• Title/Summary/Keyword: Cultural content

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Effect of Slow-release Fertilizer Levels of Rice in Different Cultural Methods (벼 재배양식에 따른 유효성 비료의 시용량이 생육과 수량에 미치는 영향)

  • 정진일;최원영;최민규;이선용
    • KOREAN JOURNAL OF CROP SCIENCE
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    • v.40 no.6
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    • pp.747-756
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    • 1995
  • To find out the optimum application method of slow-releasing fertilizer(SRF) and conventional fertilizer(CF) with different fertilization rate under two culture methods[l0-day old seedling machine transplanting(MT) and direct-sowing on dry paddy(DS)] in the south-western region(clay loam soil) of Korea, used were Chosun slow-releasing fertilizer(silicate latex coated fertilizer: N-P$_2$O$_{5}$-K$_2$O =18-12-13) and conventional fertilizer. Plant height and number of tillers with different two culture methods were higher at MT than DS in early growth. The ratio of dry weight in heading stage was higher at CF than SRF in MT than DS and especially, SRF 80% + CF 20% than SRF 100% or CF 100%. Leaf area index (LAI) in heading stage was higher at CF in MT but higher at SRF in DS than their counterparts. Chlorophyll content was higher at SRF than in CF expect for heading stage(HS), especially in DS. It was highest at HS in CF without its difference during maximum tillering stage(MTS) and panicle formation stage(PFS), while highest at PFS in SRF with tendency of gradual increase and decrease before and after PFS, respectively. Heading was delayed 2~3 days at SRF in two cultrue methods and 4~5 days at SRF in DS in comparison with CF in MT with delay of 2 days at DS compared with MT. Culm length was longer at CF in MT and at SRF in DS than their counterparts. Panicle number per m was more at SRF and in DS. Filled grain ratio was higher at CF and in MT. Yield was obtained 101 and 100% at 100% and 80% level of SRF in DS respectively, and 96% at 80% level of CF in MT, compared with conventional application method (516kg /l0a), and increased 2~4% at DS and 0~3% at MT in SRF. Yield was high in order of 100%(SRF) =80%(SRF) + 20%(CF) > 100%(SRF) + 20%(CF) > 80%(SRF) at MT and 80%(SRF) + 20%(CF) =100%(SRF) > 80%(SRF) =100%(SRF) + 20%(CF) at DS.

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Studies on the Fruiting Phase of Rape Under the Different Cultural Conditions

  • Kae, B.M.
    • KOREAN JOURNAL OF CROP SCIENCE
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    • v.12
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    • pp.77-87
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    • 1972
  • The fruiting phase of rape under transplanting and direct-sowing conditions has been studied at Mokpo during the 2 years period from 1970 to 1971. Two varieties, Yudal and Miyuki were used in this study. The planting space and sowing time were also incorporated into this study. The results could be summarized as follows: 1. The plant tape of rape was nearly umbrella-shaped of all, but has changed to the laid elliptical-shaped, broadly ovate and spindle-shaped under different varieties and cultural conditions in the plant diagram(Fig. 2). 2. The length of the primary branches for each nodes had a tendency to the symmetric apical curve with the apex at the upper 10-12th node in the transplanting. but to the upper bias apical curve with the apex at the upper 5-7th node in the dense-sowing(Fig.3). 3. The ear of main stem was longer, more pods, heavier 1, 000 grains and more grain yield than ear of primary branches of all, Especially, as for that, the rate of yield constitution per plant in the direct-sowing was higher than in the transplanting(Fig. 4, 5, 6, 7, 8, 9). 4. The ear-length of the primary branches for each nodes had a tendency to the relatively slowly apical curve with the apex at the upper 3-4th node in the transplanting, but to the lower bias apical curve with the apex at the upper 2nd node in the dense-sowing. Especially, the possibility of growth at the lower ears was few in the early variety (Fig. 4). 5. The number of pod per ear on the primary branches for each nodes had a .tendency to the curve of ear-length with the apex at the upper 5-8thnode in the transplanting and at the upper 4-5th node in the dense-sowing (Fig. 5). Accordingly, a high positive correlation was found between the ear-length and number of pod per ear (Table 2) 6. In the transplanting, the high rate of effective ear was from the upper nods to the 12th node, but below the 16-17th nodes was ineffective. However, in the early dense-sowing the high rate of effective was to the 7th node. but below the 10th nodes was. ineffective. Especially, in the early variety has difficult to secure of poi-numbers for ineffective of the lower nodes(Fig. 6.). 7. The density of pod setting of the ear of main stem was the longest of all ears, and the lower nods were, the shorter it became. That had a tendency to the evidently apical growth. However. in the early variety, it was lengthened according to growth of ear-length(Fig.7). 8. The pod-length of the medium nodes was longer than the upper and lower, and the possitive correlation between pod-length and number of grain per poi was very high(Table 2.). 9. In the grain yield per node of primary branches, the most yielding node of transplanting was the upper 9th node, of dense-sowing 4-5th node(Fig 8.), and the possitive correlation between grain yield per node and ear-length or number of pod per ear was very high(Table 2). 10. The grain yield of ear of main stem was higher than that of primary branches in the percentage of dependence for grain yield per plant. The limint node of 50% of dependence to cumulative grain yield per plant was the upper 7-8th node in tranplanting, in the early dense-sowing 4-5th node, and in tke late dense-sowing-3th node(Fig. 9). 11. In the weight of 1, 000 grains the lower nodes were, the lighter it becames in dense-sowing. Therefore, this was also lighter than in the transplanting to the (Fig. 10.). 12. The oil content of grain at the medium nodes was low in the early variety, but at the ear of main stem and upper 1st node it was extremely high(Fig. 11.).

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A Study on Construction of Region-Based Cartoon Creation & Production Center (지역 중심의 만화 창· 제작센터 구축에 대한 연구)

  • Lee, Jin-hee;Kim, Byoung-Soo
    • Cartoon and Animation Studies
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    • s.45
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    • pp.147-175
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    • 2016
  • This thesis aims to research ways for the regional balanced development of cartoon creation & production environment being centered in metropolitan area in Korean cartoon industry which has rapidly changed since 2013. As a cartoon can not only be produced with relative lower production cost comparing to those of other cultural contents industries, but also can be produced only if the minimal requirements for cartoon production is prepared, so the cartoon is a field that the decentralization can be accomplished very easily. Currently, most cartoon-relevant companies and cartoon promotion institutions are located in Seoul an Bucheon, etc. However, cartoon artists live nationwide, and even cartoon artists producing their works abroad are reached to a significant number. In some regions like Daejeon, Busan, Suncheon and Gyeongbuk (Gyeongsangbuk-do), there have been appeared full-scale movement to construct regional cartoon creation & production centers since 2015. This thesis aimed to investigate each region's movement to construct cartoon creation & production center with oversea cases, and to check how such movement could be balanced and harmonized with each region's unique features. First of all, this thesis analyzed the status quo of government's policy nurturing the cartoon industry. Korean government's cartoon-promotion policy around the axis of the Cartoon Industry's Mid.Long-Term Development Plan has been developed around the Korea Creative Content Agency and the Korea Manwha(cartoon) Contents Agency in Bucheon, but as the webtoon industry has rapidly grown up, the necessity for building a cartoon promotion institution in each region has been raised since 2015. With the establishment of 4th Cartoon Industry Mid.Long-Term Development Plan to be executed from 2019, it seems that full-scaled support framework for cartoon regional balanced development should be occupied. For the case of foreign countries, cartoon promotion institutions and relevant events have been developed around regions from early times like San-Diego, USA(Comicon), Angouleme, France(National Image Center), Kyoto (Cartoon Museum), Sakaiminato(Misuki Sigeru Road), Japan gave a lot of implications. In the section of conclusion, this study aimed to suggest the importance of and necessity for establishing a cartoon creation & production center in each region appropriately for the region's identity and characteristics with specific plans. Based on that, this thesis aimed to suggest a vision for cartoon & webtoon industry that regional creation & production system can be settled almost only in the cultural contents industry.

A Study on the Copy of Tripitaka Koreana at Otani University in Kyoto, Japan (일본 오타니대학(大谷大學) 소장 고려대장경 인경본 연구)

  • Jeong, Eunwoo;Shin, Eunjae
    • Korean Journal of Heritage: History & Science
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    • v.52 no.4
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    • pp.38-55
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    • 2019
  • At Otani University in Kyoto, Japan, there is a rubbed copy of Tripitaka Koreana, presumably printed in 1381. According to the postscript of the copy, written by Saek Lee himself, the rubbed copy was made at Haeinsa temple in 1381 and was kept at Sinluksa temple in Yeuju. The copy was delivered as a gift to Japan in 1414 and now is kept at the Library of Otani University. Although an approximate summary of the content of the copy was reported in the early 2000s after a basic survey, details of the copy, including the concrete format and packaging paper, are not known yet. In this paper a detailed survey of the copy is conducted on the 109 pages. The copy is divided into two parts: the wrapping and the inner pages. The wrapping paper is divided into yellow and brown colors depending on the material of the paper. The yellow colorwrapping paper was possibly made in 1381 at the time of the rubbed printing, and the brown wrapping paper was repaired after being moved to Japan. Using funds collected in February 1380, the copy of Gyeong(經), Yul(律), and Ron(論) chapters was printed in April 1381. Binding of the copy was completed in September, and the wrapping paper with the title in gold was made in October 1380. The box for keeping Buddhist scriptures was manufactured in November 1380. The copy was moved to Sinluksa temple in April 1382 and delivered to Japan in 1414. At Otani University, the copy is stored in separate rectangular boxes 32.1×25.3cm in size with a height of 23.6cm. The rectangular plate on the four sides is red in external color but black colorinside. The box for keeping Buddhist scriptures was probably made in 1381, but a partial repair was made later. Because of the difficulty of executing a detailed survey of the box for Buddhist scriptures, it is hard to find out its nation and period of production. We look forward to studying the copy as well as the box for Buddhist scriptures in future.

Study on Iron-making and Manufacturing Technology of Iron Swords with Ring Pommel Excavated in Ipbuk-dong, Suwon (수원 입북동 출토 철제환두도의 제철과 제작기술 연구)

  • Kim, Soo-Ki
    • Journal of Conservation Science
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    • v.32 no.4
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    • pp.579-588
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    • 2016
  • This study analyzed nonmetallic inclusions in iron swords with a ring pommel excavated in the Ipbuk-dong, Suwon. Scanning electron microscopy with energy dispersive spectroscopy(SEM-EDS) was used to estimate the iron-making temperature, and we compared the oxide with $SiO_2$ to investigate the heat-treatment technology in the production of iron swords with a ring pommel by investigating the artificial insertion of a slag former and the metallurgical structure. From the wustite observed in most of the specimens, it is judged that these swords were produced by heating and forging iron smelted at a low temperature using the solid reduction method. In addition, judging from the partial presence of $P_2O_5$, it is assumed that they were smelted directly with natural ore, not calcined. From the ratios of $CaO/SiO_2$ and $TiO_2/SiO_2$, it is judged that the raw material for iron-making was iron ore and that a calcareous slag former was not artificially inserted. The structure of the blade part on the front end was pure iron. From the high carbon content of the blade part on the ring pommel and the formation of a martensitic structure and pearlite colony, it is judged that they were tempered after carburizing and that the back, handle part, and ring pommel were unintentionally carburized. Judging from the structure of these specimens, it was noted that they were produced by applying artificial partial heat-treatment technology. This study attempted to present a more scientific analysis by using the method of interpretation through component analysis of nonmetallic inclusions appearing in one relic by the ratio of the oxide divided by $SiO_2$. It is judged that reinterpreting the arguments by the results of the existing analysis and research in this way can obtain different interpretations.

A Study on the Place Identity on the Vicinity of Sangsosan and Government Office of Buan-hyun by Letters Carved on the Rocks (바위글씨로 본 부안 관아와 상소산 일대의 장소정체성)

  • Rho, Jae-Hyun;Kim, Jeong-Moon;Lee, Hyun-Woo;Lee, Jung-Han;Kim, Dae-Soo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.30 no.2
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    • pp.142-154
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    • 2012
  • This study aimed at learning the characteristics of place identity of the Buan county hall garden and Sangsosan(上蘇山) by looking over the pattern and content of letter-engraved rocks and nearby facilities and history. Especially, we focused on the meaning and contents of the letters in Sangsosan and a Government Office of Buan engraved on rocks in order to learn what the place means. The results of our study are as follows. Buan-hyun(扶安縣) in the Joseon dynasty period blossomed literary culture of enjoying poetry and melody, and this was faithful realization of the concept of "Rakto(樂土)" of 'Saengubuan(生居扶安).' The grand scale letters written by Si-SooPark(朴蓍壽: 1767~1876), head of the office in the early 19th century, in the cursive style on the basis stone of the garden of Buan county building, which was the site of the office of Buan-hyun in the Joseon dynasty period, such as 'Bongraedongcheon(蓬萊洞天)', 'Jurim(珠林)', and 'Okcheon(玉泉)' mean that "'Bongrae', the another name of Buan', is a place where Taoist hermits would live because the spring water of Seorim flows down to be Okcheon.", showing his pride of living Buan. The regions like Seorimjeong, Geumdae(琴臺), and Hyecheon(惠泉) where letters engraved on rocks are located intensively are closely related with those who communicated with Mae-ChangLee(李梅窓: 1573~1610), the slave of the government, and are local attractions and garden traces where the literary culture and scholar's spirit of Buan are well-harmonized. Most of the letters were written from the 19th century to the early 20th century, showing that 4 for landscapes, 8 for Kyungseck(景色: imaginary scenry), 5 for figures, 15 for poems and 2 for others. The ratio of poems is much higher than that of poems in other regions' letters on rocks, and the keyword of the letters is Haecheon. A piece of the place identity heavily influenced by the Taois thermit ideology is revealed by the expressions of 'Bongraedongcheon', 'Sosansaho(蘇山四皓)' or 'the spring water of Haecheon' that was considered as an elixir of Taoist hermits. Seorim the forest, which had been managed after Yeon-Myeong Cho(趙然明: 1797~?), head of the office, planted trees in the 11th year of the reign of King Heonjong(1845), Seorimjeong in the forest, and rocks with engraved letters on them are proof of literary culture and the garden traces showing the characteristics and aspect of Imcheon(林泉) Garden of the office heavily influenced by the Taoist hermit ideology. Along with Naebyeon-san national park and Kyeokpo region, the center of Buan tourism, we hope that cultural heritages including rocks with engraved letters over Seorim park would become a representative cultural heritage and attraction of Buan.

Mycelial Growth Using the Natural Product and Angiotensin Converting Enzyme Inhibition Activity of Pleurotus eryngii (천연물을 이용한 큰느타리 균사배양 및 Angiotensin Converting Enzyme 저해활성)

  • Kang, Tae-Su;Jeong, Heon-Sang;Lee, Myong-Yul;Park, Hee-Joeng;Jho, Taek-Sang;Ji, Seung-Taek;Shin, Myung-Keun
    • The Korean Journal of Mycology
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    • v.31 no.3
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    • pp.175-180
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    • 2003
  • To develop the health/functional food materials, we investigated the cultural condition of mycelial growth on the solid state fermentation using the brown rise, Acanthopanax sp. and Artemisia sp., and also evaluated inhibitory activity of angiotensin converting enzyme (ACE) of hot water extracts from cultured media of Pleurotus eryngii. As the amount of Acanthopanax nnd Artemisia In the cultural media increased, the mycelial growth rate decreased. Especially, addition of Aeantopanax showed marked effect than Artemisia. Moisture contents in three kinds of cultured media were in the range of $10.9{\sim}12.0%$. Crude protein fat and crude fiber content were the highest value in cultured brown rice medium, whereas the mineral contents (Ca, K and P) were higher in the Acanthopanax supplemented (5%) medium than the other media, The extraction yield of the Artemisia supplemented (5%) medium was the highest value of 4.80%, and the pH of hot water extract from cultured brown rice medium showed the lowest value of 6.1. Lightness (L) values in three kinds of extracts from cultured media were in the range of $85.8{\sim}87.1$. Redness (a) value was the highest In the brown rice and Acanthopanax supplemented media, however cultured Artemisia supplemented medium showed the highest value in yellowness (b). In comparison of sugar components analyzed by the thin layer chromatography with three kinds of samples, two spots were detected to be glucose and maltose, respectively. The ACE inhibitory activity of hot water extract from the cultured Acanthopanax supplemented medium showed the highest value at the concentration of $0.2{\sim}1.0\;mg/ml$. These results suggest that the Pleurotus eryngii grew in natural media using brown rice and Acanthopanax can be supplemented to the brown rice medium to enhance its ACE inhibitory activity as health/functional food materials.

A Study of Utilizing Sanjo as Cultural Contents in Modern Society (현대사회 문화콘텐츠로서 산조의 활용 방안 연구)

  • Cho, Seogyeon
    • (The) Research of the performance art and culture
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    • no.32
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    • pp.399-426
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    • 2016
  • Sanjo has a quintessential value not only because of its musical depth but also because of its style of music that best expresses Korean sentiment. However, new values are being established from different viewpoints as time passes so Sanjo's values need a modification in order to encompass a contemporary value that is required and accepted by modern society. In this context, while focusing on communication with the public, I contemplated the developmental direction of Sanjo in five perspectives; The Social realization of value, The Experimental and social transformation, The Social diffusion of creation, The Leap of fusion and harmony and finally The Socialization of contents. In the perspective of 'social realization of value', Sanjo refers to creative activity as a new 'duneum' which allows traditional and creative activity to deviate freely while still being under the Sanjo guideline. Either way, it has a periodical value because new forms with new rhythms are the only ways to communicate with the modern public. When these values can be understood by modern society can Sanjo be revived and be acknowledged as an infinite value. Secondly as an experiment and social transformation, there is a transformation of musical instruments in the 21th century. Our musical instruments should be transformed to effectively perform our music rather than to perform Western music. Third, social diffusion of creation should be the 'new Sanjo festival in 21th century' which can facilitate the communication with the public. Fourth, regarding leap of fusion and harmony, I suggest a performing culture consisting of 'Storytelling Sanjo' and 'Media Art' which will ceaselessly evolve Sanjo performance as a medium to communicate with the public. Finally, in regards to the socialization of contents, I emphasize that Sanjo should have contents of mass media as a way of means to help utilize mass media.

Characteristics of Granitic Flagstone from the Trifurcated Path at Jongmyo Royal Shrine, Seoul, Korea (종묘 어도박석 화강암의 재질특성 연구)

  • Hong, Sei-Sun;Yun, Hyun-Soo;Lee, Jin-Young;Lee, Byeong-Tae;Lee, Hyo-Min;Song, Chi-Young
    • The Journal of the Petrological Society of Korea
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    • v.15 no.3 s.45
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    • pp.139-153
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    • 2006
  • For the characteristics of rock material and standardization, flagstones of the trifurcated path in Jongmyo Royal Shrine, registered as World Cultural Heritage, were studied on the basis of petrographic, petrochemical and magnetic properties. The flagstones are composed mainly of pale gray fine to medium grained hornblende biotite granite, pale gray fine to medium grained biotite granite, pale pink medium to coarse grained biotite granite, pink medium to coarse grained biotite granite and minor pegmatite and schist. Flagstone represents the average size of $65cm{\times}4cm$ (standard deviation $12cm{\times}7cm$) and suitable (34.7%), common (41.4%) and unsuitable (23%) in roughness. It is interpreted that pale pink and pink granite, pegmatite, schist and other flagstones with unsuitable state are not original rock materials and were exchanged during restoration, in the past. The number of these non-original rock materials is about 560 flagstones. We suggests that the standard flagstone of the trifurcated path is pale gray fine to medium grained biotite granite (${\pm}$hornblende in trace), 70wt.% in $SiO_2$, content, and ${\pm}0.1{\times}10^{-3}\;SI$ in magnetic susceptibility.

Iconographic Interpretation of 1569 Tejaprabha Buddha Painting in the Korai Museum of Kyoto Japan (일본 고려미술관(高麗美術館) 소장 1569년 작 <치성광여래강림도>의 도상해석학적 고찰)

  • Kim, Hyeon-jeong
    • Korean Journal of Heritage: History & Science
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    • v.46 no.2
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    • pp.70-95
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    • 2013
  • The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.