• Journal of The Korean Society of Grassland and Forage Science
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• v.31 no.4
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• pp.371-382
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• 2011

The aim of the present study was to investigate the relationship between climates, growth characteristic and yield of silage corn at Hanwoo Experiment Station, National Institute of Animal Science, Daegwallyeong in Gangwon Province located at altitude of 760 m, from 2009 to 2010. The mean minimum temperature was $12.29^{\circ}C$ from seeding to harvest in 2009, $14.30^{\circ}C$ in 2010, the mean maximum temperature was $21.66^{\circ}C$, $23.48^{\circ}C$, respectively. The mean temperature was $16.85^{\circ}C$ in 2009 and $18.55^{\circ}C$ in 2010, respectively. Duration of sunshine was 711.3 hours in 2009 and 663.8 hours in 2010, and precipitation was 893.8 mm in 2009 and 752.1 mm in 2010, respectively. In 2009, for all Kwangpyeongok, Gangdaok, Cheonganok, Cheongsaok, Pyeonganok, the early growth was good with 1.2, while in 2010 the growth for Pyeonganok was good with 1.3 comparing to others, which showed worse growth than in the previous year with 2.4~3.0. There was significant difference in the ear height between 2009 and 2010, showing mean value of 85.8 cm and 105 cm for all the species in 2009 and in 2010, respectively (p<0.001). In 2010, stem diameter for all the species were larger, and there was significant difference in mean value of the diameter between 2009 and 2010 (p<0.001). There was significant difference in the plant height and ear height between 2009 and 2010, showing 200 cm and 258 cm in 2009 and 2010, respectively (p<0.001). There was significant difference in the average days to silk, showing 103.8 days in 2009, 90 days in 2010, respectively (p<0.001). There was no lodging or disease-insect damage in all hybrid silage corn in both 2009 and 2010. The mean ear rates were 23.4% in 2009, but almost doubled, 52.1%, in 2010. There was significant difference in fresh yield between the two years, showing 54,611 kg/ha in 2009 and 78,733 kg/ha in 2010, respectively (p<0.001). Dry matter yields were higher in 2010 than in 2009. TDN yields of Gangdaok and Cheonganok were higher in 2009, whereas that of Cheongsaok and Pyeonganok were higher in 2010. Crude protein contents were higher in 2010 than in 2009 for all the species.

• Journal of the Korean Society of Food Science and Nutrition
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• v.39 no.10
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• pp.1446-1451
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• 2010

Silk sericin protein was hydrolyzed by seven proteolytic enzymes to examine the effectiveness of the hydrolysates to bind iron. The amino acid nitrogen contents of hydrolysates by Flavourzyme were higher than the others enzymes, and its iron binding capacity showed dose-dependent increase. The bioavailability of iron binding peptide from sericin hydolysates was investigated in iron-deficient rats. Three-week-old male rats were fed iron-deficient diet for three weeks. Rats were divided into four groups (DD: no treated group on iron deficient diet, DD+HI: heme-iron treated group, DD+OI: sericin-Fe, and DD+II: inorganic iron ($FeSO_4$) treated group, and then iron supplemented by injection for one week. After oral administration for one week, the iron contents of serum and liver were significantly higher in DD+OI ($4.2\;{\mu}g/mL$ and $80.1\;{\mu}g/mL$) and DD+HI ($3.2\;{\mu}g/mL$ and $70.6\;{\mu}g/mL$) than DD ($2.0\;{\mu}g/mL$ and $47.9\;{\mu}g/mL$). Hemoglobin content of treated groups was significantly higher than DD, but the significant difference among groups was not shown. Aspartate aminotransferase (AST) and alanine aminotransferase (ALT) levels did not show any significant difference among all groups. Binding iron to peptide from sericin hydolysates seems to improve its bioavailability and to hasten the cure of iron deficiency in experimental rat.

• Applied Biological Chemistry
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• v.5
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• pp.7-21
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• 1964

가잠(家蠶)(Bombyx mori)의 잠체(蠶體), 용체 및 견사선(絹絲腺)(후부(後部))에서 phenol법(法)으로 RNA를 추출(抽出)하여 RNA의 nucleotide 조성(組成)(mole ratio)을 살피는 한편, 견사선(絹絲腺)(후부(後部))에서 초원심법(超遠沈法)으로 r-RNA, s-RNA를 분리(分離)하여 이에 대(對)한 nucleotide조성(組成)을 조사(調査)하고 또 가잠견사선(家蠶絹絲腺)과 비교(比較)할 목적(目的)으로 거미 방적선(紡績腺)의 t-RNA를 분리(分離)하여 nucleotide성분(成分)을 측정(測定)하여 다음과 같은 결과(結果)를 얻었다. 1) 잠란(蠶卵)에 있어서 이것을 마수(磨粹), 탈지(脫脂) 후(後) lysozyme을 작용(作用)시키고 10% NaCl용액(溶液)으로 가열(加熱) 추출(抽出)하는 새방법(方法)을 고찰(考察)하여 RNA의 추출(抽出)이 극난(極難)한 잠란(蠶卵)에서 RNA를 분리(分離)하는데 성공(成功)하였다. 2) 가잠란(家蠶卵), 잠체(蠶體), 용체 및 견사선(絹絲腺)(후부(後部))의 t-RNA nucleotide 조성(組成)은 다음과 같다. 시료(試料) $\frac{G+C}{A+U}$ $\frac{G+U}{A+C}$ $\frac{Pu}{Py}$ 가잠란(家蠶卵)의 RNA 1.14 1.24 0.99 가잠체(家蠶體)의 RNA 1.40 1.36 0.80 용체의 RNA 1.40 1.33 1.35 후부견사선(後部絹絲腺)의 RNA 1.05 1.32 1.15 이로서 잠체(蠶體). 용체 및 견사선(絹絲腺)의 Pu/Py는 각각(各各) 차이(差異)가 있으나 G+U/A+C는 3자간(者間)에 1.3의 거이 동일(同一)한 수치(數値)를 보여주고 있다. G+C/A+U는 잠체(蠶體)와 용체에 있어서 동일(同一)하나 견사선(絹絲腺)의 그것과는 차이(差異)가 있다. 한편 잠란(蠶卵)에 있어서는 Pu/Py, G+C/A+U, G+U/A+C가 각각(各各) 잠체(蠶體), 용체 및 견사선(絹絲腺)에 있어서와 현저(顯著)한 차이(差異)를 보여주고 있다. G+C/A+U가 1.3이나 되는 RNA의 base ratio를 가진 생물(生物)에 관(關)해서는 아직 보고(報告)된 바 없고 다만 본논문(本論文)의 가잠(家蠶)에 관(關)한 RNA와 속편(續編)인 각종(各種) 패류(貝類) RNA의 nucleotide 조성(組成)에서 모두 1.3에 가까운 수치(數値)를 보여주고 있다. 3) 견사선(絹絲腺)(후부(後部)) t-RNA와 거미 방적선(紡績腺)의 t-RNA의 nucleotide molar ratio 및 견사선(絹絲腺)의 r-RNA, s-RNA nucleotide 조성(組成)은 다음과 같다. 재료(材料) $\frac{G+C}{A+U}$ $\frac{G+U}{A+C}$ $\frac{Pu}{Py}$ 가잠견사선(家蠶絹絲腺)(후부(後部)의 t-RNA 1.05 1.32 1.15의 r-RNA 1.12 1.30 1.20의 s-RNA 1.55 1.33 0.65 지주방적선(蜘蛛紡績腺)의 t-RNA 1.35 1.24 1.16 즉(卽) 가잠견사선(家蠶絹絲腺)(후부(後部))과 거미방적선(紡績腺)의 t-RNA nucleotide 조성(組成)은 Pu/Py가 1.15와 1.16으로서 거이 동일(同一)하지만 G+C/A+U, G+U/A+C에 차이(差異)가 있음을 보았다. 한편 가잠견사선(家蠶絹絲腺)(후부(後部)) r-RNA와 s-RNA의 Pu/Py와 G+C/A+U는 현저(顯著)한 차이(差異)가 있고, G+U/A+C에 있어서는 1.3으로서 거이 동일(同一)한 수치(數値)를 보여주고 있다. 4. 이상(以上)과 같이 잠체(蠶體)에 관(關)한 RNA의 nucleotide 조성(組成)은 소위(所謂) GC-type로서, 현재(現在)까지 문헌(文獻)에 보고(報告)된 각종(各種) 생물(生物)의 RNA의 base ratio에 관(關)하여 비교(比較) 검토(檢討)하였으며, RNA의 nucleotide ratio의 차이(差異)의 의의(意義)에 대(對)하여 고찰(考察)하였다.

• Journal of Nutrition and Health
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• v.31 no.7
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• pp.1151-1157
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• 1998

Many type II diabetic patients use folk remedies to. treat diabetes in Korea. The physiology, pathology, usage, and prescriptions of folk remedies are not well established, and the effects of those remedies were handed down by word of mouth of experienced persons. Most of these remedies can cause unexpected side effects if consumed in large amounts since patients lack scientific backgrounds and the precise effects as well as the possible side effects have not been proven. The purpose of this survey was to investigate the prevalence of diabetic f31k remedies used by adult diabetic patients who use diet therapy to treat diabetes. This information can be used for a basic scientific approach to diabetic f31k remedies. The results of the survey were as follows : 1) Thiry-nine patients(53.4%) out of a total of 75 patients, answered that they used folk remedies. 2) There were 54 kinds of folk remedies f3r diabetes, and the most popular ones are silk worm powder, red jinseng, silkworm pupa, raw lentils, and cabbage, that to accounted for 97.4% of the experienced group. 3) The most common way to be exposed to folk remedies were recomnendations by friends and relatives, and through the mass communication such as TV, newspaper, magazine. As fir as the effects of the flok remedies goes, 17% answered that they experienced positive effects in controlling blood glucose levels and 5.7% reported negative effects. Moreover, 17.1% answered that they experienced side effects like stomach ache and bloating. 4) The 82.9% of the experienced group answered that they used silkworm powder, which was the most popular one in folk remedies. 5) 75% of the experienced group patients showed positive responses to folk remedies, saying that they will try new folk remedies if introduced. Even 66.7% of inexperienced group showed their interest saying that they will try new folk remedies.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.4-21
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• 2018

This paper reviewed the legitimacy of the name of those sixteen pieces of hat artifacts known in Korean as pyeongjeongmo and currently housed by the National Palace Museum. This was undertaken in order to rectify the error of calling them pyeongjeongmo. Also, the paper suggested pyeongjeongmo's production method to apply representation of the artifacts or production of Joseon officials' hats as representation of ritual costumes in the royal court. The name pyeongjeongmo originated from pyeongjeonggeon. Gyeongguk Daejeon recorded that noksas wore yugak-pyeongjeonggeon and seoris wore mugak-pyeongjeonggeon, but the pyeongjeongmo artifacts housed in the National Palace Museum have been found irrelevant to those pyeongjeonggeons put on by both noksas and seoris. Rather, they has been confirmed as corresponding to dugeon or jogeon worn by byeolgams or suboks who served at the palace of the crown prince or princess. Through the investigation of the artifacts, the researchers could find out the tailoring and sewing methods, the finished look, and the folding manner of pyeongjeonggeon. Although the structure of pyeongjeonggeon was generally consistent, the frontal look was slightly different depending on the folding manner, resulting in three distinguished types of pyeongjeonggeon. Regardless, the pyeongjeongmo was made with one piece of fabric by a flat tailoring and folding method to create a three-dimensional hat. The finished shape appeared low in the front and high in the back side structure. The head girth was 55~59 cm, and the height was 19.4~21.5 cm. To make it with one piece of fabric, the head girth part was tailored in the same direction as the strands. Based on the artifact Changdeok 23820, this paper has also suggested a finished reproduction through the processes of preparing the materials, mounting, making the center ornaments, sewing and folding. The tailoring was completed with black silk fabric which was cut in a unique shape designed in advance, and hemp fabric which was mounted to the former. The top part of the head was finished with black threads, and the center line at the back was fixed with decolored cotton threads by blanket stitches with 3.5~4 cm intervals. Bamboo strands were inserted in the inside of the front-folded part, which then was fixed by patterned stitches with white cotton thread. At the back, a small bamboo clasp was attached so that one can lock it to the headband and prevent it from falling off.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.32-53
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• 2018

The $Sh{\bar{o}}s{\bar{o}}-in$(正倉院) is the detached storage building for Japanese treasures that belongs to $T{\bar{o}}dai-ji$ in Nara, Japan. The reason why $Sh{\bar{o}}s{\bar{o}}-in$ collections are drawing attention is that Japanese artifacts, sculptures, paintings, and other objects that were introduced through the Silk Road, such as Sasanian Persia and India, and those that were introduced from the Unified Silla and Tang China. In addition, hundreds of well-preserved documents of $Sh{\bar{o}}s{\bar{o}}-in$ collections play an important role as a historical reference material covering not only the social situation of the time but also the history of exchange of cultural diplomacy and the change of Buddhist doctrine. In particular, some of collections of $Sh{\bar{o}}s{\bar{o}}-in$ were made in China and may have been imported or received as gifts, but many of the artifacts made in Baekje and Unified Silla are becoming more and more important. This paper examined the research status of $Sh{\bar{o}}s{\bar{o}}-in$ metal crafts of Korean and foreign scholars, and examined the association with the relics of $Sh{\bar{o}}s{\bar{o}}-in$ through metal crafts excavated from the Korean Peninsula. The research on the future direction of $Sh{\bar{o}}s{\bar{o}}-in$ collections should be summarized as follows. 1. Systematization of state-level support and single window for the research of $Sh{\bar{o}}s{\bar{o}}-in$ collections 2. Accurate listing and database of $Sh{\bar{o}}s{\bar{o}}-in$ collections 3. The positive implementation of joint research with Japan and invitation of researchers related to $Sh{\bar{o}}s{\bar{o}}-in$ collections 4. The exchange exhibition between the Korean National Treasures and the $Sh{\bar{o}}s{\bar{o}}-in$ collections 5. Expansion of the research base through the publication and support of books related to $Sh{\bar{o}}s{\bar{o}}-in$ collections.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.48-65
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• 2018

The authors of this paper aim to make a record of the construction process, its symbolic meaning, and the changes in the status of the landscape plants at the Pasanseodang according to the Report on the Pasanseodang written by Park Gyu-hyun in 1874. First, the construction of Samgahun Pavilion, which is located in Myo-ri, Habin-myun, Dalsung-gun, Daegu, took about 90 years and spanned the lifetimes of Park Sungsoo, an 11th-generation descendant of Park Paengnyun (1417~1456) through to Park Kyuhyun, a 14th-generation descendant. It was called the shape of dragon, with its head facing the tail (回龍顧尾形), in feng shui. Second, the village of Pahwoe was founded in 1769, the 45th year of the reign of King Yeongjo, by Park Sungsoo for the purpose of socializing with his friends at his thatched home, and was named after his own courtesy name (Samgahun). Park Kwangseok, the second son of Park Sungsoo, built the sarangchae in 1826 and the anchae in 1869 after his marriage (in 1783). Then, Park Kyuhyun, the grandson of Park Kwangseok, built the pond and planted it with lotus flowers, and built the Hayeopjeong in 1874. The Pasanseodang, as the precursor of the Hayeopjeong, may be related with the name of the hillside region behind Samgahun. Third, a quadrangular-shaped pond with a length of 21m and a width of 15m was also built and planted with lotus flowers. In the center of the pond is a small round island that reflects the world view of the Chosun dynasty, i.e. that the sky is round and the landmass is quadrangular. Meanwhile, the name of the Hayeopjeon reflects the value system of aristocrats who lived a life of leisure and artistic indulgence. They called the eastern room "Yeeyeonhun" (怡燕軒) and the western room "Mongyangjae" (蒙養齋), names which embody their wishes for a good life as a member of the nobility and a bright future for one's descendants. Fourth, in Confucian terms, the authors infer the points of view reflected in the kinds of trees that were planted according to Confucian norms (pine tree, lotus, bamboo), the living philosophy of sustainability (willow), the ideology of seclusion and the search for peace of mind (bamboo), and relief efforts for the poor and a life of practicality (chestnut, oak, wild walnut, lacquer). The authors assert that this way of planting trees was a highly effective design feature of landscape architecture that drew on the locational and symbolic significance of the Seodang. Fifth, the majority of the trees that were initially planted withered and were replaced with different species, except for the locust and lotus, at this point. Nevertheless, a review of the process of construction, symbolic meaning, and original architectural landscape of the Samgahun is of value in demonstrating the extended symbolic meaning of their descendants in terms of the practical loss of the function of the Seodang, the values of Feng Sui (red in the east, white in the west, based on the principles of Feng Sui), the function of repelling evils spirits (kalopanax, trifoliate orange), aesthetic and practical values (sweetbrier, apricot, pear, peach, and oriental oak trees), and the prosperity of the family and the timeless value of honest poverty (silk, crape myrtle, and yew trees).

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• 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.