• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.53-62
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• 2009

Through the result of the investigation on costumes in Bulgarian regions, the main factors for the formation of Bulgarian folk costume and its kinds and history have been found out so far as follows. Alhtough varying according to the district and climate, Bulgarian folk costumes have some general features determined by the material, the pattern, the application. For women, Bulgarian costume consists of a white shirt, a single or double apron unique depending on each region(Bruchnick), a basic dress called a tunic (Soukman), and an open-tunic typed coat (saya). The main factors for the formation of Bulgarian folk costume have been under the influence of natural and environmental features and historical streams resulting from its geographical location. Bulgaria is agriculture-oriented society based on a continental climate. Accordingly, as for the classification of costumes, body-fit clothes, such as shirts and jackets which developed in Europe and fit the body shape, have featured in Bulgaria. Besides, Bulgaria was under the rule of Turk for a long time at the end of the Middle Age. Having been influenced a lot those days, its folk costume shows Turkish elements now. With geographical features, it was found that the southern area was influenced most by Turkey and Greece, and the types of folk costumes in Europe developed mainly from the northern area. The adaptation of traditional costume forms to the new cultural and progressive principles of appeal nowadays needs knowledge, as well as feeling. Finding the right measure and proportions of using old ethnic elemints in contemporary clothing is the prerequisite of successful design.

• The Plant Pathology Journal
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• v.36 no.6
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• pp.618-627
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• 2020

Although limited progress have been made about pathogen system of Hibiscus rosa-sinensis and Hibiscus latent Fort Pierce virus (HLFPV), interaction between plant host and pathogen remain largely unknown, which led to deficiency of effective measures to control disease of hibiscus plants caused by HLFPV. In this study, infection of HLFPV in Hibiscus rosa-sinensis was firstly confirmed for the first time by traditional electron microscopy, modern reverse transcription polymerase chain reaction and RNA-seq methods in China (HLFPV-Ch). Sequence properties analyzing suggested that the full-length sequences (6,465 nt) of HLFPV-Ch had a high sequence identity and a similar genomic structure with other tobamoviruses. It includes a 5'-terminal untranslated region (UTR), followed by four open reading frames encoding for a 128.5-kDa replicase, a 186.5-kDa polymerase, a 31-kDa movement protein, 17.6-kDa coat protein, and the last a 3'-terminal UTR. Furthermore, HLFPV-Ch-derived virus-derived siRNAs (vsiRNAs) ant its putative target genes, reported also for the first time, were identified and characterized from disease Hibiscus rosa-sinensis through sRNA-seq and Patmatch server to investigate the interaction in this pathogen systems. HLFPV-Ch-derived vsiRNAs demonstrated several general and specific characteristics. Gene Ontology classification revealed predicted target genes by vsiRNAs are involved in abroad range of cellular component, molecular function and biological processes. Taken together, for first time, our results certified the HLFPV infection in China and provide an insight into interaction between HLFPV and Hibiscus rosa-sinensis.

• Journal of Microbiology and Biotechnology
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• v.31 no.8
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• pp.1088-1097
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• 2021

Grouper nervous necrosis virus (GNNV) infection causes mass grouper mortality, leading to substantial economic loss in Taiwan. Traditional methods of controlling GNNV infections involve the challenge of controlling disinfectant doses; low doses are ineffective, whereas high doses may cause environmental damage. Identifying potential methods to safely control GNNV infection to prevent viral outbreaks is essential. We engineered a virus-binding bacterium expressing a myxovirus resistance (Mx) protein on its surface for GNNV removal from phosphate-buffered saline (PBS), thus increasing the survival of grouper fin (GF-1) cells. We fused the grouper Mx protein (which recognizes and binds to the coat protein of GNNV) to the C-terminus of outer membrane lipoprotein A (lpp-Mx) and to the N-terminus of a bacterial autotransporter adhesin (Mx-AIDA); these constructs were expressed on the surfaces of Escherichia coli BL21 (BL21/lpp-Mx and BL21/Mx-AIDA). We examined bacterial surface expression capacity and GNNV binding activity through enzyme-linked immunosorbent assay; we also evaluated the GNNV removal efficacy of the bacteria and viral cytotoxicity after bacterial adsorption treatment. Although both constructs were successfully expressed, only BL21/lpp-Mx exhibited GNNV binding activity; BL21/lpp-Mx cells removed GNNV and protected GF-1 cells from GNNV infection more efficiently. Moreover, salinity affected the GNNV removal efficacy of BL21/lpp-Mx. Thus, our GNNV-binding bacterium is an efficient microparticle for removing GNNV from 10‰ brackish water and for preventing GNNV infection in groupers.

• Journal of the Korean Society of Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.61-72
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• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• Journal of Life Science
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• v.28 no.4
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• pp.454-464
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• 2018

Black soybeans are used as food sources as well as for traditional medicines because they contain an abundance of natural phenolic compounds. In this study, total phenolic contents (TPCs) of Korean black seed coat soybean varieties Socheongja (SCJ), Socheong 2 (SC2) and Cheongja 2 (CJ2) as well as their antioxidant capacities were investigated. Among them, TPCs were abundantly present in the order of CJ2$H_2O_2$-stimulated HaCaT human keratinocytes. Our results revealed that treatment with SCJ and SC2 prior to $H_2O_2$ exposure significantly increases the viability of HaCaT cells, indicating that the exposure of HaCaT cells to SCJ and SC2 conferred a protective effect against oxidative stress. SCJ and SC2 also effectively inhibited $H_2O_2$-induced apoptotic cell death through the blocking of mitochondrial dysfunction. SCJ and SC2 also attenuated the phosphorylation of Histone H2AX. Furthermore, they effectively induced the levels of thioredoxin reductase (TrxR) 1, a potent antioxidant enzyme, which is associated with the induction of nuclear transcription factor erythroid-2-like factor 2 (Nrf2); however, the protective effects of SCJ and SC2 were significantly reversed by Auranofin, a TrxR inhibitor. These results indicate that they have protective activity through the blocking of cellular damage related to oxidative stress via the Nrf2 signaling pathway. In conclusion, our study indicated that SCJ and SC2 might potentially serve as novel agents for the treatment and prevention of skin disorders caused by oxidative stress.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.47
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• pp.63-94
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• 2002

On the purpose to suggest an advanced scheme in assessing the domestic wheat quality, this paper reviewed the inspection systems of wheat in major wheat producing countries as well as the quality criteria which are being used in wheat grading and classification. Most wheat producing countries are adopting both classifications of class and grade to provide an objective evaluation and an official certification to their wheat. There are two main purposes in the wheat classification. The first objectives of classification is to match the wheat with market requirements to maximize market opportunities and returns to growers. The second is to ensure that payments to glowers aye made on the basis of the quality and condition of the grain delivered. Wheat classes has been assigned based on the combination of cultivation area, seed-coat color, kernel and varietal characteristics that are distinctive. Most reputable wheat marketers also employ a similar approach, whereby varieties of a particular type are grouped together, designed by seed coat colour, grain hardness, physical dough properties, and sometimes more precise specification such as starch quality, all of which are genetically inherited characteristics. This classification in simplistic terms is the categorization of a wheat variety into a commercial type or style of wheat that is recognizable for its end use capabilities. All varieties registered in a class are required to have a similar end-use performance that the shipment be consistent in processing quality, cargo to cargo and year to year, Grain inspectors have historically determined wheat classes according to visual kernel characteristics associated with traditional wheat varieties. As well, any new wheat variety must not conflict with the visual distinguishability rule that is used to separate wheats of different classes. Some varieties may possess characteristics of two or more classes. Therefore, knowledge of distinct varietal characteristics is necessary in making class determinations. The grading system sets maximum tolerance levels for a range of characteristics that ensure functionality and freedom from deleterious factors. Tests for the grading of wheat include such factors as plumpness, soundness, cleanliness, purity of type and general condition. Plumpness is measured by test weight. Soundness is indicated by the absence or presence of musty, sour or commercially objectionable foreign odors and by the percentage of damaged kernels that ave present in the wheat. Cleanliness is measured by determining the presence of foreign material after dockage has been removed. Purity of class is measured by classification of wheats in the test sample and by limitation for admixtures of different classes of wheat. Moisture does not influence the numerical grade. However, it is determined on all shipments and reported on the official certificate. U.S. wheat is divided into eight classes based on color, kernel Hardness and varietal characteristics. The classes are Durum, Hard Red Spring, Hard Red Winter, Soft Red Winter, Hard White, soft White, Unclassed and Mixed. Among them, Hard Red Spring wheat, Durum wheat, and Soft White wheat are further divided into three subclasses, respectively. Each class or subclass is divided into five U.S. numerical grades and U.S. Sample grade. Special grades are provided to emphasize special qualities or conditions affecting the value of wheat and are added to and made a part of the grade designation. Canadian wheat is also divided into fourteen classes based on cultivation area, color, kernel hardness and varietal characteristics. The classes have 2-5 numerical grades, a feed grade and sample grades depending on class and grading tolerance. The Canadian grading system is based mainly on visual evaluation, and it works based on the kernel visual distinguishability concept. The Australian wheat is classified based on geographical and quality differentiation. The wheat grown in Australia is predominantly white grained. There are commonly up to 20 different segregations of wheat in a given season. Each variety grown is assigned a category and a growing areas. The state governments in Australia, in cooperation with the Australian Wheat Board(AWB), issue receival standards and dockage schedules annually that list grade specifications and tolerances for Australian wheat. AWB is managing "Golden Rewards" which is designed to provide pricing accuracy and market signals for Australia's grain growers. Continuous payment scales for protein content from 6 to 16% and screenings levels from 0 to 10% based on varietal classification are presented by the Golden Rewards, and the active payment scales and prices can change with market movements.movements.

• Journal of Yeungnam Medical Science
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• v.13 no.2
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• pp.324-346
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• 1996

A survey was conducted to study attitudes of physician, nurse and patient towards physician's and nurse's uniform, from March 1 to March 31, 1996. The study population was 130 physicians and 147 nurses engaged in Yeungnam University Medical Center and 211 inpatients of Yeungnam University Medical Center. A questionnaire method was used to collect data. The following are summaries of findings: In the respect of physician's uniform, both physicians and nurses preferred other type of gown to the traditional coat-typed one and especially, nurses preferred more than physicians. Patients showed no difference in the preference of the traditional one and other form of gown as a whole but those who had higher educational level preferred other form of gown(p<0.01). Regarding the color of physician's gown, 73.6% of physicians and nurses liked white color, and 86.3% of the patients also liked the white color. Male physicians preferred the white color more than female physicians and nurses(p<0.01). Patients showed no meaningful difference for the color. The opinion of insisting on wearing a necktie when physician see patients was given by male physicians, physicians of fifty or more, physicians working in the field of medicine and professors, which showed significantly higher percentage than other groups(p<0.01). In the group of patiens， the same opinion was given by female, the group of sixty or more, the group of elementary school graduates or less and people residing in other cities and counties more than male, the group of other ages, the group of having higher educational level and people of Taegu city(p<0.01). It tended to agree wearing casual wear of physician during the working time of weekend and holiday as a whole. Younger physicians showed significantly higher preference for it(p<0.05). Regarding the nurse's uniform, both physicians and nurses preferred trousers, and 96% of the nurses did. Especially, nurses who were forty years old or more and who served at outpatient department and administrative and aid parts expressed 100 percent partiality to trousers. For the patients, those who had lower educational level preferred skirt and those who had higher educational level preferred trousers. As to the color of nurse's gown, 46.7% of the physicians and nurses liked white color. The physicians preferred white and nurses preferred other color(p<0.01). Of the patients, 79.1% liked white color. Regarding the wearing cap, 95.9% of the nurses replied it didn't have to wear the cap. The nurses who were fifty or more and who served at outpatient department and special parts gave whole answers of not having to wear the cap. On the other hand, 77.7% of the patients answered nurse had to wear the cap. From the above findings, it would be advisable to give a change to the forms and colors of the gowns to match with the trend and sense of the time instead of insisting on the traditional typical ones.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 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.