• Journal of Korean Society of Forest Science
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• v.39 no.1
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• pp.57-63
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• 1978

Enzymatic hydrolysis of the substrate from Alnus hirsuta (Spach) Rupr (8-14years) was investigated using cellulase preparations of Trichoderma viride Pers. ex. Fr. SANK 16374 and conduced on the optimum reaction conditions of the cellulase on saccharification. The crude cellulase was produced by the submerged culture process and produced in the culture fluid was salted out quantitatively by the use of ammonium sulfate. The method of delignification from wood(Saw dust) was treated by the peracetic acid (PA) method. Reducing sugar was determined by the dinitrosalicylic acid (DNS) method. The results were summerized as follows; 1. The optimum pH of cellulase was 5.0 and the range of stability with respect to pH was generally from 4.0 to 6.0 2. The optimum temperature of cellulase was generally $40^{\circ}C$, but reducing sugar formation did not show significent differences at 5% levels in the reaction temperature from $40^{\circ}C$ to $50^{\circ}C$. 3. The redusing sugar were increased with increase of cellulase concentration. 4. The reducing sugar were decreased with increase of substrate concentration. 5. Fructose was a very good inhibitor of the enzyme from Trichoderma viride, but glucose inhibition was generally weak.

• Journal of the Korean Society of Costume
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• v.6
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• pp.121-143
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• 1982

Many studies have done on Egyptian Clothing because its unique characteristic culture. However, I was facinated by the exhibitions of Tutankhamen burial treasures which were shown in San Francisco and New York in 1978 and 1979. I found out myself that there are several interesting aspects of clothing to compare 18th dynasty king, Tutankhamun and other dynasties in Egyptian culture. Therefore, I tryed to analized the Egyptian clothing including accessaries with theigr symbols durin 18th dynasty King, Tutankhamun. The most of people were shocked and amazed when they toured the exhibition of Tutankhamun articles which were the most incredible burial treasures in existence today. The body of the King has been embalmed, bandaged and fitted in eight layers of coffins with pure gold mask to represent the god Osiris. Among eight layers of coffins, one is pure solid gold in mummiform, two of mummiforms are made of compact wood covered with sheets of gold and inlaid with multi-colored glass-paste and semi-precious stones. The Egyptian belived that the soul continued to exist throughout eternity if it had passed on examination of its deeds on earth at a "Last Judgement" presided over by Osiris. They also believed that the mummified body could exist in the tomb as a habitation that the soul could revisited. Thus a proper burial was vital for a full existence in the hereafter. They buried dead person in the sealed vault of the tomb with some of the possessions he had used during his life time, such as his furniture, clothing and jewels. In this studies, I've tried to research to various clothings, and accessories with their symbols used during 18th dynasty king, Tutankhamun. The studies are shown as: I) Clothings of Tutankhamun dynasity of Kalasiris, Sheath skirt. Gala skirt, Loin skirt, Hike and Dalmatic. The Dalmatic was first seen in this dynasty. Probably the Roman Christian borrowed the Dalmatica from Egyptian Dalmatic. No where has the same design at the period. II) Egyptian of 18th dynasty Tutankhamun wore big headdress, broad collar necklace passium, pendants, armlets, rings and earrings with very beautiful, exquisite handcraft. They seem the first people who wore earrings in Egyptian history. III) The symbols of decorated items vulture, lotus...Upper Egypt Uraeus, papyrus...Lower Egypt scaravaeus, Nile Riber...rebirth man(Ankh), +...eternal life solar disc, gold...sun ostrich-feather...nobleness God, Horus' eye...protection against enemy IV) Also Egyptian prefered the straight line and a right angle which were the basic principles of architectural arrangement.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.379-385
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• 2019

The purpose of this study is to investigate the damage status of wood sleepers on concrete track of urban transit at different locations and to analyze the causes of damages. In addition, the turnout maintenance history during the service period of about 24 years was analyzed in conjunction with the train passing tonnage and that was to compare the current repair history. The most frequent damage components were rail, tie plate, spike and wooden sleeper. And, the damage caused by the defect of the rail fastening system such as spike and tie plate according to the deformation of the wooden sleeper was analyzed as the main type of damage. As a result, the damage of track components of turnout system was on the increase because they are directly affected by the train passing tonnage. The supplementary points of the check sheet for current turnout maintenance were derived and the improvement proposal was suggested based on the research results.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.443-451
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• 2021

This study compared and analyzed the thermal characteristics based on the ratio of moisture content of infected and non-infected Bursaphelenchus Xylophilus by heat of combustion experiment. The experiment results are as follows. The analysisresult of the ratio of water content shows that 19.92% on average for infected Bursaphelenchus Xylophilus and 26.27% for non-infected which decreases water content as the size of conduction, convection, and radiant heat increases in case of fire. As the vaporization of the moisture content accelerates, the average moisture content is reached, and the result is contrary to the thermal characteristics of the wood that the moisture content is not ignited by a heat source when the moisture content is under 15%. The combustion heat analysis result showed that infected and non-infected Bursaphelenchus Xylophilus had no significant difference in combustion heat at about 3%. However, it shows that combustion heat is higher than other species. In conclusion, decreasing in moisture content based on the increasing conduction, convection, and radiant heat is one of the direct causes of ignition, and the lower the moisture content, the faster the fire spreads.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.43-54
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• 2019

In this paper, we review the applicability of fog screen to implement 'Spatial Augmented Reality' which displays the image on the whole space of real space or in real space by separating display equipment and user, in contrast to the traditional Augmented Reality. Through three exhibitions and one performance, we confirmed t hat the fog screen, which can be passed through, is a suitable material for implementing the Spatial Augment ed Reality. We found that the hologram production was easier than before because of fog screen. Through the questionnaire survey conducted on performers along with the exhibition, we found that only about half of people know what a fog screen is, and about 10% of the total respondents saw the fog screen. In order to investigate the effect of fog screen on the surrounding space, we conducted an experiment to observe the change of humidity according to the time and distance in the Children's Culture Center of the Asian Culture Center. We found that the humidity within a radius of 5m around the fog screen could increase by 2~3%($6,400m^3$ standard). Thus we provided some safety requirement with fog screen when works made of materials vulnerable to moisture such as paint, paper, and wood are exhibited at the same time with fog screen in the exhibition hall.

• Journal of Practical Agriculture & Fisheries Research
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• v.21 no.2
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• pp.49-58
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• 2019

This study aimed to determine of water quantity in pot for water flooding culture of Pinus thunbergii Parl., Chaenomeles japonica Lindl. ex Spach and Osmanthus fragrans Lour. The survival rate of P. thunbergii Parl. and C. japonica Lindl. ex Spach in the water quantity in pot 60% or 40% was 100% and the rate of O. fragrans Lour. in the 60% or 40% water was 90.0% or 93.3%. However the survival rate of the 100% water was less than 90% in P. thunbergii Parl, C. japonica Lindl. ex Spach and less than 60% was in O. fragrans Lour. The increasing rate of plant height for P. thunbergii Parl. in the water quantity in pot 40% or 60% was above 50%, and the C. japonica Lindl. ex Spach or O. fragrans Lour. was above 90%. However the increasing rate of plant height in the water 100% was less then the others as a 38.2%, 65.4% or 66.7% in respectively in P. thunbergii Parl., C. japonica Lindl. ex Spach and O. fragrans Lour. The increasing rate for leaf number for P. thunbergii Parl. in the water quantity 40% or 60% was above 80%, and the C. japonica Lindl. ex Spach or O. fragrans Lour. was above 70%, however the 100% water was below 60% in all treatment. Therefore, the survival rates in some woody plants of the 40% or 60% water in the pot was above 90% and the plant growth of plant height, plant width, leaf number or fresh weight was proper increased. But the survival rates and growth of the 100% water in the pot was decreased

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of Mushroom
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• v.12 no.1
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• pp.41-51
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• 2014

Cauliflower mushroom widely known high concent of ${\beta}$-glucan for farm cultivation invigoration verified characteristics of mycelia growth, genetic diversity, resistance to Trichoderma by replacement culture with Trichoderma and growth characteristics of new variety crossbleeding strain. The result of replacement culture with Trichoderma for verification resistance about Trichoderma, 6951 (T. viride) strain did not show special change after formation of confrontation line and 6952 (T. spp.) strain was showed more formation of spore after formation of confrontation line. But 6426 (T. harzianum) strain found to encroach part of growth area of cauliflower mushroom mycelia. Among 10 kinds cauliflower mushroom strain, JF02-06 strain collected by Gurye, found did not spore of Trichoderma and thought to be resistant to Trichoderma. The result of crossbleeding after selected that mother strain good growth and formation of fruit body, verified good mycelia growth at JF02-47, 49 and 50 strain in Korean pine of wood-chip media. The result of gene sequence about ITS1, 5.8S and ITS4 for analysis of genetic diversity at crossbleeding strain, found high significance to other cauliflower mushroom in registered Genebank. The result of growth characteristic of spore and mycelia of cauliflower mushroom by observation microscope, size of spore showed water drop shape to major axis $6{\mu}m$ and minor axis $5{\mu}m$ and clamp showed 3 types in mycelia. The wide of mycelia was $3{\mu}m$. The characteristic of mycelia of cauliflower mushroom found to grow mycelia in clamp at approximately 50%. The growth speed of mycelia was $0.507{\mu}m/min$ and 2nd mycelia grown similar speed to mother mycelia at parallel with mother mycelia after growth speed at $0.082{\mu}m/min$. The formation of clamp made small clamp for 5 hours after shown transfer of electrolyte in mycelia inside. The septum formation started after 3 hours and then finally completed after 2 hours. In this study, strain of cauliflower mushroom verified resistance of Trichoderma, genetic diversity and characteristic of mycelia growth. Therefore, basic knowledge of cauliflower mushroom will improve and further contribute to development of mushroom industry.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Korea Science and Art Forum
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• v.19
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• pp.293-305
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• 2015

At the same time the unique cultural traits of each country are valued, it has become an essential element to establish the cultural identity of a country. This study is aimed at comparing the residence architectural cultures in East-Asia and thus identifying Korea's own unique traits by determining the application characteristics of traditional architectures of Korea, China and Japan through practical investigation of materials, a basic element of architectural shaping. Literature survey and field study were conducted in parallel for this study, and architectural buildings under investigation included Mucheomdang House in Korea, Prince Gong Mansion in China and Dokyudo Building in Japan. Construction materials in Korea, China and Japan include natural materials such as wood, stone and clay, and artificial materials such as metals, paper, roof tiles, plug and glass. and the buildings were constructed with the combination of these materials. This commonality can be often found in the architectural composition. However, in the interior composition, the choice and application of different materials were clear between three countries, which were shown to be different depending on climates, processing methods and living culture of each country. First of all, since each country selected materials under the influence of its own vegetation and climates, living environment of each country could be seen via its residence. Also, it could be seen that while Korea and Japan show a certain similarity such as the traits of standing-sitting culture and the finish of paper in the interior, China is clearly different. In particular, regarding the material processing, the artificial processing was minimized in Korea, which mainly gave rough and crude feelings while due to the use of straight timbers, the architectural representation with organized and refined feelings was made in Japan. China showed the highest percentage of artificial processing of materials among three countries, which was highly associated with the coloring culture of China. Also, it could be seen that technology related to fine architectural materials such as bricks and glass was greatly advanced in China. Thus, how immaterial elements such as natural characteristics, functionality and aesthetics were applied in relation to residence in Korea, Japan and China could be determined through the comparison of architectural materials.