• Proceedings of the Korean Society of Crop Science Conference
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• 2004.04a
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• pp.12-27
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• 2004

Thanks to spectacular advances in the techniques for identifying proteins separated by two-dimensional electrophoresis and in methods for large-scale analysis of proteome variations, proteomics is becoming an essential methodology in various fields of plant sciences. Plant proteomics would be most useful when combined with other functional genomics tools and approaches. A combination of microarray and proteomics analysis will indicate whether gene regulation is controlled at the level of transcription or translation and protein accumulation. In this review, we described the catalogues of the rice proteome which were constructed in our program, and functional characterization of some of these proteins was discussed. Mass-spectrometry is a most prevalent technique to identify rapidly a large of proteins in proteome analysis. However, the conventional Western blotting/sequencing technique us still used in many laboratories. As a first step to efficiently construct protein data-file in proteome analysis of major cereals, we have analyzed the N-terminal sequences of 100 rice embryo proteins and 70 wheat spike proteins separated by two-dimensional electrophoresis. Edman degradation revealed the N-terminal peptide sequences of only 31 rice proteins and 47 wheat proteins, suggesting that the rest of separated protein spots are N-terminally blocked. To efficiently determine the internal sequence of blocked proteins, we have developed a modified Cleveland peptide mapping method. Using this above method, the internal sequences of all blocked rice proteins (i. e., 69 proteins) were determined. Among these 100 rice proteins, thirty were proteins for which homologous sequence in the rice genome database could be identified. However, the rest of the proteins lacked homologous proteins. This appears to be consistent with the fact that about 30% of total rice cDNA have been deposited in the database. Also, the major proteins involved in the growth and development of rice can be identified using the proteome approach. Some of these proteins, including a calcium-binding protein that fumed out to be calreticulin, gibberellin-binding protein, which is ribulose-1,5-bisphosphate carboxylase/oxygenase activate in rice, and leginsulin-binding protein in soybean have functions in the signal transduction pathway. Proteomics is well suited not only to determine interaction between pairs of proteins, but also to identify multisubunit complexes. Currently, a protein-protein interaction database for plant proteins (http://genome .c .kanazawa-u.ac.jp/Y2H)could be a very useful tool for the plant research community. Recently, we are separated proteins from grain filling and seed maturation in rice to perform ESI-Q-TOF/MS and MALDI-TOF/MS. This experiment shows a possibility to easily and rapidly identify a number of 2-DE separated proteins of rice by ESI-Q-TOF/MS and MALDI-TOF/MS. Therefore, the Information thus obtained from the plant proteome would be helpful in predicting the function of the unknown proteins and would be useful in the plant molecular breeding. Also, information from our study could provide a venue to plant breeder and molecular biologist to design their research strategies precisely.

• Archives of design research
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• v.12 no.2
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• pp.133-144
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• 1999

Considering product as mass of information, it is very critical for designers to have good means of accessing to and organizing information on products. However, designers conventionally depend on their experience, bunch of catalogues, or short visit to some fairs for gathering information on products. There are no systematically organized information for designing new products. If any, those are ones developed by market researchers or engineers who speak fundamentally different language from designers. It is needed to develop the information system through which designer can get insights on the essence of product and communicate information with various persons involved in new product planning. At first, the design information in product planning is discussed and the necessity of development of new design information system is emphasized. Then, product is understood as a composite of various attributes and a set of fundamental attributes of product is defined by surveying and summarizing existing theories of product attributes: namely technological, human, and market attributes. The possibility of new design information system is explored by analyzing various relationships between attributes of different products. Computer program 'DISPP' displays various visual information of product itself, perceptual map, trend slope, profile chart and general information of manufacturer, style, color, price, size. Finally, findings of thesis are concluded and further prospects of the study are proposed.

• The Korean Journal of Archival Studies
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• no.12
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• pp.237-272
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• 2005

This paper aims to research the historical development of the archival systems in the Primorskii Krai of the Russian Federation. The history of the archives in this region might be divided into the three periods. The first period extended from the territorial acquisition of the Far East to 1938, when the international situation reached the crisis. From then to the end of the Second World War the history of the archives of the Primorskii Krai underwent the second period. The third period has ranged from 1945 to the present day. As the imperialistic countries, including England, Germany and Russia, claimed and conquered the lands in China in the last decade of the nineteenth century, the Russian government was forced to produce a lot of records, which resulted in the establishment of the several archival institutions in the Far East region. Although the Soviet government issued "Decree On the Reorganization and Centralization of Archival Affairs in the Russian Socialist Federated Soviet Republic" in 1918, the political turmoils prevented the Primorskii region from constructing the archival system. However, A. P. Georgievskii and his colleagues made desperate efforts to arrange the archival administration. Thanks to their struggles, the Far Eastern Republic, a buffer state, which existed from April 6, 1920 to November 14, 1922, passed the autonomous regulation, which defined the organization of the committee for the archival administration in the Primorskii region. The Primorskii Krai Archive originated from the committee. As the international situation became aggravated in the East Asia, the Soviet government made a decision to evacuate the records from the Far East region to the western Siberian cities like Tomsk, Omsk and Minusinsk. It was on August 1943 that the Central National Archive of the Far East of RSFSR was established in Tomsk. After the end of the Second World War, the main archival institutions of the Primorskii Krai, that is, the Central National Archive of the Far East of RSFSR and the Primoskii Krai Archive have played an important role in the archival administration in this region. The archivists have not only prepared the catalogues, but also proceeded the descriptions of the archival collections. Furthermore, the archival institutions of the Primorskii Krai have published a series of archives and contributed to the development of the archival system in the Far East of the Russian Federation. It might be concluded that the archives of the Primorskii Krai, reaching were the products of the desperate efforts which the archivists of this region made from the 19th century to the present day, regardless of the political changes.

• International Commerce and Information Review
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• v.14 no.3
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• pp.231-251
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• 2012

The remedies available to a seller that has suffered a breach of contract by the buyer are addressed in Section III of Chapter III of Part III. The first provision in the section, 61, catalogues those remedies and authorizes an aggrieved seller to resort to them. The remaining provisions of the section address particular remedies or prerequisites to remedies. The subject matter of the current section remedies for breach of contract by the buyer obviously parallels that of Section III of Chapter II of Part III remedies for breach of contract by the seller. Many individual provisions within these sections form matched pairs. Thus 61, which catalogs the seller's remedies, which catalogs the buyer's remedies. Other provisions in the current section that have analogues in the section on buyer's remedies include 62, seller's right to require buyer's performance 63, seller's right to fix an additional period for buyer to perform and 64, seller right to avoid the contract. As was the case with the provisions on buyers' remedies, the articles governing sellers' remedies operate in conjunction with a variety of provisions outside the current section. Thus the seller's right to require performance by the buyer is subject to the rule in 28 relieving a court from the obligation to order specific performance in circumstances in which it would not do so under its own law. The authorization in 61 for a seller to claim damages for a buyer's breach operates in connection with 74-76, which specify how damages are to be measured. 49, stating when an aggrieved seller can avoid the contract, is part of a network of provisions that address avoidance, including the definition of fundamental breach, the requirement of notice of avoidance, provisions governing avoidance in certain special circumstances, measures of damages available only if the contract has been avoided and the provisions of Section V of Part III, Chapter V on effects of avoidance.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.209-216
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• 1998

The results of the study of diving the 21st century's Korea fashion market into consumer market, fashion market, and a new marketing strategy are as follows. The 21st consumer market is First, a fashion democracy phenomenon. As many people try to leave unconditional fashion following, consumer show a phenomenon to choose and create their own fashion by subjective judgements. Second, a phenomenon of total fashion pursuit. Consumer in the future are likely to put their goals not in differentiating small item products, but considering various fashion elements based on their individuality and sense of value. Third, world quality-oriented. With the improvement of life level, it accomplishes to emphasize consumers' fashion mind on the world wide popular use of materials, quality, design and brand image. Fourth, with the entrance of neo-rationalism, consumers show increasing trends to emphasize wisdom, solidity in goods strategy pursuing high quality fashion and to demand resonable prices. Fifth, concept-oriented. Consumers are changing into pursuing concept appropriate to individual life scene. Prospecting the composition of the 21st century's fashion market, First, sportive casual zone will draw attention more than any other zone. This is because interest in sports will grow according to the increase of leisure time and the expasion of time and space in the 21st century, and also ecology will become the important issue of sports sense because of human beings's natural habit toward nature. Second, the down aging phenomenon will accelerate its speed as a big trend. Third, a retro phenomenon, a concept contrary to digital and high-tech, will become another big trend for its remake, antique, and classic concept in fashion market with ecology trend. New marketing strategy to cope with changing fashion market is as follows. First, with the trend of borderless concept, borders between apparels are becoming vague, for example, they offer custom-made products to consumers. Second, as more enterprises take the way of gorilla and guerrilla where guerrillas who aim at niche market show up will develop. Basically, they think highly of individual creative study, and pursue the scene adherence with high sensitiveness. However this polarization becomes mutually-supplementing relationship showing gorilla's guerilla movement, and guerilla's gorilla high-tech. Third with the development of value retailing, enterprises pursuing mass merchandising of groups called category killers are expanded and amplified to new product fields, and expand business' share. Fourth, using outsourcing, the trend to use exterior function leaving each enterprise's strength by inspecting its own work is gradually strong. Fifth, with the expansion of none store sale, the entrance of the internet and the CD-ROM sales added to communication sales such as catalogues are specified. An eminent American think tank expect that 5-5% of the total sale of clothes and home goods in 2010 will be done by none store sale. Accordingly, to overcome the problems, First international, global level marketing, Second, the improvement of technology, Third, knowledge-creating marketing are needed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.