• Asian-Australasian Journal of Animal Sciences
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• v.18 no.11
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• pp.1594-1599
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• 2005

The effects of long-term feeding of diets based on bermudagrass hay supplemented with lucerne hay cube (LH) or fermented bagasse feed (FBF) on the growth rate, feed efficiency, behaviour, gut development, carcass characteristics and meat quality of goats were investigated. Six spring-born 8-month-old male crossbred (Japanese Saanen${\times}$Tokara native goats) bucks weighing mean 21.6 kg were allotted to 2 treatment groups (3 animals each) and each animal had ad libitum access to feeds, i.e. bermudagrass hay (basal diet)+LH or FBF throughout the experiment. The FBF was produced by the solid-state fermentation of substrates containing dried sugarcane bagasse mixed with wheat bran in a ratio of 1:3 (w/w DM) with Aspergillus sojae. The live body weight, final weight and average daily gain were not different between treatments. Average basal diet intake of goats fed FBF diet was significantly higher than that fed LH diet (p<0.05), but average dry matter intake (DMI; g/day and g/$W^{0.75}$), feed conversion ratio, digestible crude protein (DCP) and total digestible nutrients (TDN) intake of experimental diets were not significantly different between treatments. Goats fed on LH and FBF diets had similar eating, rumination, resting and drinking behaviours, and blood constituents except for phosphorus content. Slaughter and carcass weights, net meat percentage [(total meat/carcass weight)${\times}$100], loin ratio [(loin/total meat)${\times}$100] and rib-eye area were not different between treatments. However, goats fed FBF diet had lower dressing percentage and higher bone/muscle ratio compared with goats fed LH diet (p<0.01). Empty gut and guts fill of goats fed FBF diet were significantly greater (p<0.05 and p<0.01, respectively) than those fed LH diet. The weights of rumen and abomasum were also significantly heavier in goats fed FBF diet (p<0.05), but the length and density of papillae of rumen in goats were not different between treatments. Although meat composition of loin was not different in both groups, the meat of goats fed FBF diet was superior to that of LH diet in flavor, aroma and overall quality of loin (p<0.01). In conclusion, the nature of the diet consumed voluntarily did not affect subsequent growth, nutrient intake and behaviour of goats but had an influence on carcass traits and sensory evaluation of meat partly, when either of LH or FBF was fed with bermudagrass hay.

• Journal of Fashion Business
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• v.14 no.1
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• pp.86-105
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• 2010

Vintage fashion is a lot influenced by colors because an emotion is transmitted via images of "old feeling", "worn-out feeling" and "faded feeling" etc. Colors are visual sensation occurring at a time when lights stimulate an eye, which is a representative factor which humans first perceive when they touch objects. And colors in clothing function as a critical element which indicates an individual's impression and character as well as aesthetic sensation. In this study, I examined on the theoretical consideration and aesthetic characteristics via the previous literature on vintage fashion and colors. As an empirical study, I investigated on the colors of vintage fashion appearing in Pr$\hat{e}$t-$\grave{a}$-porter Collections, Paris from Spring/Summer, 2003 to Fall/Winter 2008. As a way for study, I investigated into the total 197 vintage fashion photos and calculated their RGB values by using photoshop. And I converted the values of the colors extracted into H V/C values by using Munsell Conversion Version 9.0.6 and analyzed on Munsell System of 10 Color Notation and the PCCS colors, classifying a color scheme by visual sensation measurement. The result of analyzing on the concept of vintage fashion and its color characteristics is as follows; Vintage fashion made an appearance the most in 2003 and 2004 and its colors appeared a lot in Y, YR, R and PB lines. Color tone concentrated on black and white, achromatic color and low chroma colors in a grayish line, chromatic color. Thus, the study found that colors suitable for a "worn-out", "faded" and "old" image are properly reflected in vintage fashion rather than a clear and bright background. In a color scheme, I found contrast color and same color appearing a lot, which gave an unharmonious feeling and a smack of the country. The study reveals that the color characteristic of vintage fashion is relatively diverse and complex in color, color tone or shade and color scheme, which shows a color trend which reflects a non-constructive and complex coordination characteristic instead of a standardized simple and clear image.

• The Journal of Korean Medicine
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• v.21 no.4
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• pp.174-182
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• 2000

Objectives : In order to apply herbal medicine to aroma-therapy, we observed clinically remedical effect for allergic rhinitis of aroma-therapy using herbal medicine. Methods : Twenty-four allergic rhinitis patients were treated in the Kun-po Oriental Medical Hospital of Wonkwang University from September 2000 to October 2000. They were treated with aroma-therapy and analyzed clinically. Results : 1. 25.0% (6 cases) of all cases involved pre-teenagers; teenagers 29.2% (7 cases); patients in their 20s, 20.8% (5 cases); patients in their 30s, 12.5% (3 cases); patients in their 40s, 8.3% (2 cases); patients in their 50s, 4.2% (1 cases). 2. The ratio of male to female patients was 58.3%(14 cases) to 41.7%(10 cases). 3. Cases involving patients under the age of six months was 0%; under 1 year 12.5% (3 cases); under 2 years 33.3%(8 cases); under 3 years 16.7%(4 cases); over 3 years 37.5%(9 cases). 4. Past history : The cases of sinusitis were 33.3%(8 cases); otitis media 20.8%(5 cases), bronchitis 16.7%(4 cases), atopic dermatitis 12.5%(3 cases), asthma 8.3%(2 cases). 5. The ratio of allergic onset based on seasons were : spring 16.7%(4 cases), summer 0%, fall 29.2%(7 cases), winter 16.7%(4 cases), and not defined 37.5%(9 cases). 6. The cases of nasal obstruction was 91.7%(22 cases); followed by : sneezing 83.3(20 cases), white rhinorrhea 70.8%(17 cases), eye itching 66.7%(16 cases), nasal itching 58.3%(14 cases), rhinalgia 58.3%(14 cases), postnasal drip 50.0%(12 cases), headache 41.7%(10 cases), yellow rhinorrhea 33.3%(8 cases), cough 33.3%(8 cases), fatigue 29.2%(7 cases). 7. The cases of familial factor was 66.7%(16 cases); the non-familial factor 33.3%(8 cases). 8. The remedical effect of the treatment showed an improvement in 58.4% of the total cases studied. 9. The improvement-rate of the 1st group (mahwang group) was 66.7%; of the 2nd group (hwangkum group) 48.5%, and of the 3rd group (pine group) 55.8%. Conclusions : Considering the above results, we have concluded that the remedical effect for allergic rhinitis of aroma-therapy using herbal medicine showed to be intentional in comparison with aroma-therapy using aroma-oil.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.22 no.2
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• pp.128-138
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• 2009

Objectives : The purpose of this study is to make a survey on the oriental medical care and to enlarge the domain of oriental medical treatment concerning facial paralysis. Methods : From May 2008 to April 2009, a clinical study was done on 100 inpatients who were diagnosed and treated as facial nerve paralysis at Mok-dong Oriental Medicine Hospital, Dong-shin University Results : The result were as the following 1. The distribution of sex: male 35%, female 65%. The distribution of age was disclosed that fifty was the most in 22 cases(22%). 2. The distribution of the region of facial palsy: Lt 58%(male 23%, female 35%) Rt 41%(male 11%, female 30%) 3. In distribution of contributing frequence in month, June was the most in number(12%) and in season, spring, summer, winter were the same percentage(26%). 4. In distribution of cause, stress(34%), excessive labor(25%), unknown(22%) were investigated higher than other conditions. 5. The distribution of past history: hypertension 14%, diabetes mellitus 4%, both(hypertension, diabetes mellitus) 6% 6. The distribution of period before admission: within a week 80%, 1$\sim$2 week 8%, 3$\sim$4 week 6% in order. 7. The distribution of attended symptoms: mastoid pain 43 cases, dryness of eye 26 cases, tearing 22 cases, headache 12 cases, dizziness 9 cases in order. 8. Other offices patients visited before coming to this clinic: oriental clinic or hospital 35%, local clinic or hospital 29%, none 26%, both(oriental clinic & local clinic) 10%. 9. The distribution of House-Brackmann grade on admission: Gr III 38%, Gr IV 26%, Gr II 22%, Gr V 14% in order. 10. The distribution of House-Brackmann grade on discharge: Gr II 34%, Gr I 32%, Gr III 22%, Gr V 7%, Gr IV 5% in order.

• Archives of design research
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• v.21
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• pp.109-121
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• 1997

The poster in America was considered merely a means of advertising until the late 1880s, and was not thought to have any intrinsic value. During the 1890s, the poster in America came into its own as a medium of artistic expression, and it was recognized anew as an medium of advertising. The production and circulation of posters became active, and it won the popularity of poster collectors. But the American poster renaissance flourished for a few brief years in the 1890s. In this thesis, I paid attention that the art poster in America was mainly a product of the publishing trade, and that it's rise and fall was connected with the circumstances of the publishing business. In chapterII, I discussed the growth of publishing business and the phenomenon of poster craze, and tried to figure out the characteristic of American poster design in 1890s. The American poster boom was formally initiated in Spring 1893, when Edward Penfield published the first of his monthly designs advertising Harper's Magazine. Penfield created a native American tradition of realism in the series of Harper's posters, his figures are realistic though anonymous, and are drawn without distortion or grotesquery, and details are reduced to essentials but not eliminated. In chapterIII, I discussed the change in book cover design in the 1890s. The rapid evolution of book and magazine covers was largely a reaction to the poster craze. Most magazines were issued with the same standard covers month after month at that time. In 1894, when William Bradley was asked to design a standard cover for the Inland Printer, he convinced the publishers to change the cover with every issue instead of designing one permanent cover. With the poster craze at its height, posters became big business, but still they were not very successful as advertisements. Because collectors of the 1890s were more interested in acquiring posters than in buying books. Significantly, this was also the moment when poster like designs began to appear on the covers of books and mass magazines. Publishers took notice of an idea. If the eye-catching design was on the cover itself rather than on a separate poster, the customer who wished to acquire the design would be obliged to buy the magazine. So there was no distinction stylistically between the posters of the 1890s and the magazine covers of the early 1900s. At the same time, the artistic poster was beginning to decline. While the most typical advertisements of the 1890s were the book and magazine posters of Bradley and Penfield, after 1900 advertisements for manufacturers' products played an increasingly prominent role. They would never again assume the leading role that they had played in the 1890s.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.32 no.1
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• pp.16-31
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• 2019

Objective : The purpose of this study is to analyze the charcateristics of inpatients in Ophthalmology, Otolaryngology & Dermatology Clinic by gender, age, season, and department of medical care after hospitalization from March, 2012 to February, 2018. Method : From March 1, 2012 to February 28, 2018, patients who were admitted to the Ophthalmology, Otolaryngology & Dermatology Clinic of Korean Medical Hospital were classified by gender, age, department, and season, and their relationship, hospitalization period, number of outpatient visits Differences were analyzed objectively using various statistical methods using IBM SPSS 18.0. Results : 1. The number of inpatients was 432, including duplication. Of these, 317 were female and 115 were male. The number of female patients was 2.8 times higher. 2. The average age of the inpatients was 43.9 years and the number of middle-aged 40-50 patients was 48.6%. 3. The number of inpatients in the departments was in the order of dermatology, otology, laryngology, rhinology, and ophthalmology. The most hospitalized diseases were eczema in the dermatology department, sudden hearing loss in the otology department, tonsillitis/peritonsillar abscess, rhinitis in the rhinology department, and dry eye syndrome in ophthalmology. 1) The effect of gender on the difference in the number of inpatients by subdivision was statistically significant. 2) The effect of age on the difference in the number of inpatients by subdivision was statistically significant. 3) The effect of seasons on the difference in the number of inpatients was not statistically significant. 4. The number of inpatients by season was in the order of winter, spring, summer, autumn, and the number of inpatients decreased significantly in autumn. 1) The effect of gender on the difference in the number of hospitalized patients by season was not statistically significant. 2) The effect of age on the difference in the number of hospitalized patients by season was not statistically significant. 5. The average length of hospital stay for inpatients was 10.7 days. 1) The effect of gender on length of hospital stay was not statistically significant. 2) The effect of age on hospital stay was not statistically significant. 3) The effect of the subdivision on hospital stay was statistically significant. 4) The effect of the season on hospital stay was not statistically significant. Conclusion : As a result of this study, the most distinctive feature of the present study was the high rate of inpatients with otic disease like idiopathic hearing loss and Meniere 's syndrome and the high rate of female patients. This may be related to the increased prevalence of the disease and the severity of the disease. In addition, the high rate of female patients suggests that women are more likely to be affected by illnesses, as well as to have more medical use and severe symptoms requiring hospitalization. In the future, it would be better to provide various treatment plans and policies for patients with otic diseases and female patients. Also it would be good if studies on these fields are made in the future.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.