• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.198-221
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• 2017

The Jjoksaem site is the eastern sector of Daereungwon Ancient Tomb Complex, Gyeongju(the 512th Historic site) called Wolseong North Burial Ground in academic community. The excavation and research of this site was conducted from 2007 to 2015, with the purpose of basic data offering for the restoration of Silla tumuli and development of ancient tomb park. As a result of the investigation, more than 700 new tombs were discovered except the 155 tumuli founded in the Japanese colonial era. Moreover, more than 70 percent of the smaller tombs, such as outer coffin tombs, were discovered here. There are four characteristics of outer coffin tombs in Jjoksaem site. First, it is recognized the Gyeongju-styled outer coffin tombs have a long rectangular shape, distinct from Gimhae-styled outer coffin tombs in a rectangular shape. Second, they are divided into three groups by the size of the grave area. This is indirectly related to the rank and the status of the buried person. Third, these tombs began to be constructed at the end of the 3rd century before the time of wooden chamber tombs covered by stone and earthen mound. They were ruined because of the new tombs constructed at the period of Maripgan. This reflects that the identity of the former tombs was not respected by the communities in the later generations. Outer coffin tombs were consistently made to the end of the era of wooden chamber tombs covered by stone and earthen mound. Lastly, the area of burial ground of outer coffin tombs is limited by wooden chamber tombs covered by stone and wooden mounds. Otherwise, the location of the burial ground for the deceased is limited by the status of the deceased. The idea that wooden chamber tombs covered by stone and earthen mound are located on the above ground turns out to be incorrect. In Jjoksaem site, there is little difference between the height of the circular burial protection stone and the height of the digging lines of the other tombs. In the case of No.44 tumulus, the lowest step of the circular burial protection stones is lower than those of the other tombs and tumuli. Research of outer coffin tombs at Jjoksaem site will be to suggest important academic data about the changing period from Saroguk, as the head of chiefdom union, to Silla, as state.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.20-31
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• 2014

This thesis aims to how Seo Ye-won(徐禮元) who was the main character of Yukjeollyeo(六節閭) which means tangible cultural properties can receive Jeongnyeo(旌閭) and when he received it clearly. Also this thesis concentrates on why the name of 'Yukjeollyeo' was used even if there are five Jeongnyeos in the Yukjeollyeo. Lastly, this thesis also focuses on the people related to YookJeol. Seo Ye-won passed away with his family in 1593 when he acted as a head of local administration. In that time, the Jinjuseong(晉州城) battle was originated from Korea-Japan war(1592). After his death, Hoengseong(橫城) family(門中) and Confucian scholar made petition for administration in 1811. As a result Seo Ye-won and his wife Lady Lee of the Jeonju-Lee clan(全州李氏) were celebrated as the Jeongnyeo and Jeongyeogak was built in 1817. And his son(Seo Gye-seong:徐繼聖), Seo Gye-seong's wife Lady Noh of the Pungcheon-Noh clan(豊川盧氏), Seo Ye-won's daughter who were not married also could receive Jeongnyeo as Hoengseong family and confucian scholar made additional petition for administration in 1832. For these reasons, Jeongnyeogak(旌閭閣) was called 'Ojeongnyeo(五旌閭)'. After that, Miryang(密陽) family wanted to move it because Seon Ye-won is not the eldest son in the Hoengseoung family. But it could not be enforced and they made a new Yeokak(閭閣) and called 'Yukjeollyeo'. From that time to 1945, the name of Jeongnyeo in the Hoengseong had been still used 'OjeongYeo' and the signboard of Yukjeollyeo was hanged in Jeongnyeo in Hoengseong after 1945. Although there are five people who can get prize of Jeongnyeo, the reason why the name of 'YookJeol' is to memorize the loyalty of Seo Gye-cheol(徐繼哲) who was Seo Ye-won's second son. Hoengseong family made a representation to the government in order to made Seo Gye-cheol receive Jeongnyeo but he could not be celebrated. For these reasons, the loalty of Seo Gye-cheol with five people who received Jeongnyeo has been celebrated as 'YukJeol'. Through this study we could find the record of Yukjeollyeo and historic point clearly.

• Korean Journal of Heritage: History & Science
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• v.50 no.1
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• pp.18-41
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• 2017

The Gangjin WolnamSaji(月南寺址) is a small site where three-story pagodas and a destroyed tombstone remained. In 1973, it was discovered that the destroyed tombstone was that of the second master of Susunsa, Hye shim(慧諶), who had a special relationship with the military regime in Goryeo, and it once again attracted attention as a result of the recent excavation of the Rooftile of Yeonhwamun(蓮花文). In particular, the Windchime excavated in 2012 is a large-sized one group with a length of 23cm, and a relatively large Sanskrit character was decorated on four sides of the body. In addition, it was also confirmed in preservation process that the word 'gaecheon(盖天)' was engraved. The Sanskrit characters(梵字) om( , oṃ), a( , a), hum( , hūṃ), brum( , bhrūṃ) were decorated on the body of the Wind-chime excavated in WolnamSaji. Om( , oṃ), a( , a), hum( , hūṃ) are known as the Sammiljineon(三密眞言) and brum( , bhrūṃ) has the meaning of having the highest honor. In addition, the Sammiljineon(三密眞言) allows us to understand the truth by responding to the principle of universe, which is the Vairocana Buddha(毘盧遮那佛), and brum( , bhrūṃ) has the meaning of unity. In the end, the meaning of the Sanskrit decorating the four sides of the Wind-chime, of WolnamSaji(月南寺址), can be interpreted as the expression of the Buddha's doctrine, or the willingness to be combined with Buddha, the highest existence in itself. It is possible that the word 'gaecheon(盖天)' carved on the body can be regarded as the name of the master craftsman related to the making of the Wind-chime, but it is unlikely that it is the name of the master craftsman, considering that it is a place where the location is not easily seen. If so, you can think of the original function that the Wind-chime has. In other words, it can be interpreted symbolically and implicitly that the wish of the sound of the airwaves symbolized by the words of the Buddha covers the sky and spreads all over the place. It is thought that the Wind-chime excavated in WolnamSaji(月南寺址) was made in the mid to late 13th century considering the comparisons with another wind-chime excavated from the temple site, the historical situation in the late Goryeo, the publication date of the scriptures(經典) of Esoteric Buddhism(密敎).

• The Korean Journal of Archival Studies
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• no.1
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• pp.23-76
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• 2000

In this paper, I examined what have been researched and determined about preservation strategy and selection of preservation media in the western archival community. Archivists have primarily been concerned with 'preservation' and 'use' of archival materials worth of being preserved permanently. In the new information era, preservation and use of archival materials were faced with new challenge. Life expectancy of paper records was shortened due to acidification and brittleness of the modem papers. Also emergence of information technology affects the traditional way of preservation and use of archival materials. User expectations are becoming so high technology-oriented and so complicated as to make archivists act like information managers using computer technology rather than traditional archival handicraft. Preservation strategy plays an important role in archival management as well as information management. For a cost-effective management of archives and archival institutions, preservation strategy is a must. The preservation strategy encompasses all aspects of archival preservation process and practices, from selection of archives, appraisal, inventorying, arrangement, description, conservation, microfilming or digitization, archival buildings, and access service. Those archival functions should be considered in their relations to each other to ensure proper preservation of archival materials. In the integrated preservation strategy, 'preservation' and 'use' should be combined and fulfilled without sacrificing the other. Preservation strategy planning is essential to determine the policies of archives to preserve their holdings safe and provide people with a maximum access in most effective ways. Preservation microfilming is to ensure permanent preservation of information held in important archival materials. To do this, a detailed standardization has been developed to guarantee the permanence of microfilm as well as its product quality. Silver gelatin film can last up to 500 years in the optimum storage environment and the most viable option for permanent preservation media. ISO and ANIS developed such standards for the quality of microfilms and microfilming technology. Preservation microfilming guidelines was also developed to ensure effective archival management and picture quality of microfilms. It is essential to assess the need of preservation microfilming. Limit in resources always put a restraint on preservation management. Appraisal (and selection) of what to be preserved was the most important part of preservation microfilming. In addition, microfilms with standard quality can be scanned to produce quality digital images for instant use through internet. As information technology develops, archivists began to utilize information technology to make preservation easier and more economical, and to promote use of archival materials through computer communication network. Digitization was introduced to provide easy and universal access to unique archives, and its large capacity of preserving archival data seems very promising. However, digitization, i.e., transferring images of records to electronic codes, still, needs to be standardized. Digitized data are electronic records, and st present electronic records are very unstable and not to be preserved permanently. Digital media including optical disks materials have not been proved as reliable media for permanent preservation. Due to their chemical coating and physical character using light, they are not stable and can be preserved at best 100 years in the optimum storage environment. Most CD-R can last only 20 years. Furthermore, obsolescence of hardware and software makes hard to reproduce digital images made from earlier versions. Even if when reformatting is possible, the cost of refreshing or upgrading of digital images is very expensive and the very process has to be done at least every five to ten years. No standard for this obsolescence of hardware and software has come into being yet. In short, digital permanence is not a fact, but remains to be uncertain possibility. Archivists must consider in their preservation planning both risk of introducing new technology and promising possibility of new technology at the same time. In planning digitization of historical materials, archivists should incorporate planning for maintaining digitized images and reformatting them in the coming generations of new applications. Without the comprehensive planning, future use of the expensive digital images will become unavailable. And that is a loss of information, and a final failure of both 'preservation' and 'use' of archival materials. As peter Adelstein said, it is wise to be conservative when considerations of conservations are involved.

• Journal of Plant Biotechnology
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• v.45 no.4
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• pp.375-381
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• 2018

The consumption of oats (Avena sativa L.) with high nutritional utility is accelerating due to the increased consumers' demand for functional foods. In Korea, naked oats are used as food, while covered oats are used for animal feed. However, it is difficult to distinguish naked oats from covered oats when the husk is removed from the grains by a special process. The present study was carried out to investigate experimental methods that would be beneficial in the segregation of different types of oats after husk removal. Grain quality-related biochemical compounds were analyzed in a bid to differentiate the oat dehulling characteristics. In addition, 61 SSR markers were examined for genetic relationship and variety identification of oats using five naked and seven covered oat varieties. Results showed that, the contents of protein, lipid, and ${\beta}-glucan$ were not significantly different among the oat varieties and this could not be used as an index for distinguishing oats husk character. However, in the fatty acid composition ratio,, naked oats had a higher ratio of stearic acid (C18:0) and oleic acid (C18:1) than covered oats, and covered oats had a higher ratio of linoleic acid (C18:2) and linoleic acid (C18:3) than naked oats. The assessment of SSR marker genotype revealed that 33 polymorphic bands among 12 oat varieties and 1 variety could be distinguished through the combination of polymorphic markers thus indicating the usability of these markers for variety identification in oats.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.208-227
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• 2013

Twenty-seven bronze bowls excavated from the Goryo burial complex at Deobu-gol were examined for their microstructure and chemical composition to characterize the bronze technology practiced by commoners at the time. Results showed that the objects examined can be classified into four groups: 1) objects forged out of Cu-near 22%Sn alloys and then quenched; 2) objects cast from Cu-below 10% Sn alloys containing lead; 3) objects cast from Cu-10%~20% Sn alloys containing lead and then quenched; 4) objects forged out of Cu-10~20% Sn alloys containing lead and then quenched. This study revealed that the fabrication technique as determined by alloy compositions plays an important role in bronze technology. The use of lead was clearly associated with the selection of quenching temperatures, the character of inclusions and the color characteristics of bronze surfaces. It was found that the objects containing lead were quenched at temperatures of $520^{\circ}{\sim}586^{\circ}C$ while those without lead were quenched at the range of $586^{\circ}{\sim}799^{\circ}C$. The presence of selenium in impurity inclusions was detected only in alloys containing lead, suggesting that the raw materials, Cu and Sn, used in making the lead-free alloys for the first group were carefully selected from those smelted using ores without lead contamination. Furthermore, the addition of lead was found to have significant effects on the color characteristics of the surface of bronze alloys when they are subjected to corrosion during interment. In leaded alloys, corrosion turns the surface light green or dark green while in unleaded alloys, corrosion turns the surface dark brown or black. It was found that in fabrication, the wall thickness of the bronze bowls varies depending on the application of quenching; most of the quenched objects have walls 1mm thick or below while those without quenching have walls 1mm thick or above. Fabrication techniques in bronze making usually reflect social environments of a community. It is likely that in the late Goryo period, experiencing lack of skilled bronze workers, the increased demand for bronze was met in two ways; by the use of chief lead instead of expensive tin and by the use of casting suitable for mass production. The above results show that the Goryo bronze workers tried to overcome such a resource-limited environment through technological innovations as apparent in the use of varying fabrication techniques for different alloys. Recently, numerous bronze objects are excavated and available for investigation. This study shows that with the use of proper analytical techniques they can serve as a valuable source of information required for the characterization of the associated technology as well as the social environment leading to the establishment of such technology.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.445-469
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• 2004

The Avatamsaka Sutra copied in ink on the white paper of Shilla Period is the oldest manuscript in korea. This Avatamsaka Sutra is volume 1-10 and 44-50 of the 80 volume's transcription. According to the postscript, written with 528 letters at the end of the volume 10 and 50, this sutra is made during A.D. 754-755, for six months by the order Master Yon-gi(綠起 法師) who founded Hwaumsa Temple(華嚴寺.) It explains the procedure of the ritual and production method of the sutra-copying, and also shows the 19 participants with their name, address, official title, and etc. When the sutra was founded, volume 1-10 were so congealed that we could not open the volumes. And volume 44-50 was prohibited to take photograph for preservation. According to the recent examination, it proved that this sutra is the treasure for the study of the characters made by Empress Wu Zetian(則天武后.) The characters made by Empress Wu Zetian(A.D. 625-705) are new shape of chinese characters which is different from the traditional characters. After the demise of the Queen, the characters were not used any more officially, but privately some people used the characters for personal tastes and interest. The characters in the sutra includes 512 characters of 13 kinds of Empress We Zetians'. Compared to the Tun-huang version of the sutra, this is far better treasure for the study of Empress We Zetians' characters in terms of the number of the character and the their use of frequency. The Avatamsaka Sutra of Shoso-in(正倉院) in japan copied in A.D. 768 does not use the Empress We Zetians' characters. In this respect, this Shilla Avatamsaka-Sutra is a unique one preserves the original forms of Chinese translation at that time.

• Journal of Bio-Environment Control
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• v.28 no.2
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• pp.172-177
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• 2019

Lactuca indica L. ('Seonhyang') baby leaves were harvested after cultivation for 4 weeks (less than 10 cm plant height) and adults were cultivated for 8 weeks ($20{\pm}5cm$ plant height). The respiration rate and the ethylene production rate of Lactuca indica leaves were higher than those of the baby leaves but the DPPH radical scavenging ability was lower than baby leaves. The $L^*$, $a^*$ and $b^*$ values did not show any significant difference between baby leaves and adult leaves but the chlorophyll content was higher in adult leaves. All adult and baby leaves of Lactuca indica were stored at $2^{\circ}C$, $8^{\circ}C$, and $20^{\circ}C$, respectively. The higher the storage temperature, the higher the fresh weight loss rate and weight loss rate of adult leaves was lower at $2^{\circ}C$ and $8^{\circ}C$. The visual quality of Lactuca indica leaves were determined by the panel test during storage and it deteriorated faster as the storage temperature increased. The shelf life that calculated the period of maintaining higher than 3 points of visual quality was longer than 1.6 days at $2^{\circ}C$, 1.4 days at $8^{\circ}C$ and 1.5 days at $20^{\circ}C$. The oxygen and carbon dioxide concentrations within the package of Lactuca indica leaves were similar to those in atmosphere. The chlorophyll content was maintained higher at lower storage temperature in the last storage day and the off-odor was higher in baby leaves than in the adult leaves of Lactuca indica L.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.