• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.12
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• pp.1981-1987
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• 2013

In order to use the excellent features of saponin and phenolic compounds in the leaf and fruit of ginseng, ginseng fruit Yakgwa (GFY), ginseng leaf Yakgwa (GLY) and ginseng root Yakgwa (GRY) were made via adding the fruit, leaf and root powder in the process of making Yakgwa, and the properties were investigated. When making Yakgwa, GFY and GLY had superior expansion compared to GRY. 2.5-GFY (added 2.5% ginseng fruit powder) and 2.5-GLY (added 2.5% ginseng leaf powder) increased about 1.68 times and had better expansion than the control; however, when more amount of fruit and leaf were added, the expansion was decreased. The GFY and GLY showed green and red color, and the brightness and yellowness were decreased. Oil absorption during making Yakgwa showed to increase as the amount of fruit and leaf powder were increased regardless of the ginseng parts. Hardness of Yakgwa increased as the root additives were increased, and it decreased when leaf and fruit were added. The results of sensory evaluation on ginseng-based Yakgwa showed that oily taste was lowered as the amount of fruit and leaf additives were increased, which had increased the preference. On the overall preference of Yakgwa, 5.0-GFY, 2.5-GLY and 7.5-GRY was high, which contained 2.30 mg/g, 1.02 mg/g, and 0.91 mg/g of saponin, respectively.

• Journal of Conservation Science
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• v.20
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• pp.9-22
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• 2007

Three kinds of natural pesticides extracted from plants which are being sold in the Korean markets, were estimated effects on materials of art of museum. Tested samples were 1) silk fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gallut(copperas post mordancy), gardenia, turmeric, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+amur cork tree, indigo+sappanwood) 2) cotton fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gardenia, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+sappanwood) 3) undyed ramie fabric 4) Korean papers : undyed, dyed(sappanwood, indigo, gardenia, amur cork tree, safflower) 5) pigments : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white 6) painted plates : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white. Conditions of tests were that after samples were exposed to 10 times of promoted concentration for 9 months in relative humidity $55{\pm}1%$ and temperature $20{\pm}2^{\circ}C$, they were compared with standards. Items of estimation were color difference(${\Delta}E^*$) and tenacity. After exposure to pesticides, undyed silk cotton ramie fabrics and Korean papers were not nearly changed in their colors, but colors of most of dyed samples were clearly changed by pesticides except for partial samples(acorn- and madder-dyed fabrics etc, gardenia-dyed samples). Especially changes of colors of turmeric-dyed silk fabrics were most distinct. And colors of pigments and painted plates containing lead, copper, arsenic, mercury and vegetable pigments, were clearly changed. Tenacities of yams of undyed silk fabrics were not nearly changed and undyed cotton fabrics were a little reduced as compared with standards. But tenacities of yams of dyed silk and cotton fabrics were clearly reduced or increased as compared with standards. Especially, madder-dyed silk fabrics were increased 10% or more and indigo-dyed silk fabrics were reduced 10% or less in all pesticides. Also madder- and sappanwood(alum post mordancy)-dyed cotton fabrics were increased 10% or more in all pesticides.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.

• Korean journal of food and cookery science
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• v.22 no.3 s.93
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• pp.307-313
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• 2006

Tofu was prepared with various herbs (green tea, rosemary, lavender and thyme) and the tofu quality was investigated during storage. In the measurement of tofu color, the L and b values increased during storage period. Especially, the b value was very high at 8 days after storage. The pH value of tofu increased until 6 days of storage, but then decreased. The turbidity gradually increased until 6 days of storage and rapidly increased at 8 days of storage. The microorganism count of herb tofu was lower an that of control tofu during storage. Especially green tea tofu showed the lowest psychrotrophic microorganism count as $1.3{\times}10^8\;CFU/g$. In addition, lavender tofu showed the lowest aerobic mesophilic microorganism count $(2.0{\times}10^7\;CFU/g)$ at 8 days of storage. In texture analysis, hardness and chewiness of herb tofu increased with increasing storage period. Springiness increased to 2 or 4 days of storage but decreased after 6 or 8 days. Therefore, herb tofu is expected to have good quality physiologically as well as microbiologically.

• Food Science and Preservation
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• v.13 no.2
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• pp.144-153
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• 2006

The effects on deacidification of citrus fruits produced at early harvesting season for juice products were examined by heating treatment of raw fruits and electrodialysis of juice. Weight and total acidities were decreased by heating treatment for 40 hr at $25^{\circ}C,\;30^{\circ}C,\;35^{\circ}C\;and\;40^{\circ}C$, but $^{\circ}Brix$ and pH increased Sugar to acid ratio also increased. Total acidities were decreased from 1.25 (Oct30, 2004), 1.24 (Nov.5, 2004), 0.99 (Nov.13, 2004) and 0.98% (Nov.19, 2004) to 0.48 (Oct30, 2004), 0.51 (Nov.05, 2004), 0.37 (Nov.13, 2004) and 0.42% (Nov.19, 2004) by electrodialysis for 100 min respectively, and $^{\circ}Brix$ also slightly decreased, but solid to acid ratio was increased as a result. However pH and color remained almost unchanged by electodialysis. Also, free sugar contents of citrus juice little were changed, but organic acid content were decreased fairly. Narirutin and hesperidin content among flavonoids were slightly decreased by electrodialysis, but they were not significantly different. $K^+,\;PO_4^{2-},\;SO_4^{2-}\;and\;Cl^-$ content were decreased by electrodialysis, and $K^+$ contents decreased by more than 80% However, $Na^+$ consent was increased by about 2 times. Total polyphenol contents and electron donating abilities were decreased a little by electrodialysis but nitrite scavenging abilities were little changed. By acceptability test citrus juice prepared by electrodialysis for 100 min was superior to original citrus juice.

• Journal of the Korean Society of Food Science and Nutrition
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• v.46 no.9
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• pp.1106-1113
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• 2017

The objective of this study was to determine the quality characteristics of fried yakgwa and baked yakgwa prepared with different amounts of P. frutescens powder. Moisture contents of fried yakgwa were 7.05%, and moisture content of baked yakgwa with different amounts of P. frutescens powder were 12.42~10.44% and decreased with higher amount of P. frutescens powder. This result can be attributed to loss of water in yakgwa in the course of the fried process. Although the degree of expansion of baked yakgwa was lower than that of fried yakgwa, size and shape of yakgwa were maintained. Yakgwa is appropriate as a cookie type product. Crude lipid contents of fried yakgwa were higher than those of baked yakgwa due to the exchange reaction of water and fat during the fried process. Energy of fried yakgwa was 501 kcal and was higher than that of baked yakgwa with different amounts of P. frutescens powder. This greatly affected the fat content of each sample. Energy of baked yakgwa increased with higher amount of P. frutescens powder due to the characteristics of the ingredients or jasoyeop. For chromaticity determination, L values of fried yakgwa were lower, but a, and b values were higher than those of baked yakgwa, and L, a, and b values decreased when P. frutescens powder increased. Texture measurement showed that hardness, cohesiveness, chewiness, gumminess increased with higher amounts of P. frutescens powder, whereas springiness decreased. The antioxidant activities of fried yakgwa measured based on DPPH scavenging activity were higher than those of baked yakgwa with 0%~0.2% P. frutescens powder and lower than those of baked yakgwa with 0.3%~0.4% P. frutescens powder. In the sensory evaluation, baked yakgwa with 0.1% addition of P. frutescens powder showed the highest preference in terms of overall acceptance, and 0% addition of P. frutescens powder showed the highest preference in terms of color and flavor. These results suggest that P. frutescens powder may be a useful ingredient in baked yakgwa to improve quality and sensory properties.

• Progress in Medical Physics
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• v.18 no.2
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• pp.98-106
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• 2007

In June 2005, Yonsei University Medical Center, Severance Hospital upgraded a full-PACS system by adding twenty (5 mega pixels) Totoku ME511L flat panel LCD display devices for diagnostic interpretation purposes. Here we report upon the quantitative (or visual) acceptance testing of the twenty Totoku ME511L display devices for reflection, luminance response, luminance spatial dependency, resolution, noise, veiling glare, and display chromaticity based on AAPM TG 18 report. The tools used in the tests included a telescopic photometer, which was used as a colorimeter, illuminance meter, light sources for reflection assessment, light-blocking devices, and digital TG18 test patterns. For selected 8 flat panel displays, mean diffuse reflection coefficient ($R_d$) was $0.019{\pm}0.02sr^{-1}$. In the luminance response test, luminance ratio (LR), maximum luminance difference ($L_{max}$), and deviation of contrast response were $550{\pm}100,\;2.0{\pm}1.9%\;and\;5.8{\pm}1.8%$, respectively. In the luminance uniformity test, maximum luminance deviation was $14.3{\pm}5.5%$ for the 10% luminance of the TG18-UNL10 test pattern. In the resolution test with luminance measurement method, percent luminance (${\Dalta}L$) at the center was $0.94{\pm}0.64%$. In all cases of noise testing, rectangular target In every square in the three quadrants was visible and all 15 targets except the smallest one in the every corner pattern and the center pattern. The glare ratio (GR) was $12,346{\pm}1,995$. The color uniformity, (u',v'), was $0.0025{\pm}0.0008$. Also, the research results of qualify control guideline of primary disply devices suitable for domestic circumstance are presented All test results are in-line with the criteria recommended by AAPM TG18 report and are thus fully acceptable for diagnostic image interpretation. As a result, the acceptance testing schedule described provides not only an acceptance standard but also guidelines for quality control, optimized viewing conditions, and a means for determining the upgrading time of LCD display devices for diagnostic interpretation.

• The KIPS Transactions:PartB
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• v.14B no.4
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• pp.311-320
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• 2007

This paper presents vision-based 3D facial expression animation technique and system which provide the robust 3D head pose estimation and real-time facial expression control. Many researches of 3D face animation have been done for the facial expression control itself rather than focusing on 3D head motion tracking. However, the head motion tracking is one of critical issues to be solved for developing realistic facial animation. In this research, we developed an integrated animation system that includes 3D head motion tracking and facial expression control at the same time. The proposed system consists of three major phases: face detection, 3D head motion tracking, and facial expression control. For face detection, with the non-parametric HT skin color model and template matching, we can detect the facial region efficiently from video frame. For 3D head motion tracking, we exploit the cylindrical head model that is projected to the initial head motion template. Given an initial reference template of the face image and the corresponding head motion, the cylindrical head model is created and the foil head motion is traced based on the optical flow method. For the facial expression cloning we utilize the feature-based method, The major facial feature points are detected by the geometry of information of the face with template matching and traced by optical flow. Since the locations of varying feature points are composed of head motion and facial expression information, the animation parameters which describe the variation of the facial features are acquired from geometrically transformed frontal head pose image. Finally, the facial expression cloning is done by two fitting process. The control points of the 3D model are varied applying the animation parameters to the face model, and the non-feature points around the control points are changed by use of Radial Basis Function(RBF). From the experiment, we can prove that the developed vision-based animation system can create realistic facial animation with robust head pose estimation and facial variation from input video image.