• Korean Journal of Soil Science and Fertilizer
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• v.31 no.1
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• pp.25-32
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• 1998

To characterize the growth environment, inorganic composition and morphological chracteristics of leaves of Korean tea plant, soil and tea leaf samples were collected from 15 locations and analyzed. The chemical characteristics of soils were in range of pH 4.09~6.15, OM 23.9~72.6g/kg, available phosphate less than 300mg/kg, K $0.8{\sim}2.5cmol^+/kg$, Na $tr{\sim}0.17cmol^+/kg$, Ca $1.0{\sim}6.2cmol^+/kg$, and Mg $0.3{\sim}2.1cmol^+/kg$. The contents of Ni. Cr, Zn. Cu, Pb, and Cd were at the level less than natural content in upland soil. Most of the sample soils were sandy loamy and loamy texture. The native tea plants were mainly grown in bamboo thicket or in forest. The leaf sizes of tea plants were $6.85{\pm}1.75{\times}2.6{\pm}0.5cm$, lateral vein number $14.2{\pm}2.7$, and crenated number $58.5{\pm}11.2$, and the leaf color was thin to dark green. The contents of $NH_4{^+}$, $Na^+$, $K^+$, $Mg^{2+}$ and $Ca^{2+}$ in tea leaves were in range of 30.5~47.7, 45.5~164.5, 16,998~25,431, 1.590~2,392 and 1,085~1,958mg/kg, respectively. The contents of $F^-$, $Cl^-$, $NO_3{^-}$, $PO_4{^{3-}}$ and $SO_4{^{2-}}$ were in range of 21.2~63.2, 126.4~257.9, 108.5~185.9, 1,270~1.819, and $954{\sim}1,670mg/kg$, respectively. The leaf size of native tea plant grown widlly in Shunchun Changchun-ri, Hwasun Ssangbongsa, Kuryoi Chonunsa, Bosong Daewonsa and Namhae Boriam was as large as those of Yabukita. Japan cultiver, grown at Kangjin Jangwon tea field.

• Korean Journal of Remote Sensing
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• v.37 no.6_2
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• pp.1829-1836
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• 2021

Cloud detection means determining the presence or absence of clouds in a pixel in a satellite image, and acts as an important factor affecting the utility and accuracy of the satellite image. In this study, among the satellites of various advanced organizations that provide cloud detection data, we intend to perform quantitative and qualitative comparative analysis on the difference between the cloud detection data of GK-2A/AMI, Terra/MODIS, and Suomi-NPP/VIIRS. As a result of quantitative comparison, the Proportion Correct (PC) index values in January were 74.16% for GK-2A & MODIS, 75.39% for GK-2A & VIIRS, and 87.35% for GK-2A & MODIS in April, and GK-2A & VIIRS showed that 87.71% of clouds were detected in April compared to January without much difference by satellite. As for the qualitative comparison results, when compared with RGB images, it was confirmed that the results corresponding to April rather than January detected clouds better than the previous quantitative results. However, if thin clouds or snow cover exist, each satellite were some differences in the cloud detection results.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.

• Korean Journal of Breeding Science
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• v.42 no.1
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• pp.75-86
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• 2010

End-use properties of 26 Korean wheat cultivars (KWC) were evaluated to assess consumer satisfaction with 6 imported wheat and 5 commercial wheat flours. In end-use quality testing of cooked noodles, Absorption of noodle dough sheet of ASW (Australian standard white) was similar to Anbaek, Eunpa, Gobun, Hanbaek, Jeokjoong, Jonong, Namhae, and Sukang. Thickness of noodle dough sheet of KWC was showed thin difference. In imported wheat and commercial flour, Commercial flour for baking cookie (Com5) with lower protein flour was lower than those flours. In lightness of prepared noodle dough sheet, Lightness value ($L^*$) of KWC was lower than those of Commercial flour for making white salted noodle (Com1), commercial flour for making for yellow alkaline noodle (Com2), and commercial flour for multi-purpose (Com4). Lightness value ($L^*$) showed significantly negative correlations with particle size of flour, ash, damaged starch, and protein content. Hardness of cooked noodles positively correlated with protein content. In texture of cooked noodles, Hardness of Com1 was similar to that of Alchan, Dahong, Jeokjoon, and Sukang. Also, hardness of Com2 was similar to that of Gobun, Jokyung, Jonong, Keumkang, and Namhae. In end-use quality of bread, bread loaf volume of commercial flour for making bread (Com3) was similar to Alchan, Jokyung, Keumkang, and Namhae but firmness was low. Bread volume showed better relationships with higher SDS-sedimentation volume, longer mixing time of mixograph, higher height of dough during development. Firmness of crumb was negatively correlated with bread volume. Diameter of cookie showed significantly negative correlations with particle size of flour, damaged starch, and protein content. Also, Top gain score became higher as the increase diameter of cookie. In end-use quality testing of cooked cookie, Cookie diameter of Com5 was similar to that of Dahong, Geuru, Olgeuru, Tapdong, and Uri but top grain was low.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.4-21
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• 2019

In this paper, 23 Silla gold earrings from the sixth and seventhand centuries, excavated from the Yeongnam region, were analyzed. Based on the silver content of the gold plate, they were classified into three types. The classifications included type I(20-50wt%), type II(10-20wt%) and type III (less than 10wt%). In the analysis process, the composition and morphological differences were identified on the surface of the gold plate. In the case of type I and II earrings, it was observed that the fine holes were concentrated in a relatively higher part of the gold content. The causes of the difference in the surface composition of the gold plate were divided into four categories: 1) surface treatment, 2) thermal diffusivity in the manufacturing process, 3) differences in composition of alluvial gold, and 4) the refining method of gold. It is possible that depletion gilding was attempted to increase the gold content while intentionally removing the other metals from the surface of the gold alloy in the portion where the gold deposit is relatively concentrated on the surface of the gold plating. The highest copper content was detected in the earring with the highest gold content of the analyzed earrings, and it was assumed that thermal diffusion had occurred between the gold plate and the metal rod during the manufacturing process rather than intentional addition. Copper was detected only in the thin ring earring type, and copper was not detected in the thick ring earring type or pendant type. It also proves that this earring has a high degree of tightness at higher temperatures, as there was an invisible edge finish on other earrings and horizontal wrinkles on the gold plate surface. In terms of the material of the gold plate, we examined whether the silver content of the gold plate was natural gold or added by alloy through analyzing the alluvial gold collected in the region. As a result of the analysis, it was found that on average about 13wt% of silver is included. This suggests that type II is natural gold, type III is refined gold, and type I seems to have been alloyed with natural gold. Here, we investigated the refining method introduced in the ancient literature, both at home and abroad, about the possibility of alloying silver after the refining process of type III earrings and then making pure gold. It was found that from ancient refining methods, silver which had been present in the natural gold was removed by reacting and combining with silver chloride or silver sulfide, and long-term efforts and techniques were required to obtain pure gold through this method. Therefore, it was concluded that the possibility of adding a small amount of silver in order to increase strength after making pure gold through a refining process is low.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.64 no.1
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• pp.40-47
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• 2019

This study was conducted to investigate the effect of planting density on plant growth, yield, and quality in the sweet sorghum cultivar 'Chorong' (Sorghum bicolor (L.) Moench). Plants were cultivated at densities of 16.7, 11.1, 8.3, 6.7, and $5.6plants{\cdot}m^{-2}$. Factors related to yield and yield components were analyzed using correlation and multivariate analyses. There was no significant difference among plant densities in stem length from 20 to 110 days after sowing. But the stem diameter was thin, and a decrease in number of tillers occurred more rapidly as planting density increased. At harvest, juice and sugar yield were higher at densities of 16.7 (42.9, $4.16Mg{\cdot}ha^{-1}$, respectively) and 11.1 (37.1, $3.73Mg{\cdot}ha^{-1}$) $plants{\cdot}m^{-2}$ than at 8.3 (30.5, $2.96Mg{\cdot}ha^{-1}$), 6.7 (26.6, $2.41Mg{\cdot}ha^{-1}$), and 5.6 (24.7, $2.22Mg{\cdot}ha^{-1}$) $plants{\cdot}m^{-2}$. The soluble solids and total sugar contents were not different among treatments, but relatively high values were observed at the density of 11.1 and $8.3plants{\cdot}m^{-2}$. As plant density was increased from 5.6 to $11.1plants{\cdot}m^{-2}$, the lodging index (1 = no, 9 = lodging) increased rapidly from 2.00 to 6.33. To determine the optimal planting density, the number of typhoons and topographical characteristics should be considered. Correlation and principal components analyses revealed that plant density exhibited a positive relationship with fresh stem yield ($r=0.62^{**}$), dry stem yield ($r=0.58^{**}$), juice ($r=0.63^{**}$), and sugar yield ($r=0.66^{**}$), but a negative with stem diameter ($r=-0.65^{**}$). The yield factors were not statistically related to stem height, diameter, and number of nodes.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• The Journal of the Petrological Society of Korea
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• v.28 no.3
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• pp.157-169
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• 2019

Pseudotachylytes, produced by frictional heating during seismic slip, provide information that is critical to understanding the physics of earthquakes. We report the results of occurrence, structural characteristics, scanning electron microscopic observation and geochemical analysis of pseudotachylytes, which is presumed to have formed after the Late Cretaceous in outcrops of the Paleoproterozoic granitic gneiss on the Bulil waterfall of the Jirisan area, Yeongnam massif, Korea. Fault rocks, which are the products of brittle deformation under the same shear stress regime in the study area, are classified as pseudotachylyte and foliated cataclasite. The occurrences of pseudotachylyte identified on the basis of thickness and morphology are fault vein-type and injection vein-type pseudotachylyte. A number of fault vein-type pseudotachylytes occur as thin (as thick as 2 cm) layers generated on the fault plane, and are cutting general foliation and sheared foliation developed in granitic gneiss. Smaller injection vein-type pseudotachylytes are found along the fault vein-type pseudotachylytes, and appear in a variety of shapes based on field occurrence and vein geometry. At a first glance fault vein-type seudotachylyte looks like a mafic vein, but it has a chemical composition almost identical to the wall rock of granitic gneiss. Also, it has many subrounded clasts which consist predominantly of quartz, feldspar, biotite and secondary minerals including clay minerals, calcite and glassy materials. Embayed clasts, phenocryst with reaction rim, oxide droplets, amygdules, and flow structures are also observed. All of these evidences indicate the pseudotachylyte formed due to frictional melting of the wall rock minerals during fault slip related to strong seismic faulting events in the shallow depth of low temperature-low pressure. Further studies will be conducted to determine the age and mechanical aspect of the pseudotachylyte formation.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.39 no.4
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• pp.513-521
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• 2019

The purpose of this research is to find out the preference of users on the characteristics of the subway sign blank. In detail, The purpose is to introduce the concept of designing various characteristics of the subway sign blank according to characteristics such as gender and age, etc. The methodology of this study is to investigate the preference of the characteristics of the characteristics of the subway sign blank space and analyze the preference of the whole group and the cluster group. A survey was conducted to investigate preferences. A cluster analysis was conducted to analyze the preferences. And a demographic and conjoint analysis was conducted for whole group and the cluster group. The attributes of the subway sign blank space for preference survey are as follow : top and bottom blank, side blank, border line blank, arrow thickness, 'station name' and 'line number' order. The results of the preference analysis are as follows. The importance of the attributes in the whole group is shown in the order of the border line blank, 'station name' and 'line number' blank, side blank, top and bottom blank, and arrow thickness. The cluster group is composed of 3 groups, 1 cluster is a woman who uses the subway almost every day, three to four times a week, and seems to prefer half the side blank. 2 crowd is the user who thinks that 60 or more subway signs are uncomfortable, and preferring the order of 'station name' + 'line number' order without border. The 3 clusters were men in their 20s and 30s, with a preference for 1/5 border line blank and thin arrow thickness. The conclusion is as follows. First, the characteristics of the subway sign blank must be designed consistently. However, it is necessary to consider various factors according to gender, age, and frequency of subway use for specific regions or routes. Secondly, It has been shown that, depending on the specific area or route, it is possible to design two or more types of design, not one type of standardized marking of the characteristics of the subway sign blank.