• Science of Emotion and Sensibility
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• v.25 no.4
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• pp.3-20
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• 2022

The origins of the world-recognized Korean gat can be traced back to Gojoseon, and the jades for the sangtu and gwanja come from Hongshan culture. This study examines the etymology of the hat, the symbolism of the gat and the jade comb, and the history of the development of the accessories for the hat. The research methods of literature review, investigation of relics and murals, and analysis of cases of pronunciation changes were used. Most of the relics excavated from the Hongshan are identical to those excavated from Korea. The Byun-Khan people wore a triangle-shaped conical hat (the byun), which was shaped to fit the protruding sangtu hairstyle, with a foldable brim that, if pulled downward, changed the hat to a gat. The Chu sangtu, a pointed top-knot hairstyle, is uniquely found among Northeast Asian peoples, and it is an ethnic symbol for Koreans. Until the modern period, many Koreans wore their hair in the sangtu style, indicating their descent from the sky. Jade combs shaped like birds and clouds from the Hongshan period emphasized the religious nature and ceremony of hair styling at that period. The word hat is widely used to refer to gat all over the world. The pronunciation of ㄱg, ㅎh. and ㅋq/kh are closely related to each other, and the ancient pronunciation ㄱg gradually evolved to ㅎh or ㅋq/kh. The English 'Hat' and Korean 'Gat' were transformed from the middle-ancient sound 'gasa > gosa > got' of the crown 'gwan, gokkal'. This creative hair style culture that started from the Hongshan culture continued to be fashionable during the Gojoseon Dangun period, and the decoration techniques for hats and accessories were inherited over time and continuously developed. Along with the method of making gat, creative hair-related parts, such as manggeons, donggot pins, gwanja buttons, and fine combs were developed over the course of a thousand years.

• Journal of Microbiology and Biotechnology
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• v.32 no.4
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• pp.437-446
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• 2022

In this study, to obtain icaritin with high pharmacological activities from icariin, which has a content ratio of over 58% in the total flavonoids of Epimedium herb, a special Epimedium flavonoid-glycosidase was produced, purified and characterized from Aspergillus sp.y848 strain. The optimal enzyme production was gained in a medium containing 5% (w/v) wheat bran extract and 0.7% (w/v) Epimedium leaf powder as the enzyme inducer, and strain culture at 30℃ for 6-7 days. The molecular weight of the enzyme was approximately 73.2 kDa; the optimal pH and temperature were 5.0 and 40℃. The enzyme Km and Vmax values for icariin were 15.63 mM and 55.56 mM/h. Moreover, the enzyme hydrolyzed the 7-O-glucosides of icariin into icariside II, and finally hydrolyzed 3-Orhamnoside of icariside II into icaritin. The enzyme also hydrolyzed 7-O-glucosides of epimedin B to sagittatoside B, and then further hydrolyzed terminal 3-O-xyloside of sagittatoside B to icarisiede II, before finally hydrolyzing 3-O-rhamnoside of icarisiede II into icaritin. The enzyme only hydrolyzed 7-O-glucoside of epimedin A or epimedin C into sagittatoside A or sagittatoside C. It is possible to prepare icaritin from the high-content icariin in Epimedium herb using this enzyme. When 2.5% icariin was reacted at 40℃ for 18-20 h by the low-cost crude enzyme, 5.04 g icaritin with 98% purity was obtained from 10 g icariin. Also, the icaritin molar yield was 92.5%. Our results showed icaritin was successfully produced via cost-effective and relatively simple methods from icariin by crude enzyme. Our results should be very useful for the development of medicines from Epimedium herb.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.