• Korean Journal of Environmental Biology
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• v.40 no.3
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• pp.267-274
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• 2022

Excess nitrogen (N) flowing from livestock manure to water systems poses a serious threat to the natural environment. Thus, livestock wastewater management has recently drawn attention to this related field. This study first attempted to obtain the optimal conditions for the further volatilization of NH₃ gas generated from pig wastewater by adjusting the amount of injected magnesia (MgO). At 0.8 wt.% of MgO (by pig wastewater weight), the volatility rate of NH₃ increased to 75.5% after a day of aeration compared to untreated samples (pig wastewater itself). This phenomenon was attributed to increases in the pH of pig wastewater as MgO dissolved in it, increasing the volatilization efficiency of NH₃. The initial pH of pig wastewater was 8.4, and the pH was 9.2 when MgO was added up to 0.8 wt.%. Second, the residual ammonia nitrogen (NH₄⁺-N) in pig wastewater was removed by precipitation in the form of struvite (NH₄MgPO₄·6H₂O) by adjusting the pH after adding MgO and H₃PO₄. Struvite produced in the pig wastewater was identified by field emission scanning electron microscopy (FE-SEM) and X-ray diffraction (XRD) analysis. White precipitates began to form at pH 6, and the higher the pH, the lower the concentration of NH₄⁺-N in pig wastewater. Of the total 86.1% of NH₄⁺-N removed, 62.4% was achieved at pH 6, which was the highest removal rate. Furthermore, how struvite changes with pH was investigated. Under conditions of pH 11 or higher, the synthesized struvite was completely decomposed. The yield of struvite in the precipitate was determined to be between 68% and 84% through a variety of analyses.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.100-121
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• 2023

This paper examines the interior settings of a chamber and of a temporary place of enshrinement at Yeonghuijeon (永禧殿, Hall of Eternal Happiness), the representative official portrait hall in which portraits of early and late Joseon kings were enshrined. Also, it discusses the features of the Five Peak screens used therein. The physical environment of a chamber at Yeonghuijeon mainly consisted of a four-panel folding screen with a painting of Five Peaks and a large wooden platform, which was adorned with dragon and lion patterns and attached to lotus-leaf column balustrades. The Five Peak screen was installed on a large platform in the shape of ⊓, spreading across the second and third panels on the back and folding out on the first and fourth panels on the right and left sides. When a portrait was enshrined in a temporary place, a simpler and smaller platform with railings was used. A four-panel folding screen of the Five Peak painting was installed in the same way as in a chamber, but was unfolded around a smaller platform behind it. A royal portrait was displayed in each chamber, whereas a case in which a portrait was rolled up was put on the smaller platform in a temporary place. The Five Peak screens for a chamber and a temporary place were all large four-panel folding screens with two wide panels in the middle and two narrow panels on each side, and only strips of silk were mounted on the four edges of the screens without additional wide lower-side mountings. While screens for the chamber used patterned silk for mounting and white paper for backing on screen frames, screens for the temporary place used plain silk and recycled failed test papers for mounting and backing, respectively. By examining records in the literature on the Five Peak screens for Yeonghuijeon, this paper highlights two Five Peak screens, both of which lost their provenance from the hall. The structures of the two screens reflected the way they were to be installed at the hall. Furthermore, this paper assumes that a Five Peak screen, which had been unfolded on the throne in the main hall of Changdeokgung Palace after the 1960s, was produced in 1858 for the purpose of temporarily enshrining King Sunjo's portrait due to the fact that failed test papers of the 1840s were laid taut over the frame.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.182-205
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• 2023

The use of royal artificial flowers was finally found through schematics and records in Wonhaeng Eulmyojeongri Uigwe, which organized the procession to Hwaseong in 1795. The results of classifying the uses of artificial flowers in the brthday banquet at Bongsudang Hall in 1795 and considering the shape, user, and usage are as follows. According to literature records, artificial flowers were made with high-quality materials such as gold, silver, and silk thread in the early period, but were mainly made of paper in the later period. Artificial flowers were used for decorating official hats, Bongsudang Hall, and banquet tables. The Sagwonhwa was used for decoration of the official hats of members of the royal family, and the one on the top was called Eosam-Sagwonhwa. At the birthday banquet inBongsudang Hall, King Jeongjo and Hyegyeonggung used the Eosam-Sagwonhwa and put it on the right side of the official hats. Officials put peach blossom with two petals on the left side of the official hats for decoration. The artificial flowers for decoration of the official hats of musicians and dancers were more expensive and flashier than the officials' ones. Depending on the dance, several artificial flowers were inserted into the official hats. When measuring the size of artificial flowers, the scale used was when making a ceremonial article. For artificial flowers for decoration of the banquet hall, red and white peach blossoms were placed in two jars with dragons painted on them and them placed on two red-painted tables, respectively. The table and jar with flowers were tied together with a red cotton string and fixed so as not to fall over. The artificial flowers for decoration of the banquet table of King Jeongjo, Hyegyeonggung, and the king's sisters were a large lotus, medium-sized lotus, peony, rose, and specially made peach flowers. The artificial flowers for decoration of the banquet table of guests and officials were small lotuses and peach blossoms. The artificial flowers used in the birthday banquet at Bongsudang Hall the most were peach blossoms, and peaches had the meaning of longevity and exorcism. It is expected that the above research results will be helpful in understanding the characteristics and usage of artificial flowers in the period of King Jeongjo and use in reproducing royal feasts and producing traditional cultural contents.

• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• Korean Journal of Breeding Science
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• v.51 no.4
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• pp.475-481
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• 2019

The soybean cultivar 'Neulchan' was developed for production of soy-paste and tofu. SS91501-9-1-1 and SS96205 (F₂) were crossed in 1998, and F₃ to F₇ were selected by the pedigree method. A preliminary yield trial (PYT) and an advanced yield trial (AYT) were conducted from 2006 to 2008, and a regional yield trial (RYT) in nine regions was conducted from 2009 to 2011. In the RYT, 'Neulchan' was stable in variable environments and generated high yield. 'Neulchan' was determinate with white flower, light brown pod color, yellow spherical seed, and yellow hilum. Its flowering date and maturity date were Jul. 30 and Oct. 9, respectively. The plant height was shorter than that of 'Daewonkong' (a standard cultivar). 'Neulchan' had the same node number (14), higher first-pod height (12 cm), and lighter seed weight (21.7 g/100-seed weight) than those of 'Daewonkong' (14, 11, and 24.2 g/100-seed weight, respectively). 'Neulchan' had high resistance to bacterial pustule, and its resistance to soybean mosaic virus was similar to that of 'Daewonkong'. The yield and color of 'Neulchan' tofu were similar to those of 'Daewonkong' tofu, but the hardness was lower than that of 'Daewonkong' tofu. The soybean malt scent, fermented soybean yield, and γ-polyglutamic acid (γ-PGA) of 'Neulchan' were 3, 215%, and 24.6 mg/g, respectively. Its yield in adaptable regions was 307 kg/10a, higher than that of 'Daewonkong'. 'Neulchan' was expected to be cultivated and used widely for soy-paste and tofu production. (Registration No. 4904).

• Journal of Ethics
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• no.77
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• pp.73-112
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• 2010

This study aims to explore the character and problem of multicultural society in Korea in terms of the concept of moral panics. Its major issues are dealt with as follows: Firstly, this essay will apply two concepts of culture in multiculturalism - the pattern of meaning and a study of perfection- to three degrees of multicultural members: by individual, by groups and by a society as a whole. In this approach, moral panics of multicultural society in Korea have been manipulated by the secondary definitions like Korean government and media. In this study, however, the resource of the panics would be seen as nationalism in Korean history. To remove it in this essay, the conception of the pattern of meaning, which makes members understand others outer their norms, should be harmonized with that of a study of perfection by which they have identities. Secondly, the main subject of multiculturalism in Korea should at least be majority (groups)-Korean, not minority (groups)-foreigners. A stereotype of foreigners by majority is an image distorted by nationalities and races. People, for example, with the white skin from advanced countries are recognized as superior, while those born in the countries of Southeast Asia are, consciously or unconsciously, discriminated and have low positions due to socio-economic stratification in Korea. In this sense, a study of multicultural society in Korea should go forward to the inner direction to majority, because it is one of the real moral panics in Korea. In conclusion, it is important that there must be a study of identity which we can have of others in multicultural studies of Korea. It enables us to meet the conception of diversity. In that Korean government and media have neglected the danger of nationalism, it is also necessary that this study have any foundation of morality in ethics, which can give useful alternatives to the given polices of the secondary definitions.

• Journal of Practical Agriculture & Fisheries Research
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• v.20 no.1
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• pp.35-47
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• 2018

A edible mushroom, Clitocybe maxima (Lentinus giganteusis) commercially cultivated in China and Taiwan. However, the researches of cultivation and cultural characteristics were not reported in Korea. In this study, we conducted on cultural characteristics and artificial cultivation of C. maxima. Six isolates were collected from China(3 isolates, commercial strain), Taiwan(1 isolate, commercial strain) and Korea(2 isolates, wild type). C. maxima and L. giganteus collected in China and Taiwan, respectively, are the same in China and are estimated to be of the same species as cultured characteristics. The mycelial growth of the collected strains was not significantly different in agar medium but it showed the best growth in YPMG in liquid culture. Optimum temperature for mycelial growth and induction of fruit body were 25℃ and 30℃, respectively. In order to artificial cultivation of C. maxima, cultural characteristics and artificial cultivation were carried out using agricultural by-products and forestry by-products materials. Mycelial growth was suitable in rice straw, cottonwood sawdust, corncob and rice seed medium, and it was selected as a cultivation medium. The suitable medium for artificial cultivation of C. maxima was selected to mixed medium 2(compounding ratio(v/v): 55% of hardwood sawdust, 5% of cottonseed pellets, 10% of cottonseed, 15% of beet pulp, 15% of swollen rice husks). It took about 30 days to be able to harvest, it was faster than oyster mushrooms. The cultivation period was about 30days. A isolate, CMA-002 was not initiation to fruit body primordiuma on the used cultivation substrate. Other 5 isolates were initiate and development to fruit body on the substrate used in this study. The strain CMA-003 was initiated to be fruiting body by 8~10 days after induction of fruiting body in all of the substrates. Isolate CMA-003 was generate to a bundle fruit body. Other isolates, however, were form fruit body individually. The CMA-003 strain was likely highly recommendable strains for farming. The optimum conditions for the induction and growth of C. maxima fruit body were 25~30℃, 8 hr illumination per day with white fluorescent lamp, 90~95% relative humidity, and 1,500 ppm of CO₂ concentration in a cultivation room.

• Economic and Environmental Geology
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• v.56 no.6
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• pp.899-909
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• 2023

In this study, the material scientific characteristics of Hobun pigments used as white inorganic pigment for traditional cultural heritage were identified according to the type of shell and calcination and evaluated the stability of the preservation environment. For the purpose of this, we collected 2 different types of Hobun pigments made by oyster and clam shell and its calcined products(at 1,150℃). Hobun pigments before calcined identified calcium carbonate such as calcite, aragonite but calcination derived changing main composition to portlandite and calcite. Results of FE-SEM showed characteristics microstructure for each shell but pigments after calcined observed porous structure. Porous granule highly caused oil adsorption according to increase specific surface area of pigments. In addition, the whiteness improved after calcined pigments compared to non-calcined pigments, and the color improvement rate of Hobun pigment (CS) which made of clam shell was higher. As a result of the accelerated weathering test, the Hobun pigment-colored specimen had a color difference value of less than 2 after the test, which was difficult to recognize with the naked eye. In particular, the color stability has improved as the color difference value of the Hobun pigment is smaller after calcined compared to before non-calcined pigment. However, it was confirmed that the stability of the painting layer was lower in the specimen after calcined pigment. For antifungal activity test, Aspergillus niger, Tyromyces palustris and Trametes versicolor were used as test fungi, and all pigments were found to have preventive and protective effects against fungi. Especially, the antifungal effect of the calcined pigment was excellent, which is due to the stronger basicity of the pigment.

• Journal of the Korean Society of Radiology
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• v.17 no.6
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• pp.827-833
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• 2023

CT(Computed Tomography) contrast agents are commonly used in general hospitals and university hospitals when taking radiographic examinations. The CT contrast medium contains a mixture of a substance called "Iodine", which absorbs radiation energy and makes it appear white in the CT image, further improving the image quality. In addition, the CT contrast agent, which moves like blood in the blood vessels, clearly differentiates it from muscle and water, so CT contrast agents are widely used in hospitals. These CT contrast agents absorb X-rays, but in order to absorb X-rays, they must have a high density or a high radiation absorption coefficient. Since the CT contrast agent is injected into the blood vessels, if the density is high, the blood vessels are strained and the patient is in shock. For this reason, it is necessary to match the density similar to that of water and always pay attention to side effects. In addition, the amount of CT contrast medium is adjusted according to the patient's body shape, and the remaining contrast medium is discarded. However, This study tried to find out the idea of recycling it as a radiation shielding material. Since the CT contrast medium has a high radiation absorption coefficient at a density similar to that of water, the amount to absorb radiation is adjusted, the amount of contrast medium and the amount of water are adjusted, and the amount of radiation absorbed is determined by mixing with water. In addition, a study was conducted to find out the result of the difference in radiation absorption in various ways by comparing the radiation quality coefficient and absorption coefficient with other substances or materials in an environmentally friendly method harmless to the human body by mixing CT contrast medium and water.