• Horticultural Science & Technology
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• v.29 no.1
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• pp.23-28
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• 2011

Experiments were conducted to investigate the optimum concentration of the nutrient solution in strawberry 'Sulhyang' with hydroponics in relationship between root activity and nutrient concentrations. Nutrient solutions for strawberry, made by Yamazaki, were supplied EC 0.5, 1.0, 2.0 $dS{\cdot}m^{-1}$ during experiment period. Growth of shoot and root of strawberries grown in visible plastic pot was observed during experiment. Petiole length was longest in plants grown in EC 1.0 $dS{\cdot}m^{-1}$, followed by 2.0 and 0.5 $dS{\cdot}m^{-1}$. Leaf width was longest in plants grown in EC 1.0 $dS{\cdot}m^{-1}$, followed by 0.5 and 2.0 $dS{\cdot}m^{-1}$. Fruit length, fruit diameter, fruit weight and yield were higher in EC 0.5 and 1.0 $dS{\cdot}m^{-1}$ than 2.0 $dS{\cdot}m^{-1}$ treatment but, soluble solids of the fruit did not show statistical differences among treatments. Shoot dry weight was heaviest in EC 1.0 $dS{\cdot}m^{-1}$, followed by 0.5 and 2.0 $dS{\cdot}m^{-1}$. Root dry weight was heavier in EC 0.5 and 1.0 $dS{\cdot}m^{-1}$ but significantly light in 2.0 $dS{\cdot}m^{-1}$. pH of the drainage solution was elevated in low nutrient concentration and lowered in high concentration. Also root activity was high in low nutrient concentration and low in high concentration. As a result, the optimum EC for strawberry 'Sulhyang' was EC 1.0 $dS{\cdot}m^{-1}$ in this experiment. It was confirmed that there was high relationship between root activity and pH of drainage solution. This result will be utilized as an indicator for strawberry hydroponics.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• Conservation Science in Museum
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• v.30
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• pp.71-88
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• 2023

This paper examined the visible characteristics and chemical composition of glass beads from the Joseon Dynasty as well as the associations thereof. It also explored the characteristics and uses of glass beads by region. This study covered a total of 1,819 pieces excavated from 25 locations in the Gyeonggi, Chungcheong, and Gyeongsang regions, of which 537 pieces were analyzed for their chemical composition. Glass beads of the Joseon Dynasty take a variety of shapes such as a Round, Coil, Floral, Segmented, Flat, Oval, and Calabash. Colors vary from shades of brown (brown, lemon yellow) and shades of blue (Bluish-Green, greenish-Blue, Purple-Blue) to shades of white (colorless, white) and shades of green (Green, Greenish-Blue, Greenish-Brown). Brown accounts for the largest percentage, followed by Bluish-Green, greenish-Blue. It was identified that Drawing technique was the most common glass bead production technique of the Joseon Dynasty. Potassium oxide (K₂O) was the most common flux agent for glass beads, while the potash glass and mixed alkali glass groups account for the largest quantity. The choice of stabilizers depended on the type of flux agents used, but the most common were calcium oxide (CaO) and aluminum oxide (Al₂O₃). The potash glass and potash lead glass groups are high in CaO and low in Al₂O₃, the mixed alkali glass group is high in CaO, and the lead glass group is low in CaO. In terms of the association between color and shape, most of the beads with shade of brown and blue have round shapes of brown and blue have spherical shapes, while the coil shape is prominent in blue beads. A high percentage of green and colorless beads also take the shape of a coil, while white beads in general have a floral shape. In terms of the association between shape and chemical composition, round, floral and segmented shapes account for a high percentage of the potash glass group, while coil and flat shapes are common in the mixed alkali glass group. This paper also analyzed the colorants for each color based on the association between color and chemical composition. Iron (Fe) was used as the colorant for brown and white, and titanium (Ti) and iron were used for light yellow. Purple-Blue was produced by by cobalt (Co), and greenish-Blue, Bluish-Green, green, Greenish-Blue were produced by iron and copper (Cu). Colorless beads had a generally low colorant content.