• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.12
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• pp.2042-2048
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• 2013

This research was carried out to compare the physicochemical characteristics of Korean traditional spirits brewed with Phellinus linteus by different Nuruks. The spirits were produced by atmospheric distillation of rice mash added with 1~5% P. linteus and fermented by traditional and improved Nuruks. Traditional Nuruk facilitated more alcohol production than improved Nuruk during the initial fermentation time. The alcohol contents of rice mash with P. linteus ranged from 15.8 to 18.9%. Predominant volatile compounds were i-amyl alcohol of fusel oils and ethyl acetate of ester compounds in P. linteus added spirits. The spirits prepared by traditional Nuruk showed higher contents of i-butanol, n-butanol, and i-amyl alcohol than those by improved Nuruk. More ethyl acetate was produced in the spirits prepared by improved Nuruk than those by traditional Nuruk. The contents of methyl alcohol were less than 50 mg/L in P. linteus added spirits.

• 한국균학회소식:학술대회논문집
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• 2014.10a
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• pp.23-23
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• 2014

There are many yeast strains have been discovered for industrial usage in global scale. In the point of view for the alcoholic fermentation performance and producing alcoholic beverage products, recently many countries have known about the importance of microorganisms as a valuable resource. Discovered with well performed yeasts have potential industrial application in diverse ways such as foods, beverages, cosmetics, pharmaceutical functions, and so on. In Korea, the yeast research has not been sufficiently performed especially for distilled spirits industry. As a result, not so little manufacturers use exotic yeasts from overseas even included the expensive royalties. Besides of those, to produce distilled spirits, many manufacturers do not use specialized yeast for distilled spirits. Distiller's characterized yeasts such as whisky, brandy, vodka, Japanese shochu and awamori, are all well-known industrialized. For decades, the distillers, except us, have selected, developed, and practised yeasts in accordance with distilled spirits characters. This study is about selection and industrial application of yeasts for the Korean pot distilled spirits. Finally 7 yeast strains were selected among over 1,000 yeasts from the traditional Nuruks, through the essential related tests based on brewing and distilling science. The selected yeasts show the appropriate characteristics of distilled spirits. The result of this study could help our distilled spirits industry be activated and stand independent from the exotic microbes.

• Journal of the Korean Society of Food Culture
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• v.9 no.4
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• pp.341-353
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• 1994

This study delves into the general characteristics of spirits brewed in the Central Region of Korea-Seoul, Kyonnggi-do, Chungchung-do-paying particular attention to their varieties and fermenting methods and also comparing similarities and differences of their features. It is found first of all that there are a wide range of variety in the kinds of liquors. Among the 21 spirits investigated, not a single one resembles any one of the remaining in terms of the raw material, and the brewing method and process. Secondly, all of them use locally produced grains and can be classifiable as belonging to the common category of yakju (clean spirit) with fragrant elements added for the purpose of enhancing health or decreasing any harmful effects after drink. Thirdly, these traditional folk wines are characterized by the addition of secondarily fermented spirits. The more secondarily fermented spirit a wine has, the more fragrant and palatable it becomes and also the less harmful. Fourthly, all the spirits of this region are fermented by using yeast kodupap (steamed rice). The brewing temperature is usually around $15{\sim}20^{\circ}C$ for $5{\sim}8$ days or $3{\sim}4$ days for the majority of the cases. Fifthly, purifying is done with the yongsoo (strainer), the sieve, traditional Korean paper, etc. As such, we can say that all the brewers endeavor to maintain Korean traditional methods of wine making.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.43-55
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• 2001

Living spaces are the results of social environment and also the reflection of the viewpoints by their residents toward human culture and society. Therefore, in studying living spaces, the true essence of the spaces could be easily distorted when cultural and symbolic motives and values are disregarded and only their apparent characteristics are looked into. Hence, it's necessary to simultaneously understand both physical dwelling spaces from architecture's view points and social ideas, simultaneously, of people who form and interact with the spaces. Hence, this paper tries to study housing religion which is one of shamanistic religions which, in turn, have been the fundamental element of ancient religions and came into existence on the basis of dwelling spaces. This study presumes that house religion may have been permeated with its creators' ideas about living and those ideas could be one of those factors which plays a role in organizing of dwelling spaces. As such, with these prior analyses, this thesis attempts to understand the meaning of various dwelling spaces via the characteristics and functionalities of various house spirits which are mentioned in a local house religion and also will find out spatial harmony of Korean traditional living spaces by way of corelations among living spaces, people, and personalized house spirits. Almost all traditional Korean houses have assigned a house spirit to their individual dwelling space. This means a traditional house was considered as a scared space in a secular world called human society and the space was actually intended to protect sacredness of dwelling places from earthliness outside. So when the hierarchy of house spirits in housing religion is projected to a Korean traditional house, it can be shown that a dwelling house as a building was personified to a respectable human status. In other words, it can be concluded that each space was synonymous with a dwelling place for each house spirit and was considered a sacred godly place. In a nutshell, not only each space in a Korean traditional house was a physical and functional space, but also it formed a scared spatial place along with the concept of house spirits intending to ward off disasters and enjoy a comfortable life through those religious symbols and meanings. Housing shamanistic religion which has long been existing with residents and their lives is seeped with the viewpoints of the residents toward life, and hence understanding the meanings and organization of Korean traditional housing can reveal commonly practiced principles of spatial organization of the traditional houses. Therefore an analysis of Korean traditional housing on the basis of humanistic social ideas will help learn Korea's traditional houses which need to be understood in various methods.

• Journal of the Korean Society of Food Culture
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• v.9 no.4
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• pp.355-367
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• 1994

This study aims at exploring the nature of the traditional Korean wines brewed throughout the Southern Region of Korea-Chulla-do, Kyungsang-do and Cheju-do describing their varieties and brewing methods and also comparing the similarities and differences of their features. When compared with the wines produced in the Central Region, the Southern varieties are very fastidious and complex in their brewing methods, which in turn show a wide range of diversity. First of all, all the 29 kinds of wines investigated, not a single one shows any resemblance to any one of the remaining, each exhibiting peculiar and particular characteristic features of its own. Especially, the distilling methods demonstrate very complex processes. Secondly, the majority of the Southern spirits are made from grains, added with fragrant flavor of pine tree, wormwood, chrysanthemum leaves and other medicine herbs such as Chinese matrimony vine and tankui. Thirdly, they are brewed with yeast made from wheat into kodupap(steamed rice) type of spirits, emerging as in the form of blended liquor. Fourthly, in brewing, different fermenting temperature and duration are required. Typewise, the temperature required for the basic spirit is $15{\sim}20^{\circ}C\;or\;25{\sim}30^{\circ}C$ : in the case of blended secondarily fermented liquor, from the minimum of $0{\sim}5^{\circ}C$ to the maximum of $75{\sim}80^{\circ}C$. The brewing duration is $3{\sim}5$ days for the basic spirits. In some cases, from the minimum of 3 days to the maximum of 100 days are consumed for fermenting. Fifthly, the wine extraction gadgets are yongsu (wine strainer), the sieve, filter paper, Korean traditional paper, the utilization of which implies that the brewers endeavor to observe and preserve the traditional and indigenous methods of wine making.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.175-191
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• 2012

It is said that the mainstream of the oriental culture is Confucian culture, but not be the unique culture of Korea. The religious object in Taoist ideology of immortality reflecting the awareness of cultural community and Korean identity was three spirits. Three spirits are one spirit in terms of main subject. Three spirits were named because they rule the heaven, the earth and human beings each in the reality. The custom performing the religious service to the heaven and the earth is not based on the Taoist ideology of immortality but only the superstition which we can't understand. However, we can clearly understand the reason why the ideology has been transmitted up to now in our awareness and culture when we understand the basis of that ideology. The theory on the origin based on the birthplace of Taoist ideology would be based on the shamanism of Eastern barbarianism and their cultural features. Accordingly, this paper aimed to identify the formative features of phoenix pattern and background of the formation of phoenix pattern based on the unique culture of Korea. Furthermore, the traditional craft works of Korea with the phoenix pattern which secured its position as the representative pattern of Korea will be investigated.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.141-144
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• 2007

Nowadays, landscape architecture development faces several challenges such as how to inherit Chinese cultures and spirits, how to sustain historical and traditional features and how to keep landscape vital in modem development of city and society. Through interpretation of Chinese culture nature which is set as the research principle, this paper concludes to 'natural, suitable and special' leading idea of inheriting, constructing and preserving Chinese landscape. This idea also integrates traditional, modern, western and Chinese cultures and features. With projects and examples, it also explains those bad effects to landscape inheriting: un-enough mending, natural aging, unsuitable policies, and over development etc. This paper also addresses Beijing Tiantan Park and Shanghai Jiangnan Ship Firm landscape design to show successful protection of traditional gardens. Various protections of the architectures and surroundings and innovation of traditional landscape architecture are also stated.

• Journal of the Korean Home Economics Association
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• v.38 no.11
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• pp.13-30
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• 2000

The purpose of this thesis is to find out the spiritual cloture inherent in outward elements of Korean traditional costume. For this purpose, the ‘Po(袍)’of the Chosun Period is decided as an object of this study. ‘Po’, which has been one of basic elements of traditional costume from ancient times, contributes to complete the attire and shows the courtesy most apparently. In addition, ‘Po’profoundly contains the spiritual culture of our own because it symbolizes the social status system and customs of the days. The spiritual culture incorporated in the traditional Po of Korea is examined by the study of the thought of Yin and Yang, and Five Elements, Taoism, Han(韓) and the aesthetic characteristics of Korea.

• Journal of Fashion Business
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• v.13 no.3
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• pp.77-85
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• 2009

The purpose of this study is to design t-shirts by using doggaebi patterns as traditional cultural products. Byuksa has the meaning of keeping away wicked spirits and to receiving good fortune. Most of the pictures of magpies, tigers, dragons, hawks, and roosters contain the meaning of protection and the doggaebi pattern is a typical Byuksa pattern. By way of example of product development, this study will develop designs by using doggaebi patterns and promote beautiful Korean traditional patterns as well as Korean traditional culture. The reason for choosing the T-shirt is because T-shirts are a basic item that all people have and wear, so Koreans and foreigners get interested in them and buy them. This study presents designs for 5 kinds of t-shirts for adults and another five kinds for kids using doggaebi patterns. This study was limited to the doggaebi pattern, so it is expected more studies about patterns and many cultural products will develop.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.6
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.