• Korean Journal of Ichthyology
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• v.35 no.4
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• pp.378-383
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• 2023

A re-examination of Luciogobius guttatus was conducted using 84 samples, which lives on all coastal waters of Korea. As a result, 41 specimens (31.3~54.4 mm SL) collected from the west and south coasts were classified as L. martellii. The morphological features of L. martellii as follows: number of abdominal vertebrae 16; total number of vertebrae 35~37; dorsal fin base length longer than upper caudal peduncle length or equal; one free ray on its upper pectoral fin; and edge of tail fin white. Among these, the most prominent morphological difference in L. guttatus is comparing the dorsal fin base length and upper caudal peduncle length, which is also well observed in syntypes of L. martellii. We proposed a new Korean name, "Geom-jeong-mi-kken-mang-duk" referring to their color.

• The Korean Journal of Quaternary Research
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• v.17 no.2
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• pp.167-168
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• 2003

The Upo wetland, the largest natural wetland in Korea, is located in Changnyeong-gun, Gyeongsannam Province ($35^{\circ}33'$ N, $128^{\circ}25'$ E), and 70 km upstream from the Nakdong River estuary. Unlike most other Korean wetlands that have been destroyed under the name of economic development, the Upo wetland has been able to preserve its precious ecosystem throughout the years. Thanks to increased public awareness about natural wetlands and environmental conservation, the Korean Ministry of Environment designated the Upo wetland an 'Ecological Conservation Area' on July 26th, 1997. On March 2nd of the following year, the Upo wetland (8.54 $\textrm{km}^2$) was designated a 'Protected Wetland' in accordance with the international Ramsar Treaty. A 4.49m long (from 9.73 to 5.24 m in altitude) UP-1 core ($35^{\circ}33'05"N$, $128^{\circ}25'17"E$), recovered in the marginal part of the Upo wetland, is divided into eight buried paleosol units of different ages on the basis of the abundance of color mottles and vertical color variations (Aslan et al., 1998). Radiocarbon datings suggested that the paleosol profile represent the last 5700 years. The entire section of the core was more or less subjected to pedogenetic processes, and shows very weak to moderate soil profile development. These Holocene paleosols are therefore regarded as synsedimentary soils of deluvium (deposits formed by floods) origin (Sycheva et al., 2003). Unit 1 to 5 paleosols are generally silt-rich and exhibit moderate profile development. The boundaries between the units are somewhat distinguishable, but not so clear cut. This is due to variable repeated combination of accumulation, denudation and soil forming processes within various periods. Mottle textures gradually decrease in abundance with increasing clay content in Unit 6, which results in weak profile development. The lower boundary of Unit 6 lies around about 2000 yrBP, the beginning of Subatlantic in Korea (Kim et al., 2001). Abrupt sediment textural change is detected in Unit 7, which is interpreted to indicate the human activities on the Upo wetland. Unit 8 represents the recent soil forming processes. The preliminary results of this ongoing study imply the primary factor for pedogenetic processes is the water table fluctuations related to the sedimentary textures like grain size distributions, and the geomorphological stability of the Upo wetland.o wetland.

• Journal of Mushroom
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• v.9 no.1
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• pp.22-26
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• 2011

We bred a new strain of Pleurotus eryngii. It's name is 'Gongi No.3' and it was bred by mating monokaryotic strain isolated from E08-5D2 and dikaryotic strain GMPE25016 from 2006 to 2010 in Mushroom Research Station, Gyonggi province A.R.E.S. The characteristics of a new strain 'Gongi No.3' is as follows ; The optimum temperature for mycelium growth was from 26 to 29 degrees celsius on PDA medium and those for the premodium formation and the growth of fruit body were from 14 to 18 degrees celsius. The period of spawn running was around 30days at 22 degrees celsius and the period taken from scratching old spawn to make premodium were 8 days. The color degree of cap surface was measured by color difference meter and that of a new strain 'Gongi No.3' was 54.4 by L-value. it was seem to be dark, compared with 'Keunneutari No.2'. The hardness of fruit body of a new strain was higher than 'Keunneutari No.2'. The yield was about 180g per bottle(1100cc). it was 10g more than 'Keunneutari No.2'.

• The Korean Journal of Community Living Science
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• v.21 no.4
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• pp.571-579
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• 2010

Jeupjang has long been considered only a local delicacy. So, it has gradually been forgotten because its name and definition have not been established. This study was performed in order to provide some basic data by comparing the general components, color, free amino acids, free sugar, organic acids and antioxidant activities between commercial Jeupjang(GG, GD, JM, NJ, NS). Moisture contents, crude protein, crude fat and crude ash contents of Jeupjang were 48.07~61.77%, 4.08~10.53%, 3.92~4.64%, and 3.63~9.95%. pH, titrable acidity and salt in Jeupjang were 4.32~5.50, 9.37~14.82 mL(1N-NaOHmL), and 3.27~8.90%. Amino-type nitrogen content is 42.05~ 138.83mg%. Lightness(L), redness(a) and yellowness(b) values in color of Jeupjang were10.04~21.89, 18.92~28.80, and 17.16~37.56. The total content of free amino acids in commercial Jeupjang ranged from 35.22mg% to 306.02mg% in which it showed wide variation among samples. The major free amino acids were glutamic acid, aspartic acid, alanine and proline. The major free sugars were fructose(0.31~1.60%), glucose(6.20~ 13.61%) and maltose(7.34~10.01%). The major organic acids were succinic acid(29.08~ 103.62 mg%) and citric acid(3.08~108.69 mg%). Total polyphenol contents were from 1.16 mg/g to 1.78 mg/g, DPPH radical scavenging activity is from 0.57 AEAC to 1.53 AEAC and ABTS radical scavenging activity is from 1.58 AEAC to 2.85 AEAC. This result might cause the differences of soybean composition, processing methods and brewing periods. For the succession of traditional fermented food such as Jeupjang, quality standards are required. To this end, the standardization of manufacturing processes must be followed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• The Journal of Korean Academy of Prosthodontics
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• v.47 no.1
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• pp.1-11
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• 2009

Statement of problem: There are two methods of color choice for the esthetic restoration. One is visual shade matching which draws a comparison between shade guide and teeth in dentist's own eye and the other is using a digital shade analysis system recently introduced. Although the visual shade matching has a lot of problems, decision of color by this visual shade matching and the ways of expression for the decided color are still applicable to clinical dentistry. Purpose: This study is designed to investigate shade guides used in the dental clinics and laboratories have the same value using ShadeEye-$NCC^{(R)}$ dental chroma meter (Shofu Inc., Kyoto, Japan) using shade guide are evaluated. Material and methods: At the first experiment, eight Vita Lumin Vacuum shade guides (Vident Inc., California, USA) were collected from the dental clinics. A1 and B1 shade tabs are chosen and the colors are analyzed five times each in both tooth and porcelain modes by digital shade analysis system, ShadeEye-$NCC^{(R)}$. In the second experiment, twelve Vita shade guides using practically in the dental clinics and laboratories were collected and also A1 and B1 shade tabs are chosen and the colors of A1 and B1 are analyzed one time each in both tooth and porcelain modes by ShadeEye-$NCC^{(R)}$. Results and conclusion: There were significant differences among eight shade guides in terms of shade (chroma), value and hue in both of A1 and B1 (P<.05). Shade guides using in present both dental clinics and laboratories did not show significant differences, except A1 in the porcelain mode, it showed significant differences (P<.05) in the shade even though the shade tab has the same name.

• Economic and Environmental Geology
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• v.8 no.3
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• pp.117-124
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• 1975

Wet chemical analysis (for $MnO_2$, MnO, and $H_2O$(+)) and electron microprobe analysis (for $Fe_2O_3$ and PbO) give $MnO_2$ 74.91, MnO 11.33, $Fe_2O_3$ (total Fe) 4.19, PbO 0.03, $H_2O$ (+) 9.46, sum 99.92%. 'Available oxygen determined by oxalate titration method is allotted to $MnO_2$ from total Mn, and the remaining Mn is calculated as MnO. Traces of Ba, Ca, Mg, K, Cu, Zn, and Al were found. Li and Na were not found. The existence of (OH) is verified from the infrared absorption spectra. The analysis corresponds to the formula $Mn^{4+}{_{4.85}}(Mn^{2+}{_{0.90}}Fe^{3+}{_{0.30}})_{1.20}O_{8.09}(OH)_{5.91}$, on the basis of O=14, 'or ideally $Mn^{4+}{_{5-x}}(Mn^{2+},Fe^{3+})_{1+x}O_{8}(OH)_{6}$ ($x{\approx}0.2$). X-ray single crystal study could not be made because of the distortion of single crystals. But the x-ray powder pattern is satisfactorily indexed by an orthorhombic cell with a 9.324, b 14.05, c $7.956{\AA}$., Z=4. The indexed powder diffraction lines are 9.34(s) (100), 7.09(s) (020), 4.62(m) (200, 121), 4.17(m) (130), 3.547(s) (112), 3.212(vw) (041), 3.101(s) (300), 2.597(w) (013), 2.469(m) (331), 2.214(vw)(420), 2.098(vw) (260), 2.014 (vw) (402), 1.863(w) (500), 1.664(w) (314), 1.554(vw) (600), 1.525(m) (601), 1.405(m) (0.10.0). DTA curve shows the endothermic peaks at $250-370^{\circ}C$ and $955^{\circ}C$. The former is due to the dehydration: and oxidation forming$(Mn,\;Fe)_2O_3$(cubic, a $9.417{\AA}$), and the latter is interpreted as the formation of a hausmannite-type oxide (tetragonal, a 5.76, c $9.51{\AA}$) from $(Mn,\;Fe)_2O_3$. Infrared absorption spectral curve shows Mn-O stretching vibrations at $515cm^{-1}$ and $545cm^{-1}$, O-H bending vibration at $1025cm^{-1}$ and O-H stretching vibration at $3225cm^{-1}$. Opaque. Reflectance 13-15%. Bireflectance distinct in air and strong in oil. Reflection pleochroism changes from whitish to light grey. Between crossed nicols, color changes from yellowish brown with bluish tint to grey in air and yellowish brown to grey through bluish brown in oil. No internal reflections. Etching reactions: HCl(conc.) and $H_2SO_4+H_2O_2$-grey tarnish; $SnCl_2$(sat.)-dark color; $HNO_3$(conc.)-grey color; $H_2O_2$-tarnish with effervescence. It is black in color. Luster dull. Cleavage one direction perfect. Streak brownish black to dark brown. H. (Mohs) 2-3, very fragile. Specific gravity 3.59(obs.), 3.57(calc.). It occurs as radiating groups of flakes, flower-like aggregates, colloform bands, dendritic or arborescent masses composed of fine grains in the cementation zone of the supergene manganese oxide deposits of the Janggun mine, Bonghwa-gun, southeastern Korea. Associated minerals are calcite, nsutite, todorokite, and some undetermined manganese dioxide minerals. The name is for the mine, the first locality. The mineral and name were approved before publication by the Commission on New Minerals and Mineral Names, I.M.A.

• Fiber Technology and Industry
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• v.2 no.4
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• pp.490-508
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• 1998

One of the latest fields of research in the area of output devices is tactual display devices [13,31]. These tactual or haptic devices allow the user to receive haptic feedback output from a variety of sources. This allows the user to actually feel virtual objects and manipulate them by touch. This is an emerging technology and will be instrumental in enhancing the realism of wearable augmented environments for certain applications. Tactual displays have previously been used for scientific visualization in virtual environments by chemists and engineers to improve perception and understanding of force fields and of world models populated with the impenetrable. In addition to tactual displays, the use of wearable audio displays that allow sound to be spatialized are being developed. With wearable computers, designers will soon be able to pair spatialized sound to virtual representations of objects when appropriate to make the wearable computer experience even more realistic to the user. Furthermore, as the number and complexity of wearable computing applications continues to grow, there will be increasing needs for systems that are faster, lighter, and have higher resolution displays. Better networking technology will also need to be developed to allow all users of wearable computers to have high bandwidth connections for real time information gathering and collaboration. In addition to the technology advances that make users need to wear computers in everyday life, there is also the desire to have users want to wear their computers. In order to do this, wearable computing needs to be unobtrusive and socially acceptable. By making wearables smaller and lighter, or actually embedding them in clothing, users can conceal them easily and wear them comfortably. The military is currently working on the development of the Personal Information Carrier (PIC) or digital dog tag. The PIC is a small electronic storage device containing medical information about the wearer. While old military dog tags contained only 5 lines of information, the digital tags may contain volumes of multi-media information including medical history, X-rays, and cardiograms. Using hand held devices in the field, medics would be able to call this information up in real time for better treatment. A fully functional transmittable device is still years off, but this technology once developed in the military, could be adapted tp civilian users and provide ant information, medical or otherwise, in a portable, not obstructive, and fashionable way. Another future device that could increase safety and well being of its users is the nose on-a-chip developed by the Oak Ridge National Lab in Tennessee. This tiny digital silicon chip about the size of a dime, is capable of 'smelling' natural gas leaks in stoves, heaters, and other appliances. It can also detect dangerous levels of carbon monoxide. This device can also be configured to notify the fire department when a leak is detected. This nose chip should be commercially available within 2 years, and is inexpensive, requires low power, and is very sensitive. Along with gas detection capabilities, this device may someday also be configured to detect smoke and other harmful gases. By embedding this chip into workers uniforms, name tags, etc., this could be a lifesaving computational accessory. In addition to the future safety technology soon to be available as accessories are devices that are for entertainment and security. The LCI computer group is developing a Smartpen, that electronically verifies a user's signature. With the increase in credit card use and the rise in forgeries, is the need for commercial industries to constantly verify signatures. This Smartpen writes like a normal pen but uses sensors to detect the motion of the pen as the user signs their name to authenticate the signature. This computational accessory should be available in 1999, and would bring increased peace of mind to consumers and vendors alike. In the entertainment domain, Panasonic is creating the first portable hand-held DVD player. This device weight less than 3 pounds and has a screen about 6' across. The color LCD has the same 16:9 aspect ratio of a cinema screen and supports a high resolution of 280,000 pixels and stereo sound. The player can play standard DVD movies and has a hour battery life for mobile use. To summarize, in this paper we presented concepts related to the design and use of wearable computers with extensions to smart spaces. For some time, researchers in telerobotics have used computer graphics to enhance remote scenes. Recent advances in augmented reality displays make it possible to enhance the user's local environment with 'information'. As shown in this paper, there are many application areas for this technology such as medicine, manufacturing, training, and recreation. Wearable computers allow a much closer association of information with the user. By embedding sensors in the wearable to allow it to see what the user sees, hear what the user hears, sense the user's physical state, and analyze what the user is typing, an intelligent agent may be able to analyze what the user is doing and try to predict the resources he will need next or in the near future. Using this information, the agent may download files, reserve communications bandwidth, post reminders, or automatically send updates to colleagues to help facilitate the user's daily interactions. This intelligent wearable computer would be able to act as a personal assistant, who is always around, knows the user's personal preferences and tastes, and tries to streamline interactions with the rest of the world.