• Title/Summary/Keyword: precious stone

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Selection of Fungicide Against Lichen-forming Fungi for the Chemical Control of Lichen Colonization on Stone Heritages and Plants (석조문화재 및 식물 착생 지의류의 화학적 방제를 위한 살균제 선발)

  • Kim, Jung-A;Jung, Min-Hae;Jeon, Hae-Sook;Koh, Young-Jin;Hur, Jae-Seoun
    • The Korean Journal of Pesticide Science
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    • v.14 no.3
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    • pp.261-265
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    • 2010
  • Lichens, a symbiotic organism of fungi and algae, cause serious damage to national heritages of stone master piece and costly trees for gardening. The present study was conducted to screen effective fungicides against lichen-forming fungi to control the biological agents deteriorating stone heritages and trees. Five commercial fungicides (Fenarimol EC, Etridiazole EC, Iminoctadinetriacetate SL, Difenoconazole+lminocatadinetriacetate ME and Difenoconazole+Azoxystrobin SC) were tested against the lichen-forming fungi (LFF) isolated from seven saxicolous (Caloplaca sp., Ramalina sp., Xanthoparmelia sp., and Xanthoria sp.,) or corticolous (Parmelia sp.,) lichen species. Preliminary screening test showed that no LFF could grow on the MY (malt-yeast extract) agar medium amended with the recommended concentrations of each fungicide. Further screening was conducted at 1%, 10% and 20% of the recommended concentrations of the fungicides. After 7 week incubation at $15^{\circ}C$ in the dark, Difenoconazole+Iminocatadinetriacetate ME and Difenoconazole+Azoxystrobin SC completely inhibited the fungal growth of all the tested LFF, even at 1% of the concentration. Two fungicides of Fenarimol EC and Iminoctadinetriacetate SL exhibited a moderate inhibition activity at the lower concentrations. Etridiazole EC was less effective in the fungal growth inhibition than the other four fungicides. The results suggested that lichens colonizing on precious stone heritages and trees can be eradicated by applying Difenoconazole+Iminocatadinetriacetate ME and Difenoconazole+Azoxystrobin SC even 1% of the recommended concentrations. Selected fungicide application at such a low concentration will facilitate the chemical use to prevent and preserve stone heritages from biological deterioration induced by lichens and the allied microbes.

A Study on The Costume of The Kory Dynasty(2) -See through by the human being on the Buddist Panting of Koryo Dynasty hang on the wall(2)-1 (고려시대 인물관련 제작물을 통해서 본 복식에 관한 연구(2) -고려시대 인물관련 제작불화중 '탱화'를 통해서 본 복식에 관한 연구(2)-$\circled1$ -남녀 왕실 귀족 및 관직자 복식을 주로하여-)

  • 임명미
    • Journal of the Korean Society of Costume
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    • v.22
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    • pp.205-224
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    • 1994
  • It was aimed to study the costume of Koryo dynasty based upon the thirty pictures of Bud-dha to hang on the wall among the existing Buddist paintings. The costume to study were made about 64 years during the King Chung-yol(1286) to the King Chung-jong(1350) which style was mostly related in Won Dynasty. 가) Men's wear ; 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan Kun and Mo. The young boys binds his hair up one, two, and three knot-s, and tied up with a hair ribbon, A kinds of Kuan-mo were Mine-lu-kuan Yuan-yu-kuan, Nong-kuan, Hae-chi-kuan Pok-du Yun-wha-kuan Yip-mo- and Tu-ku(Helmeto) 2. clothes ; 1) Colour of Koryo King's Mien-ku Kuan costume was not agree with blue and reddish black colour which was used in Yo, Song, Kum and Won Dynasty, however black and greenhish blue colour was agreed with. 2) The king wore T'ung-t'ien-kuan(Yuan-yu-kuan) and the government officials wore Chin-hien-kuan Hae-chi-kuan and Nong-kuan as a court dress. In general the king and the Crown Prince wore a hats which was used in T'ung-t'ien system however sometimes they wore small hats which was cited in literature. 3) Gate guard and upper garment wore colourful costume figured gold colour pattern which was distin-gtive costume system of Koryo. 4) A monk wore big sleeve long skirt big sleeve long jacket long skirt and shoulder scar-f full shoulder scarf or right hand shoulder opened scarf. 5) The Soldiers wore helmet shoulder or scarf pee-back hung-kap, pok-kap, yang-dan-g-kap we-yu-kap kun-kap, and boots and they carried arms. 6) The young boys wore scarf, loin cloth, long skirt, belt neckless, wan-silk, boots and foots wear and wristless. 나) Women's wear ; 1. Hair style and hairs and tied up with a hair ribbon and wore precious ston decorated hair dress wheel shape hair dress pan shaped head dress handkerchif covered hair dress decorated precious stone hair pin silk chippon made of head dress muf-fler shaped hairdress. Boots mocasin hae lee, suk and sandle wored as a shoes depends on the classes. They wore neckless, earing wres-tless and wan-pu-sik. 2. Closthe 1) High rank lade's wore un-kyun attached jacket and jacket sleeves decorated pleats and pleats decorated long skirt apron back apron knot belt, scarf this type is the same with Dang Dynasty five dynasty of china Song, Kum Won, Myung Dynasty and our cos-tume of Poe-hae, and Shilla Dynasty.

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A Hermenutic Study of Material Language in Contemporary Metal-craft - Centerd on June Schwarcz′s Color works - (현대금속공예에 있어서 물질언어의 해석학적 분석연구 -June Schwarcz′s 색채 구조물을 중심으로 -)

  • 임옥수
    • Archives of design research
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    • v.14 no.3
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    • pp.197-210
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    • 2001
  • There are symbolicity and special meaning in the materials which are supposed to be used metalcraft from ancient to present. These are basical resources of hermeneutics and play a role as moaning elements. Generally, the precious Cold and Silver are mainly to be used with precious stone. But recently, ordinary materials like glass iron aluminum has begun to be used with them. Several artists are intentionally using them, and special skills which could be revealed by only the matherials are developing by them. In these skill, there are original material's texture and character of matter are looking like other matter. Well, special skills are adapted in these matters to magnify the possibility of expression, the originally codified meaning resources are disturbed. For example, The metal craft artist June Schwarcz is using the skills of electroforming, copper foiling, enameling, wire brush patina, fine wires fusing, etc. He is doing abstract forming and making various textures. And his works are very big size, and done by the skills of painting and sculpture. The outer form is very structural, special touches of the artists are heterogeneously mixed with the symbolic abstract expressionism color field. Further, there are mixed with Primitive original life atmosphere, Medieval ornamental aspect, Minimal, and Chaotic aspects. The meaning particles of these aspects are directly/indirectly joined but special skills and basic material languages are mixed together, the originally codified material language are disturbed. These disturbed material languages are becoming optically special effect and be illusion. It is making expressing way of tile metalcraft more fertile and be infinite.

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A Study on the Characteristic of Garden through Okhojeong Garden(玉壺亭) And Seokpajeong Garden(石坡亭) in the 19th Century Seoul (19세기 서울 옥호정(玉壺亭)과 석파정(石坡亭)을 통해 본 정원 특성)

  • Lee, Won-Ho;Kim, Dong-Hyun;Kim, Jae-Ung;Shin, Hyun-Sil
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.21-31
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    • 2014
  • This study aims to comparison of spatial composition that Okhojeong garden and Seokpajeong garden. Construct background and space structure in both of Okhojeong garden and Seokpajeong garden is analyzed. The results were as follows. First, Okhojeong garden and Seokpajeong garden of the nobles gardens in late Joseon dynasty. They had the advanced techniques of contemporary based on their political power and wealth, and therefore could built garden and enjoy the garden culture of the upper layer. Furthermore, composition of the Okhojeong garden can be assumed that it is related to construction of the Seokpajeong garden through analysis of the relationship between builders. Secondly, Space structure of Okhojeong garden and Seokpajeong garden is divided into pavilion unit of small gardens with living space as the center. Construction pavilion in each garden space imbues certain landscape theme. In addition, authorization of characteristics of a place in each area is attempted through boundary establishment and selective garden culture of varied seasonal landscape. Thirdly, In Seokpajeong garden, most of construction characteristics of Okhojeong garden are appeared. This indicates that Seokpajeong garden was affected by space-configuration-technique of Okhojeong garden such as acceptation or modification recreation. Fourth, In many cases, fanciers regarding floriculture are expanded to enthusiasts in late Joseon dynasty. In Okhojeong garden and Seokpajeong garden, herbaceous ornamental is considered to be precious and garden materials such as water tray, stone couch, oddly shaped stone, potted plant, artificial hill, wisteria trellis are diversified at the time.

Development of the Close-to-Nature Construction Technology for the Low-Flow Revetment of the Stream -A Case of Junpyung Stream in Yongin City- (하천 저수로 호안의 친환경적 조성기법의 개발 -용인시 수지읍 정평천을 중심으로-)

  • 심우경;백경종
    • Journal of the Korean Institute of Landscape Architecture
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    • v.28 no.1
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    • pp.83-91
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    • 2000
  • This study was carried out to develop the close-to nature construction technology for the stream which has been improved just for the flood control with artificially straightened and concrete covered, losing the various functions of the stream such as wild-life habitat, polluted water purification and waterscape. Jungpyung stream in youngin City, Kyunggi Province was selected as a case study site. The results were as follows; 1. Existing stream improvement planning could accept the close-to-nature techniques of the low-flow revetment, keeping the capability of flood control and water use. 2. The low-flow revetment was planned and executed to the bottom of the stream without damaging the existing bank, and the slope of the low-flow revetment was adjusted as 1:1.2∼1.5. Consequently it would not disturb the water flow when the flood occurred and it would keep the constant water flow even at the drought with providing a stable ecosystem and water purification. 3. Low-flow revetement was planted with Salix species and perennials naturally, and it would be a precious biotope for the diverse floras and faunas. 4. Some furnitures such as stepping stone bridge, wooden bridge and step were installed to the suitable locations for the convenience of users, and it will be ot only the sound stream environment but also easy access to the waterscape. 5. This case study site will be monitored for 3 years systematically after the construction was finished in September, 1999 to get the exact results for the scientific approvement

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Characteristics of Textiles Found in the Pagoda at Naksan Temple (낙산사 공중 사리탑 복장직물의 조형특성 및 시기감정)

  • Cho, Hyo-Sook
    • Journal of the Korean Society of Costume
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    • v.59 no.6
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    • pp.29-40
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    • 2009
  • On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

A Study on the Costume of The Koryo Dynasty(2) -See through by human being, on the written Budist scripture(2)-2 (고려시대 인물관련 제작물을 통해서 본 복식에 관한 연구 (2) -고려시대 인물관련 제작 불화(佛畵) 중 '사경화'를 통해서 본 복식에 관한 연구(2) -평서민 남녀복식을 주로하여)

  • 임명미
    • Journal of the Korean Society of Costume
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    • v.23
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    • pp.211-223
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    • 1994
  • It was aimed to study the costume of Koryo dynasty based upon the one hundred and ten pictures of the writtened Budist scripture. The costume to study were made about 400 years during the King Mok-jong(1006) to the first year of the king Kong-yang based upon the Avatamaka Sutra and the Sutra of the Lotus. 가) Men's wear : 1. Hair style and hair dress : 1) Man bored a hair and put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots, and tied up with a hair ribbon. A kinds of hats were Tung-t'ien-kuan(Yuan-yu-kuan) and Chin-hien-kuan and as a court dress. The man wore pok-여 as an official uniform and wore a pok-du , kun-mo as an everyday dress and wore a helmet as a solidier's uniform. 2. Clothes : 1) They wore Yuan-yu-kuan and Chin-hien -kuan as a court dress, and wore belt, boots, pleated decorated ling skirt also. They wore round shape collor big sleeve jacket, small sleeve long coat, belt , boots as an official dress. 2) the soldiers wore helmet, scarf, yangdang-kap , hung-kap, bak-kap, we-yo-kap, kun-kap and jok-kap and carries arms. 3) The young boys bind his hair up one, two and three angle shape an tied up a hair ribbons. 나) Women's wear : 1. Hair Style and hair dress : high rank ladies made their hair top knot (one, two, or more knots) and tied with hair ribbons , and decorated with precious stone, pan shape head dress , wheel shape head dress. 2. Clothes ; 1) high rank ladie's wore kun -kyun attached jacket , and jacket sleeves decorated pleats and pleats decorated on skirt, apron, back apron, knot belt, scarf.

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A Study on Ethnic look Expressed in Modern Fashion (현대 패션에 나타난 민속풍(Ethnic look)에 관한 연구)

  • 정연자
    • Journal of the Korean Home Economics Association
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    • v.31 no.4
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    • pp.215-229
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    • 1993
  • As a result of making an inquiry into the ethnic look of each region appearing in present-day fashion by Asia. America and Oceania. Africa and Europe as mentioned above, its characteristics could be summarized as follows: Firstly the Asian ethnic look consists of Indian, Chinese and Japanese looks as mainstream. In terms of form, the draped form constituted its mainstream, and both the draped form and the tunic form are appearing Simultaneously in the Chinese look. And in respect to color the Indian look is using luxurious primary colors red, blue, yellow and green and other regions are making overall use of natural colors. With respect to ornament various kinds of ornaments is utilized in Indian's Sari and turban. Chines's Coolie hat, straw hat and embroidery, knotted button, and bead ornament, and Japan's Obi and Obijime, etc. Secondly in America and Oceania, costurme representing the Indian look in North America and the picture of Western pioneer, and the Peruvian, Mexican and chilean ethnic looks in South America were expressing much. Here, the form consistied a draped form as its main strem, such colors as yellow, purple, grey, etc were much utilized, and the material of costume comprised knits, cotton and the like. And the ornament consisted of hats, tassel ornaments, bead ornaments, metal chain belt, long braided hair, etc. Thirdly, the African ethnic look had an exposing form and a draped form, and such colors as black, white, yellow, brown, etc were used as the fashion color. Ornaments such as precious stone, bead ornaments, animal bones, straw metal ornament, etc were used as fashion decorations. Fourthly, Russia's Cossack look, Bulgaria's Bavshika look, spain's ethnic look cane to the fore as the European look Both the draped form and the tunic form were used simultaneously as fashion form. And grey, brown, purple, etc were much used as fashion color in the European look. Such ornaments as Cossack. Bavshka, boots, tassel ornaments were much used and paisley pattern also was used.

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A Study on Incense for Carrying and Decoration Used in Korea (우리나라 패식 향에 관한 연구)

  • Lee, Kyung-Hee;Kwon, Young-Suk
    • Fashion & Textile Research Journal
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    • v.8 no.3
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    • pp.258-268
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    • 2006
  • The purpose of this study is to consider incense culture found in costume and life in forms of carrying and decoration. Here, incense for carrying and decoration is classified into two cases, using it as a costume accessory and life space. Hyangjumony, Hyangnorigae, Hyangjul, Hyangdae and Hyangseonchu were costume accessories. Hyangjumony was not only used for the royal palanguin, but also for bedroom. When Poetic Literature, and other ancient publications were reviewed in regard to incense for carrying and decoration, it was estimated that incense began to be carried for the first time before the late period of Shilla(9C). In addition, it was found that incense was not just a personal taste, but one of important gifts exchanged between states, envoys of different nations and between sovereign and subject and that incense was a necessary costume accessory for men. Types of incense for carrying and decoration used in this nation are classified into Hyangjumony, Hyangnorigae, Hyangjul and Hyangseonchu. Hyangjumony is a fabric pouch that contains incense. Hyangnorigae is Norigae whose main material is incense. Hyangjul is a string to which incense is hanged. Hyangseonchu is Seonchu whose main material is incense. Incense for carrying and decoration was based on five colors that symbolize cosmic order and harmony, of which red and purple were mostly used. Red strongly suggests expelling Yin with Yang, or exorcism. The color gives a strong impression, so it was often used to make a carried incense more decorating. Main materials of incense for carrying and decoration were gold, silver, precious stone and horsehair. They are different in characteristics, but were used appropriately for incense fragrance and decoration. Patterns mainly used for the incense had shapes of animal, plant, sipjangsaeng and letter. These were all auspicious patterns that symbolize human wishes and desires, especially individual and family happiness.

The Literary World of T. Tolstaya (따지야나 똘스따야의 문학세계 - '잃어버린 낙원', 유년으로의 회귀)

  • Lee, Soo Yeon
    • Cross-Cultural Studies
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    • v.23
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    • pp.265-293
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    • 2011
  • This study focused on the literary world of T. Tolstaya, a Russian writer who takes a crucial position in contemporary Russian literature, drawing upon the wrier's a couple of short stories. 'Youth' is a key motive encompassing all works of Tolstaya, so that it becomes the poetic keynote among her literary works. In order to examine such distinctions of the main characters' world awareness in their youth as shown in Tolstaya's literary works, Chapter 2 of this paper paid a special attention to the analyse of her representative works such as "Sitting on a Golden Terracing Stone" and "Meeting with a Bird", and expressed potential implications of youth with mimetic imagination for her. For Tolstaya, youth is perceived as a paradise but original imagination of youth gradually fades away in adult and ends up with a lost paradise. This is why Tolstaya uses poetic means based on nostalgia for youth like paradise and literary motto for recovery of imagination in youth. In this regard, this study particularly examined the retrospective prologue resisting the power of time as well as different fictional characters living in her own fantastic world. As a result, this study draws a conclusion that such longing and nostalgia for youth and lost paradise as delineated by Tolstaya through retrospective prologue and characters speak for an existential speculation that explores any profound implication of afflictions in reality of human life, rather than focusing on the painful reality of human life which consists of honest dialogues with realities like 'darkness' and 'pain.' In addition, this study, complying with Zolotonosov's ideas which deal with and define Tolstaya's literary works as a shabby and humble box invisibly containing a full wealth of precious jewels inside, sheds a new light on the writer's literary world.