• Journal of Adhesion and Interface
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• v.12 no.4
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• pp.125-132
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• 2011

As the enhancement of indoor air quality is increasingly compelling the use of natural materials without any emission, this study reports the preparation and performance of natural garlic adhesives for wallpaper. The natural garlic adhesives were successfully prepared by the extraction of the clove of raw garlic with water to isolate carbohydrates and proteins. Properties of the prepared garlic adhesives such as the non volatile solids content, viscosity, density, and pH were 62%, 2,789 mPa.s, $1.3g/cm^3$, and 6.6, respectively. The non-volatile solids content has a great impact on the adhesion performance of the prepared garlic adhesives, which was adequate about 60%. Bonding strength of prepared garlic adhesives was greater than the requirement of a Korean standard for wallpaper. In addition, the garlic adhesives showed antibacterial activity inheriting from the garlic. It is expected that the prepared garlic adhesives could be used as safe and natural adhesives without emitting any volatile organic compounds and formaldehyde gas.

• Korean Journal of Acupuncture
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• v.35 no.2
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• pp.98-104
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• 2018

Objectives : It is noted that Jukheon-Silheombang(Actual Formulas of Jukheon), is a rare book published by a private physician in 1950s. The study of this book is the data that can be used to see how the acupuncture of Huh-Im is inherited and performed in the local small towns right after the Korean War. Methods : Through the investigation of various literature data and interviews with the author's descendants, Jukheon-Silheombang's related figures, citation documents, book formation and content characteristics were descriptively analyzed. Results and Conclusions : Jukheon-Silheombang can be used to study characteristics of acupuncture treatments given in a small town in the late 1950s. It has the significance of preserving traditional acupuncture such as the Sakwan point method and inheriting the clinical utility of Chimgu-Kyungheombang(Acupucture & Moxibustion Skills Guide) of Huh-Im.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.22 no.11
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• pp.1489-1494
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• 2018

Recently, culture technology (CT), which combines cultural contents and IT technology, is being watched as a new growth engine, and IT technology is actively utilized in preserving, inheriting and utilizing cultural heritage. For this, new areas of convergence of IT technology and cultural heritage are attracting attention. In particular, virtual reality is a representative area of IT convergence in the era of the fourth industrial revolution. Although some studies have been conducted to utilize virtual reality technology to preserve and inform cultural heritage, it is mainly limited to tangible cultural properties. In this study, we propose a methodology to develop contents of intangible cultural heritage using virtual reality technology in intangible cultural properties. To do this, we classify the types of intangible cultural properties to apply the technology to each type of intangible cultural property. Next, virtual reality, augmented reality, and $360^{\circ}VR$ video technology are applied to the intangible cultural properties classified.

• Journal of architectural history
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• v.30 no.4
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• pp.41-52
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• 2021

This study examines the Gyeongju Seokguram Grotto restoration project (1961-1962) by architect Kim Chung Up (1922-1988) and introduces the documents he wrote at the time of planning. The study highlights Kim's Plan attempt to adopt Buckminster Fuller's idea of the Geodesic Dome, while inheriting the architect Pai Ki Hyung's previous design plan which was nullified. As Seokguram Grotto's water leak and deterioration issues have been brought up, the four-times survey was carried out by experts team between 1958 and 1960, under Ministry of Education's direction. Pai designed an initial restoration plan based on the survey's result, which was a double-dome structure with a concrete film on the outer periphery as a way to protect Seokguram Grotto in January 1961. However, as drawbacks, such as the heavy load of the concrete dome, and non-installation of entrance hall, have been indicated in the review process, the Cultural Properties Committee rejected the plan. Subsequently, Kim was appointed as the supervisor of the second restoration project. Kim drew up a process management schedule to be implemented from August 1961 to December 1963 and designed the conception plans for the second restoration design. This study analyzes Kim's Plan by examining sketches, site plans, floor plans, and sections. Kim planned to maintain the idea of the double-dome structure proposed by Pai while applying Buckminster Fuller's idea of the Geodesic Dome. Kim planned to lighten the dome structure by applying a steel-frame Geodesic Dome so that the dome structure could be supported by its own. The study is expected to reclaim the omitted parts from Seokguram Grotto's historical description and Kim's careers.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.241-246
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• 2021

Ladysmith Black Mambazo is a group of men influenced by South African traditional Zulu a cappella and American black music. The Jubilee Choir of the United States came to South Africa in the 1870s and influenced South African music while performing. Ladysmith Black Mambazo's music can be the result of the combination of the indigenous Zulu a cappella and the American Jubilee music style. This group participated in Paul Simon's album "Graceland" and became world famous. The album won a Grammy Award for sales of millions of copies. After that, they released their own albums and won 5 times Grammy Awards (nominated 15 times) They inherited and developed Zulu music under the philosophy of "preserving musical heritage". As a samely non-Western country, with hope their spirit, inheriting old one and innovating new one, gives positive inspiration for Korean music, I investigated how their music, 'Black Is Beautiful', 'Homeless' are influenced by the western music and inherited their own traditional music in it.

• (The) Research of the performance art and culture
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• no.38
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• pp.385-421
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• 2019

Ulsan Dutbeki, naturally transmitted by customs, is almost disappearing in the rapidly changing environment of modern society. Therefore, this study, for the purpose of its inheritance, investigated how to teach the basic movements of Dutbeki through the lessons. The subject were mainly composed of the person who met Ulsan Dutbeki for the first time. The curriculum is, at first, the preparation of body and mind to learn Ulsan Dutbeki. And the lessons about movement were in the order of progress of education, Dutbeki to the beat of Gutgeori, and Dutbeki to the beat of Jajinmori. The next step was to learn the dancing by connecting movements. This process is a way for beginners to inherit Ulsan Dutbeki in a classroom which has a limited time and space. The reason for studying how to teach Ulsan Dutbeki dance is for the purpose of transmitting the intangible culture to the ordinary citizens in the reality that people are under cutting off from inheriting the dance which had been transmitted by customs in the past. The performance of this study is to examine the way to teach basic movements with a view to protect Dutbeki, Ulsan's intangible culture, and pass it on to citizens.

• (The) Research of the performance art and culture
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• no.37
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• pp.61-94
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• 2018

This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.

• Journal of the Korean Society of Costume
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• v.35
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• pp.91-109
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• 1997

This study was conducted to find a more rational way of inheriting and developing tra-ditional Korean HanBok children wear by means of looking at the color and shapes of traditional Korean HanBok and also to find a way to apply this to today's children HanBok wear. The process taken was first to study re-lated literature and its theories and to research museums to find what few traditional HanBok there are and then to compare these findings with new books and personal pieces kept by individuals. We also compared with HanBok children wear now sold at markets. The results of these findings show the fol-lowing conclusions and recommendations: We have found that modern children HanBok utilized the same yellow blouse and red skirt combination as before. These nearly in all cases represented the colors for girls. To most koreans these combination colors are a representation of traditional children wear nat-urally accepted by most koreans without any resistance. Also a definite relation with tra-ditional and modern children wear in the sense of color and shape wear hard to substantiate but we could find harmony between the two. In other words a mixture of modern shapes and traditional colors could be found or vice versa. This is an important factor to be con-sidered when trying to inherit traditional hanBok cuture. Modern times has seen great change in lifestyle feelings and social environ-ment,. In order to create harmony between tra-dition and present day customs a certain mix-ture is required. Therefore we need to maximize traditional flavor and design with present day design emotions. Another issue is that right now children hanBok is only being utilized on a restricted scale. It is a shame that in today's children HanBok that added to the skirt pants and overall wear that the head wear purse and other accessories are not being used. There-fore the HanBok culture especially for the correct succession of children hanBok must refrain from such restricted use of accessories and work to advertise the widespread use of proper Hanbok wear thereby upholding the rightful use of HanBok. As I have mentioned in my other studies it is ones momory of early HanBok wear which greatly affects a grown-up so we should wear hanBok in the right way from an early age and become accustome to its shapes and colors thereby become friendly with traditional HanBok wear. This I believe will lead to overcoming prejudice and disapproval of hanBok and to a more affirm-ative view towards our cultural heritage, Looking from a design point of view inter-national design of a nation's traditional wear can only come from a correct understanding of ones traditions this then becoming a foun-dation for creative design. Seen from these aspects a re-cretion through the meaningful activities of studying traditional shapes and colors of hanBok is the beat way to forming a true HanBok tradition.

• Current Research on Agriculture and Life Sciences
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• v.12
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• pp.23-28
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• 1994

A leading sweet pepper cultivar, Keystone Resistant Giant #3, was crossed with a line with resistance to Xanthomonas campestris pv. vesicatoria, PI271322, for incorporation of the resistance and to study the inheritance of resistance to the disease. Seedlings of parents, $F_1$, $F_2$ and backcross populations of a cross between Keystone Resistant Giant #3 and PI271322 were inoculated with race 1 and race 3 of Xanthamonas campestris pv. vesicatoria by infiltrating bacterial suspension into abaxial side of leaves. PI271322 was carrying a gene ($Bs_3$) for hypersensitive resistance to race 1 of X. c. pv. vesicatoria and also a component of non-hypersensitive resistance to race 3 inheriting in a quantitative mode. Correlation coefficient between disease indices to race 1 and race 3 of non-hypersensitive plants in $F_2$ population was highly significant, thus indicating that a component of non-hypersensitive general resistance in PI271322 acted consistently to both races. Individual plants with resistance to both race 1 and race 3 of X. c. pv. vesicatoria were selected and a breeding program for incorporation of the resistance is continued.

• Journal of the East Asian Society of Dietary Life
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• v.13 no.5
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• pp.353-361
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• 2003

This study was performed by questionnaire to investigate the recognition and prospect for Korean traditional Pyebaeck Foods. The subjects of this study consisted of 621 housewives in Daegu area. The results were summarized as follows: The most people(94.2%) had ever seen Pyebaeck refreshments before, and most had seen them in wedding halls(62.5%). The reason they do prepare Paebaek refreshments was “it's tradition”(44.9%), and they considered this tradition as a public moral. The peoples who had prepared Pyebaeck refreshments at home consisted 51.0% and those who had purchased at caterer was 59.5%. The reason for preparing the refreshments at home was usually “it's true-hearted”(48.8%) and the reason for hiring specialists was “it's more convenient”(38.7%). Opinions about cooking method were mostly “complicated”(79.8%), and the knowledge score for cooking methods was low in 2.80. 31.3% of respondents reported inheriting their recipes from their mother. 43.3% of the respondents thought it would be “transmitted only a part” on prospects for Pyebaeck refreshments. 31.5% of the respondents said the improvement plan should be “focused on development of various Pyebaeck refreshments with modern senses” and 30.4% that the industralization should be effected through “publicity activities and education about its excellence”. People had to experience the Pyebaeck in the right way and to understand its real meaning better in order not to consider it as an evil custom, empty formality and vanity.