• Korea Science and Art Forum
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• v.19
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• pp.601-612
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• 2015

Postmodernism has blurred the line between design and art. We would like to suggest a design case that took diversity in the modern era that harmonizes functionality and shape of the top board of a furniture and trend of the role of furniture and objet into consideration. This study aims to project a new role into space via convergence of objet that has aesthetic function and furniture design that plays practical role in space. Thus, furniture design attempts to combine ceramic and carpentry and demonstrate the value and potential the combination possesses. By creating a distinct design from previous furniture that had visual limitations with ceramic bridge that adopted existing piling method in ceramic design, we expect a fresh blend of furniture and space that encompasses a different sensation from color and texture of soil and glaze, unable to attain from simple wood.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Korean Journal of Food Science and Technology
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• v.35 no.5
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• pp.803-811
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• 2003

This study compared the physicochemical characteristics of yellow pigments in domestic and imported yellow croakers during distribution and storage. The croaker is generally adulterated by mixed color product of red and yellow pigment. This study found that the yellow pigment was stable during pH and temperature changes, but the red pigment was less stable than the yellow pigment. As for the light effect on the yellow pigment and the red pigment, there was no change in the remaining rate of the pigment stored in a dark place. The moisture content decreased according to the storage period, and the width of changes was large in the order of croaker stored at $5^{\circ}C$, croaker stored at $15^{\circ}C$ and dried croakers. The yellowness value of the abdomen of the adulterated white croaker did not show any large difference at the initial stage and for a storage period of 10 days at $5^{\circ}C$. However, the yellow croakers showed a decreasing trend according to the storage period at $15^{\circ}C$. The croaker can be generally adulterated by a mixed color of red and yellow pigment. For the texture change in accordance with the storage condition of the croakers, both the yellow and white croakers showed a gradually increasing trend of hardness when stored at $5^{\circ}C$ and $15^{\circ}C$.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Journal of Mushroom
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• v.21 no.4
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• pp.254-260
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• 2023

The characteristics and spore production of Gonji7ho, Bunhong, and Sunjung fruiting bodies were assessed at different growth stages. The shape of the Pleurotus species fruiting body starts out short and small, then takes on a typical mushroom shape as it grows. Gonji7ho has a long stalk, Bunhong has a short stalk and a wide cap, and Sunjung's cap and stalk dimensions are intermediate. Each variety displayed deep color at the beginning of growth but became steadily lighter with continued growth. The shape of the linkage between the mushroom stalk and cap changed from an initial central position to a lateral position after the growing stage. Gonji7ho cap diameter increased 7-fold from 15.5 mm (5 days of growth) to 37.9 mm (9 days of growth). Growth rates for each growth day measured using the growth percentage of the previous day were 285.5% (5 → 6th day), 182.2% (6 → 7th day), 129.4% (7 → 8th day), and 103.8% (8 → 9th day). This trend was also observed in Bunhong and Sunjung, but Bunhong's growth rate was more rapid (4.9 fold on day 6, 2.7 fold on day 7) and continued to increase through day 9. Harvest yield, which is of greatest interest to farmers, displayed a similar trend spanning the growth period, as did cap diameter. Gonji7ho harvest yield increased rapidly until day 7 of growth (more than 177%), then growth slowed down beginning around day 8, and further decreased on day 9 (98%). Similar trends were observed in Bunhong and Sunjung. Bunhong showed characteristic rapid growth in harvest yield (4.9 fold compared to the previous day on day 6 and 2.7 fold on day 7), and the increase continued through day 9. A decrease in mushroom harvest yield commonly seen in the late growth stage is thought to be due to the death of some mushrooms and decomposition of cap tissue. Basidiospore content increased with number of growth days but decreased after day 8. Gonji7ho yielded the highest production on day 7 of growth, coinciding with harvest time, with 209,000,000 spores. This trend was also observed in Bunhong and Sunjung. These results will provide researchers with basal data and guide farmers in selecting the optimal harvest day.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of Animal Science and Technology
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• v.55 no.3
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• pp.203-210
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• 2013

The present study was undertaken to investigate the effects of the decreased carcass grade due to overweight on meat quality traits of the loin and belly. Out of 500 carcasses from 85- to 150-kg market pigs, seven average-size $1^+A$ carcasses, seven 1A and twelve 1B carcasses almost weighing the upper limits allowed for the A (95 kg) and B (99 kg) grades, respectively, and 12 1B carcasses weighing 100 kg or greater were selected for the present study. Marbling score was greater in the $1^+A$ grade than in any other grade, whereas color and textural properties of the muscle and fat of the carcass did not differ among the four carcass grades. Physicochemical characteristics of the loin including the color, pH, chemical composition, and others pertaining to the textural properties changed minimally with decreasing carcass grade. Off-odor of the fresh loin and belly was not influenced by the carcass grade whereas dripping was lowest in the $1^+A$ grade; color and marbling were not influenced or minimally influenced by the carcass grade. Overall acceptability of the fresh primals, however, did not differ among the carcass grades. In cooked loin and belly, a trend of decreased taste and acceptability with decreasing carcass grade was evident, albeitat a low slope, with a significant difference detected between $1^+A$ and 2C grades. In conclusion, the decreased pig carcass grade due to overweight is accompanied by a slightly decreased meat quality, suggesting that the yield grade of pig carcass is also somewhat reflective of meat quality.

• Journal of Wetlands Research
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• v.17 no.3
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• pp.251-263
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• 2015

This study suggested a novel approach of estimating the optimal probability density function (OPDF) of the annual maximum rainfall time series (AMRT) combining the L-moment ratio diagram and the geographical information system. This study also reported several interesting geographical characteristics of the AMRT in Korea. To achieve this purpose, this study determined the OPDF of the AMRT with the duration of 1-, 3-, 6-, 12-, and 24-hours using the method of L-moment ratio diagram for each of the 67 rain gages in Korea. Then, a map with the Thiessen polygons of the 67 rain gages colored differently according the different type of the OPDF, was produced to analyze the spatial trend of the OPDF. In addition, this study produced the color maps which show the fitness of a given probability density function to represent the AMRT. The study found that (1) both L-skewness and L-kurtosis of the AMRT have clear geographical trends, which means that the extreme rainfall events are highly influenced by geography; (2) the impact of the altitude on these two rainfall statistics is greater for the mountaneous region than for the non-mountaneous region. In the mountaneous region, the areas with higher altitude are more likely to experience the less-frequent and strong rainfall events than the areas with lower altitude; (3) The most representative OPDFs of Korea except for the Southern edge are Generalized Extreme Value distribution and the Generalized Logistic distribution. The AMRT of southern edge of Korea was best represented by the Generalized Pareto distribution.

• Journal of Digital Convergence
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• v.12 no.1
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• pp.563-572
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• 2014

Art Nouveau started from the purpose of making art young by reforming art. Rising in revolt against historical style imitation, Art Nouveau was a movement that demanded modern and trend-fitting styles which were embracing general revolution of life and surrounding environment. In jewelry, new styles were tried to be constructed too, breaking from previous styles. Together with new trial of materials, fine jewelry that technical skills of master craftsmen were emphasized on were shown. Styles of Art Nouveau had been diversely developed, fitting to culture of each country in the whole Europe. They were the bases of styles after the 20th century. Jewelry after Art Nouveau repeated development by being divided into industrial and artistic jewelry. They have influenced on a lot of development until modern times. Art Nouveau led jewelry to the establishment of artistic worth, exceeding the worth of goods. There is a difference between aesthetic jewelry expressed through diverse formativeness of Art Nouveau and modern jewelry designs centered on simple precious jewelry which is biased toward productivity and functionality. Modern times are the times of culture and art that are laying stress on personality and ego-expression and pursue creative and ingenious designs. So, various color expression of Art Nouveau and jewelry styles of diverse materials and motives which were expressed through time period and thought will become examples in leading new design development and design flows of modern jewelry.

• Journal of the korean academy of Pediatric Dentistry
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• v.42 no.4
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• pp.312-318
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• 2015

The aim of this study was to investigate the possibility of the supernumerary teeth for the stem cell source in dentistry. The Real Time Quantitative Reverse Transcription Polymerase Chain Reaction (Real Time qRT-PCR) method was used to evaluate the differentiation toward the odontoblast of the supernumerary dental pulp stem cells (sDPSCs). Supernumerary dental pulp stem cells were obtained from 3 children (2 males and 1 female, age 7 to 9) diagnosed that the eruption of permanent teeth was disturbed by supernumerary teeth. The common genes for odontoblasts are alkaline phosphatase (ALP), osteocalcin (OC), osteonectin (ON), dentin matrix acidic phosphoprotein 1 (DMP-1), dentin sialophosphoprotein (DSPP). The sDPSCs were treated for 0 days, 8 days and 14 days with additives and then Real Time qRT-PCR was performed in intervals of 0 days, 8 days and 14 days. The alizarin-red solution staining was performed to visualize the stained color for the degree of calcification at 7 days, 14 days, 21 days and 28 days after treating additives to the sDPSCs. From the result of the Real Time qRT-PCR, the manifestation exhibit maximum value at 8 days after additive treatment and shifted to a decrease trend at 14 days. Alizarin-red solution staining exhibit light results at 7 days after staining and generalized dark result at 14 days. Consequently, in studies with sDPSCs, appropriate treatment time of additives for Real Time qRT-PCR is 8 days. Also, a suitable period of Alizarin-red solution staining is 14 days.