• Journal of the Korean Society of Costume
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• v.30
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.

• Korean Journal of Breeding Science
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• v.41 no.2
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• pp.158-162
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• 2009

"Wonkwang" is a new sprout-soybean cultivar developed from the cross between Danyeobkong and MS91001 at the Honam Agricultural Research Institute (HARI) and National Institute of Crop Science (NICS), RDA, in 2007. The preliminary, advanced and regional yield trials to evaluate the performance of Iksan 56 were carried out from 2003 to 2007. This cultivar has a determinate growth habit, purple flower, grayish brown pubescence, yellow seed coat, Grayish brown hilum, lanceolate leaflet shape and small seed size (10.9 g/100 seeds). The maturity date of "Wonkwang" is three days later than the check variety, "Pungsan". It has a good seed quality for soybean-sprout and resistance to lodging. The soybean-sprouts grown from "Wonkwang" have high isoflavone ($3,481{\mu}g/g$)contents. This cultivar has resistance to soybean mosaic virus (SMV) and necrotic symptom (SMV-N) and other most troublesome soybean diseases which are bacterial pustule and black root rot. The grain yield of "Wonkwang"in the regional yield trials (RYT) for 3 consecutive years was averaged 3.05 ton per hectare, which was 8% higher than that of the check cultivar "Pungsan".

• The Korean Journal of Mycology
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• v.42 no.1
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• pp.57-63
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• 2014

This study was carried out to obtain morphological and physiological characteristics of ear mushrooms for an artificial cultivation. Eighteen strains were cultivated with bag culture and classified into mainly five groups such as brown, black, white, purple and others group. The highest yield was shown in 43007 strain as 98.3 g/bag and 43009, 43016, 43025 and 44035 strains were more than 60 g/bag. Among collected strains, 43007, 43009 and 43035 were selected in this study as superior strains. Three selected strains were investigated for optimal mycelial growth conditions. MCM and GPYM media were selected for the favorable culture medium. The carbon sources of 43007, 43009 and 43035 on mycelial growth were maltose, fructose and glucose, respectively and peptone was selected as a nitrogen source. Highest mycelial growth was observed when the C/N ratio was 10 for 43007 and 20 for 43009 and 43035.

• Trans-
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• v.11
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• pp.119-142
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• 2021

Video was a cultural practice based on image. The audience longs to experience new things, not everyday things through by video images. There are many components of the image, but among them, color, a visual representation, plays a big role. Since the advent of color films, color has constantly evolved as an important component of visual art and has become an important role in innovative visual art design. According to film history data, filmmakers were interested in color since the film was created in 1895, but in the early stages of film development, film colors were only black and white. Because these two colors no longer satisfy viewers, more natural colors began to emerge from the film as it was colored. However, with the development of historical paintings, the lack of artistic creation and the public's level increased, making people more active in using colors because simple reproduction of natural colors alone does not satisfy people. The colors in the video are both techniques of expression and can be understood by mind and thought. It is also an indication that colors do not just exist, but they work strongly on human psychology. Now people are so motivated by repetitive and unimportant information that they find that the human intuitive system simplifies the information they receive unconsciously that they have certain customs and characteristics when they see things. Color is part of the film language, or color language can express the film's ideological themes or portray vivid characters in the film, and people are receiving more intuitive messages. This study analyzed the basic color components of bisexual lighting, namely, pink, blue, and purple, and analyzed how human psychology is affected through color, combining the scenes from the video. The purpose of this paper is to explore what color language bisexual lighting is expressed using color properties in images and how bisexual lighting interacts with human psychology through color.

• 보존과학연구
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• s.28
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• pp.121-147
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• 2007

A large variety of mineral pigments has been used for Korean paintings and it has known that organic pigments have been used together on the Buddhist painting and the portrait. Haehakbando-do, which is from Honolulu Academy Museum in the United States, 12-fold screen was commissioned by Court of the late Joseon Dynasty in order to pray for the King's longevity. Therefore, it seems that all material used including pigments were selected very carefully and a great deal of technical effort was gone into its process. The purposes of this research were to estimate the pigments and the contributory elements of each color used on Haehakbando-do, in accordance with the conservation treatment carried out by Gochang Conservation Institute throughout last year. Without extracting sample, property of pigment was measured by nondestructive method, X-ray spectral analysis, and by comparing with the data about ancient pigments. In spite of the limited range of pigment analysis by nondestructive method, it should be noted that this method would not cause damage to the cultural properites. White pigment was found in all colored parts except the background, so it can be suggested that white color was used as a grounding of other color pigments. This would be flake white[$2PbCO_3{\cdot}Pb(OH)_2$] as Pb was found. Pb was the only element could be found in yellow, however, it can be organic pigment like Gamboge as same as background. Red would be Cinnabar (HgS) as hydrargyrum (Hg) was detected. For the light purple in cloud, organic pigments were probably used since any element is not detected except for Pb, which is used for background. It is possible that green color is the mixture of Malachite[$CuCO_3{\cdot}Cu(OH)_2$] and Azurite [$2CuCO_3{\cdot}Cu(OH)_2$], which share Cu as their main element. Azurite[$2CuCO_3{\cdot}Cu(OH)_2$] was used for bluish pigments. Black is carbon compound. For gold, solid gold (Au) was detected. It shows that gold was gilded on the flake white background. Red painted on the frame of screen was identified as Cinnabar (HgS) and the gold pattern was solid gold (Au). The supporting leg of folding screen was made of brass because both copper and zinc were detected. In conclusion, white pigment was used as grounding of all colors of Haehakbando-do, and specific pigments were used for each color. Additionally, result from the analysis of several pigments shows that mineral pigment and organic pigment, or different mineral pigments were mixed to make various colors.

• Korean Journal of Plant Resources
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• v.32 no.5
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• pp.486-498
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• 2019

This study was conducted to investigate the leaf growth and flowering characteristics of 85 Hosta cultivars. The 85 cultivars were grown in a pot in Useful Plant Resources Center in Yangpyeong, Korea. H. 'Abiqua Blue Crinkles', H. 'Abiqua Drinking Gourd', H. 'Dancing in the Rain', H. 'Elegance', H. 'Inniswood', and H. 'Venus' were classified as a large size group (> 50 cm), while 27 cultivars including H. 'Abby', H. 'Birchwood Parky's Gold', H. 'Blue Cadet', and H. 'Blue Edge' were classified as a small size group (< 20 cm). The others were classified as a medium size groups. 79% of Hosta cultivars had leaf variegation. Leaf variegation type was divided into 5 types (standard, marginata, mediovarigata, albomaculata, striata). Among them 31 cultivars including H. 'Abby', H. 'Abiqua Moonbeam', and H. 'Atlantis' has a variegation type of marginata in the leaf. 36 cultivars including H. 'Abby', H. 'Abiqua Drinking Gourd', and H.'Abiqua Moonbeam' bloomed in late May and 9 cultivars including H. 'Black Hills', H. 'Boeun', and H. 'Fragrant Bouquet' started to flower on late August. Most flowers were below 3.0 cm in length, while H. 'Avocado' was longest on 10.0 cm. Most flowers have a lavender color group (63.5%), and 14 cultivars of Hosta showed white color group (16.5%). 12 cultivars including H. 'Blue Mouse Ears', H. 'Captain Kirk', and H. 'Fragrant Bouquet' had the fragrance in their flowers. H. 'Cherry Berry' and H. 'Revolution' had a colorful stalk, red and yellow, respectively.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.58 no.1
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• pp.1-7
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• 2013

The purpose of this study was to provide basic information for breeding cowpeas (Vigna unguiculata L.) by investigating the crop characteristics of 245 accessions of cowpea collected in Korea and abroad. All specimens flowered within 41 to 50 days (51.5%) or 51 to 60 days (43.7%) of sowing and matured 21 to 30 days (53.9%) or 31 to 40 days (23.7%) from flowering. Thus, the total time from sowing to maturity was either 71 to 80 days (26.9%) or 81 to 90 days (23.4%) for all specimens. The accessions were classified into indeterminate type (72.7%), intermediate type (25.7%) and determinate type (1.6%) based on growth; prostrate type (78.8%) and erect type (21.2%) based on plant type; heart shape (98.4%) and lanceolate (1.6%) based on leaflet shape; and purple (85.2%), white (13.6%) and light green (1.2%) based on corolla color. The accessions were classified into brown (54.7%) and yellowish brown (37.6%) based on color at pod maturity; and downward (90.6%), middle (5.7%) and standing upright (3.7%) based on pod setting position. Seed coat color varied as 25.3% were brown, 23.3% were black, and 20.8% were white. Seed shape also varied as 66.9% were egg-shaped, 24.9% were rectangular and 8.2% were kidney-shaped. Pod lengths ranged from 10.1-20.0 cm and from 20.1-30.0 cm in 89.0% and 8.6% of specimens, respectively. There were 12.1-15.0, 9.1-12.0, and 15.1-18.0 seeds per pod in 62.0%, 25.7% and 9.1% of specimens, respectively. The weight of one hundred seeds ranged from 15.1-20.0 g (37.6%) and 10.1-15.0 g (28.6%). Seed yields per plant were 100.1-200.0 g (52.7%), less than 100 g (22.9%), and 200.1-300.0 g (15.9%). The starch content in the seeds of the seven selected resources ranged from 44.1 to 57.0% while the protein content ranged from 23.3 to 27.5% with significant differences. The sucrose content ranged from 1.46 to 2.03%, also with significant differences.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Korean Journal of Organic Agriculture
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• v.19 no.3
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• pp.357-372
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• 2011

We carried out the experiment to select the suitable sprout soybean varieties for environment-friendly cultivation in paddy field of southern part area, compares of excess moisture injury degree and yield ability among 29 sprout soybean varieties. Plant growth of sprout soybean was generally low in beginning and recovered after flowering due to rainfall. In paddy field cultivation, number of pod per individual and number of seed per individual were less in difference than upland cultivation, and maturing date was delayed 5-14 days than upland cultivation in most species. When environment-friendly cultivation, pest injury was not caused major problem for the growth during the vegetative period of soybean due to ground spider as natural enemy to insect pest. However, damage of stink bugs showed severe during grain filling period, and Dawonkong, Anpyeongkong, Dachaekong and Wonhwangkong showed susceptible to sting bug. SMV infection was weak and showed some necrosis symptoms in Sokangkong, but black root rot was not infected at all. Bacterial pustule began to be infected slowly from pod enlargement stage in most species, displayed severe symptoms in Dawonkong, Pungsannamulkong, Seonamkong and Sobaeknamulkong. The symptoms of pod anthracnose, pod blight and purple spot were greatly appeared after flowering. Disease resistance varieties was Paldokong, Kwangankong, Doremikong, Somyeongkong, Pungsannamulkong, Iksa-namulkong, Seonamkong, Sojinkong, Pureunkong, Bosugkong, Namhaekong and Sorokkong. Lodging index showed 3 in Saebyeolkong, and other species displayed slight lodging in 0-3 degree. 100-seed weight is 9.8-17.2g extent and increased 0.1-3.7g than upland cultivation in most species, but decreased in some species. Government purchase standard, species correspond to small-seed-size namulkong (Sizing screen diameter 4.0-5.6 mm) was Dawonkong, Dachaekong, Bosugkong, Seonamkong, Sokangkong, Hannamkong, Somyeongkong and Wonhwangkong. Species which seed yield was higher than Pungsannamulkong (266kg/10a) were Sorokkong, Hannamkong, Bosugkong and Sowonkong. Considering sprout soybean species, disease endurance, insect resistance, lodging resistance, 100-seed weight, yield ability and excess moisture tolerances synthetically, Seonamkong, Hannamkong, Doremikong, Bosugkong, Pungwonkong, Kwangankong, Sowonkong, Dagikong, Paldokong, Eunhakong and Pungsannamulkong were promising for environment-friendly cultivation in paddy field.