• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.1
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• pp.331-336
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• 2018

Oral health is an essential requirement for maintaining and promoting health and quality of life while aging. It is known that there is a deep connection with hygienic management of dentures. However, despite the emphasis on the importance of clean management of dentures, there is a lack of quantitative research on denture-related detergents. Therefore, the purpose of this study is to evaluate food stain removal performance of three denture cleansers containing proteolytic enzymes. In addition, this study provides basic data on self-cleaning methods using detergents and suggests ways to improve effective treatment for oral health of elders in domiciliary care. In order to obtain quantitative data concerning food stain removal performance of each proteinase denture cleaner, the test evaluation method proposed by the Korean Consumer Agency, ISO 20795, was used. A total of 18 specimens were discolored for 48 hours in water dissolved with turmeric, and then washed with each denture cleaner for 24 hours. The cleaned denture specimens were measured quantitatively using a spectrophotometer to measure the color values of the denture specimens before the discoloration as well as the color values of the discolored specimens after cleaning with the denture cleanser. The experimental values were analyzed through one-way ANOVA with post-hoc Tukey's test, and statistically significant differences were found among the experimental groups. It was found that C had statistically significant stain removal performance compared with A and B(p<.05). All experiments were conducted for a total of 21 days, from July 3- 23, 2017. This study confirms that denture cleansers is a beneficial self-denture management method for domiciliary seniors. Therefore, it is necessary to extend accessibility for denture cleansers in order to to optimize domiciliary care for elderly oral hygiene and health.

• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.6
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• pp.941-947
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• 2013

To increase the consumption of frying ginseng, we investigated the physicochemical properties of frying ginseng and different edible oils processed through frying ginseng: soybean oil (SO), corn oil (CO), olive oil (OO), and grape seed oil (GO). We tested various parameters, including temperature (130, 160, 180, and $200^{\circ}C$), frying time (2.0, 2.5, 3.0, and 3.5 min), and frying amount (up to 30 times). The physicochemical properties of the fried ginseng and oils were evaluated for changes in acid value, peroxide value, free fatty acid content, acrylamide formation, color, and viscosity of oils. The acid value and peroxide value of the oils increased with frying temperature and amount. Saturated fatty acids increased and unsaturated fatty acids decreased with the amount of frying, but oleic acid in CO and GO and linoleic acid in OO increased. The concentration of acrylamide in fried ginseng increased as the frying temperature and amount increased and was the lowest in OO. The lightness and redness of the frying oil color decreased and its yellowness increased in SO and CO, but the lightness increased (redness and yellowness decreased) in OO. In particular, CO was significantly browned with increasing frying amounts. The viscosity of the frying oils increased with frying amount, with CO showing the lowest increases in viscosity of the oils. As a result, the optimal ginseng frying condition found was 2 min 30 sec at $180^{\circ}C$, regardless the type of oils.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Korean Journal of Poultry Science
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• v.37 no.1
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• pp.51-62
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• 2010

This study was conducted to investigate the effects of dietary supplementation of multiple probiotics on the performance, small intestinal microflora and immune response in laying hens and broilers. In Exp.1, a total of 800, 82 wk old Hy-line Brown$^{(R)}$ laying hens were assigned to one of the following five dietary treatment; Control, Antibiotics (avilamycin 6 ppm), Probiotics; PB-M (Micro-ferm$^{(R)}$ 0.2%), PB-L (Lacto-sacc$^{(R)}$ 0.1%), PB-Y (Y University probiotics 0.2%). Each treatment was replicated eight times with 20 birds in each replicate and two birds were housed in each cage. Twenty birds units were arranged according to completely randomized block design. Feeding trial lasted 6 wk under 16 h lighting regimen. The Exp. 2, was conducted with a total of 1,000 broilers chicks (Ross$^{(R)}$). They were divided into five treatments, same as those of Exp. 1. Birds were fed starter (0~3 wk) and grower (4~5 wk) diets. Each treatment was replicated four times with 50 birds per pen comprising of deep litter. In Exp. 1, egg production parameters, such as hen-day and hen-house egg production, egg weight, broken and soft shell egg production, feed intake and feed conversion were not significantly different among treatments. However, strength and thickness of eggshell were significantly (P<0.05) different. Among the probiotics, PB-Y showed the highest strength and thickness of eggshell. Eggshell color, egg yolk color and Haugh unit were not significantly influenced. In Exp. 2, overall weight gain (0~5 wk) and mortality were not significantly different among treatments. However, weight gain of birds from PB-Y treatment during starter (0~3 wk) was significantly lower than the birds from Control and Antibiotic treatment. During the whole period (0~5 wk), birds from Antibiotics treatment had higher feed intake and Production Index (PI) and lower feed conversion than birds from Control treatment. Probiotics treatments were not significantly different from the Control on feed intake and feed conversion. In Exp.1, there were significant (P<0.05) differences in leukocytes parameters, such as white blood cell (WBC), hetrophil (HE), lymphocytes (LY), monocyte (MO), eosinophil (EO) and stress index (SI; HE/LY) in the blood of layers. Birds from Antibiotics and probiotics treatments tended to increase these parameters. In Exp. 2, however, only SI was significantly (P<0.05) decreased in Antibiotics treatments. Concentration of serum immunoglobulin (IgG) were higher (P<0.05) in PB-M and PB-Y treatments when compared with Control treatment in Exp. 1. The population of E. coli significantly (P<0.05) decreased in birds from Antibiotics, PB-L and PB-Y treatments when compared with birds from Control treatment in Exp. 1. Metalbolizability of crude fat decreased significantly (P<0.05) in birds from probiotic treatments in Exp. 2. It was concluded that the response of probiotics on the productivity of layers and broilers were different. Probiotics increased strength and thickness of eggshell in layers, and decreased feed conversion and increased PI in broilers. Leukocytes and IgG tended to increase by supplementation of antibiotics and probiotics in layers. Intestinal E. coli tended to decrease in layers. Digestibility of crude fat of diet decreased in probiotics treatments broilers. Parameters of blood and microbial were more sensitive in layers than broilers.

• Economic and Environmental Geology
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• v.22 no.4
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• pp.327-339
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• 1989

Cassiterite, tantalite, columbite and tantalian rutile are found as accessory minerals in Soonkyoung tin-bearing pegmatites. These minerals occur as finely disseminated specks of up to micro-size in diameter and coarse grain size varying from 0.5-50mm in albite, muscovite and quartz assemblage. Cassiterite geneally shows a moderate to intense pleochroism, having a color brownish yellow to deep reddish brown. The substitution of $Ta^{+5}$, $Nb^{+5}$, $Ti^{+4}$ and Fe* for $Sn^{+4}$ in cassiterite ranges 0.01-0.10 mol%. The zoned cassiterite give a higher Ta/Nb ratios in margin than the ratios in core. This is due to the preferential $Ta^{+5}$ affinity to lower temperature during the crystallization of cassiterite. Tantalite-columbite and tantalian rutile occur in cassitertie with exsolution texture and/or infiltrate into the micro-fissures of cassiterite with micro quartz vein. The compositions of tantalite-columbite show the wide ranges of $Ta_2O_5$ : 14-46 wt.%, $Nb_2O_5$ : 60-28 wt. % and FeO*: 10.15 wt.%. The variation of chemical composition in tantalit-columbite exhibits the decreasing trends of $Mn^{+2}/M^{+2}+Fe^*$ with $Ta^{+5}/Ta^{+5}+Nb^{+5}$ increasing. These trends of vatiations indicate that the Ta/Nb fractionation are enhanced by higher Ta-complex activity in late stage of pegmatite consolidation and lower activity of F in agreements with the F-and Li-micas not to be developed in Soonkyoung tin-bearing pegmatite.

• Journal of Aquaculture
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• v.20 no.2
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• pp.96-105
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• 2007

A pair of maroon clownfishes with an indonesian native, reared in recirculation culture system to develope its aquaculture techniques. Courtship, spawning behavior, egg developments and rearing of the maroon clownfish larvae were documented. The larval development were described with illustrative figures. The spawning was occurred 8 times between Feburary and August 2004. The gravid female spawned during 15:00-20:00. The male mainly took care of the eggs supplying oxygen by water currents using their pectoral fins, anal fin and mouth. The fertilized eggs were separative-adhesive and oval in shape, and $1.99{\pm}0.03\;mm$ in longer diameter and $0.88{\pm}0.03\;mm$ in shorter diameter. The fertilized eggs were in deep-orange color. Cleavage occurred in 30 minutes after fertilization, and the egg reached 2 cells stage in 1 hour 10 minutes after fertilization at $27.0^{\circ}{\pm}0.5^{\circ}C$. The embryo was formed in 23 hours 40 minutes after fertilization. Hatching began in between $120{\pm}2$ hours and $150{\pm}12$ hours after fertilization at $27.0^{\circ}C$ in the incubator. Total length (TL) of the newly hatched larvae was 3.22 mm with mouth and anus opened. Ten days after hatching, mean TL of the larvae were 6.21 mm with 28 dorsal fin rays, 17 anal fin rays and 28 caudal fin rays. Nineteen days after hatching, mean TL of the larvae were 9.34 mm. At this stage the larva had three white bands on the body, and they began to feed on commercial diet.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.22 no.2
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• pp.49-58
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• 1989

For the effective utilization of anchovy as a food source, this work was undertaken the com-parison in food quality of anchovy snacks and its changes during storage at room temperature ($24\pm4^{\circ}C$). Chopped anchovy was mixed with soft flour($340.0\%$, w/w), corn starch($10.0\%$, w/w), sodium chloride($2.5\%$, w/w), monosodium glutamate($0.1\%$, w/w), sodium bicarbonate ($2.5\%$, w/w), water($5.6\%$, w/w), onion powder($0.3\%$, w/w), garlic powder($0.3\%$, w/w), red pepper powder($0.3\%$, w/w) and sodium erythorbate($0.2\%$, w/w), The mixture were rolled, aged, co沇ed, dried and finally parched or deep-fried at $190\pm10^{\circ}C$. The anchovy snacks were packed in the casted polypropylene film bag ($16cm{\times}14cm$), The changes in moisture contents, water activity, pH, volatile basic nitrogen, contents of amino acid and color values of products were negligible during storage. The results of TBA value and peroxide value showed that lipid oxidation can be retarded by adding antioxidant and spices. Judging from contents of amino acid and mineral, the products were more nutritive than the sold shrimp snack on the market. From the results of sensory evaluation and chemical experiments, the product prepared with sodium erythorbate could be preserved in good quality during storage of 120 days.

• Food Science and Preservation
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• v.18 no.4
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• pp.442-458
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• 2011

Among Cucubitaceae, melon (Cucumis melo) is one of the most diversified fruits, with various forms, sizes, pulps, and peel colors, In addition, it is a commercially important crop because of its high sweetness, deep flavor, and abundant juice. In the species, there are both climacteric and non-climacteric melons depending on the respiration and ethylene production patterns after harvest. Ethylene is also considered a crucial hormone for determining sex expression, Phytohormones other than ethylene interact and regulate ripening, There are some indices that can be used to evaluate the optimum harvest maturity. The harvest time can be estimated after the pollination time, which is the most commonly used method of determining the harvest maturity of the fruit. Besides the physiological aspects, the biochemical alterations, including those of sweetness, firmness, flavor, color, and rind, contribute to the overall fruit quality. These changes can be categorized based on the ethylene-dependent and ethylene-independent phenomena due to the ethylene-suppressed transgenic melon. After harvest, the fruits are precooled to $10^{\circ}C$ to reduce the field heat, after which they are sized and packed. The fruits can be treated with hot water ($60^{\circ}C$ for 60 min) to prevent the softening of the enzyme activity and microorganisms, and with calcium to maintain their firmness. 1-methylenecyclopropene (1-MCP) treatment also maintains their storability by inhibiting respiration and ethylene production. The shelf life of melon is very short even under cold storage, like other cucurbits, and it is prone to obtaining chilling injury under $10^{\circ}C$. In South Korea, low-temperature ($10^{\circ}C$) storage is known to be the best storage condition for the fruit. For long-time transport, CA storage is a good method of maintaining the quality of the fruit by reducing the respiration and ethylene. For fresh-cut processing, washing with a sanitizing agent and packing with plastic-film processing are needed, and low-temperature storage is necessary. The consumer need and demand for fresh-cut melon are growing, but preserving the quality of fresh-cut melon is more challenging than preserving the quality of the whole fruit.