China to Japan, but it also changed it with originality in the iconography of the pensive bodhisattva images and in the architecture of Seoggulam. The official ideology of Neo Confucian philosophy brought the rise of Chan Buddhism. Zen monasteries in Japan created unique environments by establishing the Zen Buddhist garden. to prompt believers to meditate. An important development in Buddhist art is the Esoteric Buddhist art in China and Tibet. This category belongs to the intellectual, religious as well as artistic environments. The Tibetan deities with consorts in their embrace symbolize the union of the god and the devotees. Buddhist art created a unique environment that was spread out to many nations and changed greatly over time.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.3 no.3
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• pp.45-76
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• 2000

The purposes of this study were to investigate and understand the present status of various types of "deserts", such as sand desert, gravel desert, rock desert, earth desert, salt desert, desert, rocky desert, gobi desert, sandy desert, clay desert, etc., and the general countermeasures for the combating "desertification" "desertization", and to develop the technologies on the revegetation and restoration for the combating desertification in China. The methods of this study were mainly composed of field surveys on the several experimental sites and research institutes related to combating desertification in China, and examinations on the various technologies for the combating desertification at the Daxing Experimental Station of Beijing Forestry University. The conclusion from this study may be summarized as follows; 1. Status and tendency of desertification in China : China is one of the countries seriously threatened by desertification. Desertification affected areas in China are mainly distributed in arid, semi-arid and dry sub-humid areas in China, covering the most regions of the Northeast China (eastern region of Inner-Mongolia), the northern part of the North China (middle and western region of Inner-Mongolia, Shaanxi, Ningsha, Gansu) and the western part of the Northwest China (Xinzang, Qinghai, Xizang). The total area affected by desertification in China is approximately 2.622 million $km^2$. It covers 27.3% of the total territory of China. Until recently, it is estimated that the annual spreading ratio of desertification in China is 2,460 $km^2$. Therefore, desertification is mostly serious problems facing to the Chinese people. 2. The causes and environmental effect of desertification : The desertification in China is mainly caused by compound factors, including natural condition and human activities. In China, the desertification is started by the decrease of precipitation, continuous dry and drought, strong wind, wind and water erosion, land degradation and loss of natural vegetation caused by climate variation, and accelerated by the human activities, such as over-cultivating, over-grazing, over-cutting of woods, irrational use of water resources. Because desertification has affected the geographical features, soil nutrients contents, salinity, vegetation coverage and the functions of ecosystem, the environmental deteriorations in the desertification affected areas are very seriously. 3. The fundamental strategies of combating desertification in China are the increase of education and awareness of people through various mass media, the revision of laws to guarantee operation of Desertification Combating Law and to improve many relating laws and regulations, the application of advanced technologies and training of experts, the establishment of discriminative policies, and increasing arrangement of budget-investment, and so on. China, as a signed country in UNCCD, has made efforts for the combating desertification. Korea is also signed country in UNCCD, so we should play an important role in the desertification combating projects of China for the northest asia and global environmental conservation as well as environmental conservation of Korea.