• Korean Journal of Plant Resources
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• v.32 no.4
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• pp.318-324
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• 2019

Angelica gigas Nakai (AGN) is a perennial herb belonging to the family Apiaceae. Its root has been utilized as a traditional medicine in Korea. Also, it contains decursin (D) and decursinol angelate (DA) as major active components. This study was performed to compare the change in content of active components and antioxidant activity between bolting and non-bolting AGN. Bolting AGN (B1) and non-bolting AGN (NB1) were harvested in the end of August. Additional non-bolting AGN (NB2) was harvested in the end of October. The total weight of B1 was 728.7 g, which was 98.5% of NB2 weight. Next, the AGN root (B1, NB1 and NB2) was divided into main root and lateral root. And the AGN aerial part (B1, NB1) was divided into flower, leaf and stem. The two active components, D and DA, and antioxidant activity were analyzed. The D content of B1 was 0.35-1.33% according to the plant parts and the DA content was 0.29-1.07%. In addition, B1 flower and leaf showed higher antioxidant activity than NB2 roots. The results show that B1 contained 15-56% of total major components compared with NB2 main roots, suggesting that B1 could be used as a potential material.

• Journal of Practical Agriculture & Fisheries Research
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• v.4 no.1
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• pp.80-88
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• 2002

This study was carried out to investigate the native distribution and flowering characteristics of Lycoris genus which is endemic species in Asia. This study was summarized as fellows: Native distribution of Lycoris genus was situated in latitude 37- 24 degrees with high humidity of coastline. Mininum temperature of native area was at -10℃ during winter season. The leaf of L. squamigera, L. koreana, L. sangunea, L. sprengeri, L. incanata and L. flavescens emergenced in spring. The leaf of L. radiata, L. rdiata var pumila, L. aurea, L. traubii, L. albiflora and L. houdyshelli emergenced in autum. Bulb of Lycoris genus show a sympodial branching system which is composed of 14-23 scales and 2.8-5.2 leaves per each bulb at flowering time. The flower shape of L. squamigera, L. Koreana, L, aurea, L. incanata, L. sprengeri, L. sanguinea and L. flavescens was trumpet. The flower of L. radiata. L. radiata var pumila, L. albiflora, L. houdchelli and L. traubii. was spider.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.254-267
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• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• Journal of Life Science
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• v.28 no.12
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• pp.1489-1500
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• 2018

Honey is made from flower nectar by honey bees. In this study, 120 honeys from various flowers and across eight different provinces in Korea were collected and their components, antioxidants, and hemolytic activities against red blood cell were evaluated. Our results show that total polyphenol (TP) varied widely across the samples, with chestnut honey showing the highest TP ($77.1{\pm}8.4mg/100g$), protein content ($25.9{\pm}0.9mg/100g$), and absorbance at 400 nm ($A_{400}$ : $0.156{\pm}0.036$). In contrast, the acacia honey and sugar honey had a TP of 9.5~30 mg, 12~15 mg/100g of, and the lowest $A_{400}$ of $0.06{\pm}0.02$. High amounts of total flavonoid were quantified in the jujube and chestnut honeys at $8.73{\pm}7.31$ and $8.39{\pm}3.02mg/100g$, respectively. No samples demonstrated hemolytic activity up to 1 mg/ml. Antioxidant activities determined by DPPH, ABTS, and nitrite scavenging placed the chestnut honey highest, followed by jujube, styrax, multi-floral, citrus, acacia and sugar honey. Analysis of parameter correlations indicated that the components and bioactivity of the honey are dependent on the origin of the flower rather than on bee-farming regions. A positive correlation between TP content and antioxidant activity was identified. The correlation coefficients between $A_{400}$ and the TP, ABTS scavenging, and reducing power values were 0.804, 0.772 and 0.741, respectively. We therefore suggest that $A_{400}$ could be used as a noble, economic and simple factor for honey quality evaluation. Our results can potentially be used to develop functional honey for the food and pharmaceutical industries.

• Journal of Plant Biotechnology
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• v.46 no.2
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• pp.127-135
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• 2019

The purpose of this study was to investigate suitable parts for callus induction and optimal concentrations of growth regulators, contained in the medium affecting shoot and rooting for in vitro mass production of Haworthia truncata. Leaves and flower bud showed 100% callus formation rate at NAA $1{\sim}2mgL^{-1}$ treatment, and NAA $1mgL^{-1}$ + TDZ $2mgL^{-1}$ treatment. The flower stalk showed 75% callus formation rate, at NAA $2mgL^{-1}$ + TDZ $2mgL^{-1}$ treatment in H. truncata. While the rate of callus formation was high in leaves and flower bud, leaves were the most efficient in obtaining most culture parts. Shoot induction rate from callus was highest, at NAA $0.1mgL^{-1}$ treatment in H. truncata. Additionally, the number of shoots formation was 66.3 shoots high, in NAA $1mgL^{-1}$ + BA $0.1mgL^{-1}$ treatment in H. truncata. In the case of acclimatization of regenerated plant, growth characteristics did not show significant difference (95%) shading with respect to the different ratio of substrate mixture, and it was determined that would be appropriate, considering plant height and appearance preference of H. truncata. It was established that optimization of culture condition, was responsible for mass propagation in vitro cultures of H. truncata.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.118-129
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• 2011

This study is about the governor general's official residence and its garden in Yongsan that were constructed during the Japanese occupational time. The garden design drawing was also made while planning such Neo-Baroque style building, and it contains particular information of the garden unlike the other existing landscape drawings. The content of garden translated and landscape historical value drawn out by analysis of garden drawings, press articles and literatures are as follows; First, such governor general's official residence garden in Yongsan is likely to be the Korean first western style landscape form. For, from the point that it was completely constructed together with such official residential building in 1909, its construction time should be before that of the garden of Seokjojeon, Deoksu Palace, which was constructed in 1911. Second, it shows the garden style and garden planting factors introduced together with the modern architecture then. Such garden planting factors are placed from the center axis of the garden that is connected to the center of the building and monument as well. Such style and factors cover and show the flower bed appearing in Baroque style gardens, the monument that forms Vista playing the center of audience's vision, water space that is placed symmetrically against the axis, planting pattern that emphasizes the plants' space, flower bed shape and axis, and what kinds of plants were introduced then. Third, it shows the using pattern of western style gardens. Western style garden parties used to take in place in this garden while official dinner and reception were held in the evening in the official residence. Fourth, it shows the historical value as a modern landscape drawing, which is the Korean first landscape drawing that shows the plants' names and planting techniques marking the current height and planned height for change of topography and water system as a water landscape factor. That is, this drawing has the value that it was upgraded from the other existing ones that expressed only simple plants' symbols or flower bed shapes. I, therefore, hope that the studies on the modern landscape would be getting wider by excavation of new historical records in the future.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.70-82
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• 2021

The purpose of this study is to reveal the tendency of planting design through the analysis of the planting of designer's gardens in the Suncheon Bay National Garden and to derive implications for future garden planting designs. The results of the study are as follows: First, the results of the study show that the practice of tree-based planting is still valid. Large growing trees such as 'Pinus densiflrora', 'Celtis sinensis', 'Zelkova serrata', 'Machilus thunbergii', 'Pinus strobus' overwhelmed the size of the designer's garden(150 to 390㎡). Second, the selection of trees tended to be made considering the designer's intention and the decorative effects rather than by considering the physiological and ecological conditions of the site. Third, among the herbaceous, the rate of the planting of perennials was high. Fourth, the flowering period of planted herbaceous was the most common in summer, followed by spring, fall, and winter. Fifth, the frequency color of the planted herbaceous was the most common in summer, followed by spring, fall, and winter. Fifth, in terms of flower color frequency, the most common was the yellow-series, followed by red-series, blue-series Sixth, average height herbaceous plants(20~60cm) were planted the most(47.4%). Seventh, structural plants that determined the garden's framework depended on trees, and the focal plants mainly utilized were evergreen trees, and the midrange plants were the planted herbaceous plants. The implications derived from the above findings are as follows: First, to ensure the garden's quality and sustainability, the selection of trees should be carefully considered, not considering only the artist's intention but also taking into account the physical and ecological conditions. Second, herbaceous plants can be used in various ways― the garden's focal plants, midrange plants, and ground covers, so more active herbaceous planting needs to be considered. Third, in consideration of the winter landscape, herbaceous planting using characteristics, such as fruits and stems, as well as flower colors should be considered. Fourth, blue and black color herbaceous plants have a noticeable effect even in a small amount, so it is necessary to plant them actively. Fifth, for the design of herbaceous planting, where the individual property of plants can be expressed, the design method should be considered.

• Journal of the Korean Society of Food Culture
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• v.26 no.6
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• pp.554-561
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• 2011

The nutritional value of kimchi is gaining global focus along with new possibilities and uses for the various salts used in making kimchi. The purpose of the study is to conduct research on the uses of various salts and investigate the consumer recognition of salt use in kimchi preparation. The findings are from 824 consumers over 19 years old from 15 locations who participated in this questionnaire via one-to-one interviews from September 23rd to October 14th, 2009. The results of the questionnaire show that when customers cooked, 71.9% used solar salt, 62.2% used flower salt (refined salt), 27.4% used Hanju salt (purified salt), 59.0% used processed salt (roasted salt), 47.4% used bamboo salt, 69.4% used Mat salt (table salt), and 18.2% used low sodium salt. The most preferred origin of salts was domestic. Most customers salted Chinese cabbage while preparing kimchi. Consumers showed low perceptions of different salts used in kimchi production, and did not exactly recognize the characteristics of various salts. The preferences for domestic and solar salts were very high, while the preference for sea salts was low. In conclusion, various types of salts could improve the quality of kimchi. This study hopes to help consumers produce better kimchi to match different needs. Therefore, attention should be paid to promoting the characteristics of various salts influencing the quality of kimchi.

• Journal of the Korean Home Economics Association
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• v.29 no.2
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• pp.87-120
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• 1991

The purpose of this study was to identify the design characteristics of the multi-leveled chest(jang) which was the main furniture of the master bedrom(anbang) in the Chosun Dynasty. The major findings and conclusions were: 1. The front view of the multi-leveled chest were composed of a protruded top panel(kaepan), drawers, folded doors, sectional panels(chwibyok kan and morum kan) and base stand(madae) in general. Variety in the front view found more frequently in single level chests than bi- or tir-level chests. 2. The overall dimensions of each type of chest increased with increase in number of levels, but the height of the sectional parts decreased. That is, the overall proportion of the single level chests were 10 : 9, bi-level chests were 5 : 6, and tri-level chests were 2 : 3. The proportion of 1 : 1, 4 : 5, 1 : 3, 1 : 4, 1 : 5 were found often in the sectional parts such as drawers, doors, chwibyok kans and morum kans. 3. In general, the surface treatments were subtle. Carved or inlayed ornamentation were seldom seen, and most chess were finished with clear lacquer to show the natural wood grain. There were no distinctive characteristics of surface ornamentation characteristic of any one type of chest. 4. The general patterns of the metal ornaments were spade(yowidu), round, bow, rectangular(yakgua), bat and flower shapes. The multi-level chests were decorated with more metal ornament types compared with the single-level chests. 5. In conclusion, there was more variety in all the design elements in the single level chests compared with the other types of chests. The bi-and tri-level chests were quite stylized in composition, size, proportion, surface treatment, and metal ornamentation.