• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.246-259
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• 2021

Research has been conducted in various fields on a local fortress (eupseong) in the Joseon Dynasty, but the archaeological research on the prison (獄), which is part of the internal government, has not been conducted properly. Since the prison was first discovered in Gyeongju in 1997, there has been a necessity for research on the deployment and structure of the prison. This includes the office where jailers worked and had night duty and also the enclosure that keeps the prisoners inside. But the research came to a standstill because there was no comparative data. However, compared to the more recent findings of the Yeonil Prison and the Gonju Prison, we can identify that the structure was built during the early to the late Joseon Dynasty. King Sejong designed the standard prison blueprint called Anokdo (犴獄圖) in 1426 to manage prisoners nationwide and revised it once in 1439 to give better treatment during the winter and summer seasons. The Yeonil Prison operated from 1421 to 1743 and shows the structure of the prisons during the early to mid-Joseon period. It was very similar to the Gyeongju Prison on a smaller scale, which was operated until the late Joseon Dynasty with two main structures, one east and one west, and a circular fence. This structure was maintained even in the Gongju Prison during the late Joseon Dynasty, and it remains visible in photographs. The prison of the Joseon Dynasty had a circular fence with an estimated height of 3 meters and two buildings that separated male and female prisoners. The prison was divided into men on the east and women on the west with tile-roofed house structures that were difficult to escape. In front of the circular fence, there was an office with a thatched roof for the jailers and access to the prison was only possible through a double prison gate. The layout of the building reflects the improvements of the king's prison design made during Joseon Dynasty improving the environment of prisoners who are on trial and separating men and women in order to embody humanism.

• Korean Journal of Breeding Science
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• v.49 no.3
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• pp.235-244
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• 2017

'Manbaek' is a bacterial blight resistant mid-late maturing rice cultivar with high grain quality. 'Manbeak' was derived from anther culture using the backcross combination, $Hopum^*2/SR30075$. 'Hopum' is a mid-late maturing rice cultivar with high grain quality and 'SR30075' is a pyramid line carrying three bacterial blight resistance genes. 'Manbaek' was selected through the pedigree method, yield trials, and local adaptability tests. 'Manbeak' carrying two bacterial blight resistance gene Xa3 and xa5 showed high-level and broad-spectrum resistance against bacterial blight. 'Manbaek' was resistant to K3a, mostly virulent race in Korea, and exhibited resistance reaction against 16 Korean bacterial blight isolates. 'Manbaek' was a mid-late maturing rice. The heading date of 'Manbaek' was August 19th, which was 5 days later than that of 'Nampyeong'. Manbaek' was a lodging-tolerant rice with short culm and dark green leaf. Due to the low viviparous germination, 'Manbaek' could be a useful material to prevent pre-harvest sprouting. 'Mabeak' was resistant to bacterial blight and rice stripe virus, but susceptible to other virus diseases and insect pests. The yield of 'Manbaek' was similar to 'Nampyeong'. 'Manbaek' showed excellent grain appearance and good tastes of cooked rice, so that it could contribute to improving the quality of bacterial blight resistant cultivars. 'Manbaek', bacterial blight resistant cultivar with high grain quality, is suitable for the cultivation at bacterial blight prone area and has been utilized in the breeding programs for enhancing the resistance against bacterial blight (Registration No. 6069).

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Korean Journal of Breeding Science
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• v.42 no.6
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• pp.615-622
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• 2010

A new rice cultivar, 'Joami', was developed by the rice breeding team of Sangju Substation, National Institute of Crop Science (NICS), Rural Development Administration. It was selected by a bulk and pedigree methods from a cross-combination among 'Sambaegbyeo', 'Yukara', and 'Tonggae112'. A promising line of YR20557-1-1-3-B-3 was designated as 'Sangju 36' in 2006. Local adaptability test of 'Sangju 36' was conducted at ten sites throughout the Korean peninsula during three years from 2006 to 2008. 'Sangju 36', thereafter, was registered as 'Joami' in 2008. The cultivar headed on July 30 in the test of local adaptability. Endosperm of 'Joami' is translucent with clear chalkiness and has 5.4% higher head rice ratio than that of 'Odaebyeo'. The yield potential of 'Joami' in milled rice is about 5.40 MT/ha under ordinary fertilizer level of local adaptability test, which was 6% higher than that of 'Odaebyeo'. In an alpine area of Korea, the rice variety needs a cold tolerance and a resistance to blast disease. 'Joami' showed a tolerance reaction at Chuncheon cold tolerance screening nursery and exhibited resistance reaction to blast disease in nation-wide disease screening nursery. Therefore, 'Joami' would be well adaptable to mid-mountainous area at central and southern part of Korean peninsula.

• Korean Journal of Breeding Science
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• v.42 no.3
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• pp.272-275
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• 2010

'Geumyoung' is a new early maturing rice cultivar developed from the cross between Sambaegbyeo and Iksan423/Sangju22 at Sangju Substation, NICS, RDA, Korea in 2009. It needs about 116 days from seedling to harvest in mid-mountainous areas. This cultivar has about 72 cm long culm and 19 cm long panicle, which are similar to Odaebyeo. It has higher panicle number per plant, medium to small grains and sometimes has a few awned spikelets. It shows tolerance to cold and resistance to blast but is susceptible to bacterial blight, virus diseases, and insects and pests. Milled rice of 'Geumyoeng' is translucent with non-glutinous endosperm and medium short grain. It has about 18.0% amylose and 6.6% protein content with good palatability of cooked rice. The milled rice yield of this cultivar was 5.53 MT/ha under standard fertilizer level of ordinary transplanting cultivation. 'Geumyong' would be adaptable for ordinary transplanting cultivation in the northern plains, and northern and southern mid-mountainous areas of South Korea.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.64 no.1
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• pp.25-32
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• 2019

This study was carried out to investigate the changes in fatty acid composition and phytosterol content of the autumn sowing waxy corn during its ripening period for the production of high quality and value-added fresh ears. The content of crude oil in the waxy corn kernels steadily increased with days after pollination(DAP); the crude oil content in Heukjinjuchal (HC) was higher than that in Ilmichal (IC). The composition of fatty acids according to DAP showed a statistically significant change; palmitic and linoleic acid composition gradually decreased, but oleic acid increased, and the composition of unsaturated fatty acids in HC was higher than that in IC. The phytosterol content was increased until 33 DAP, and was 937.7 mg/100g and 867.9 mg/100g in IC and HC, respectively, but there was no statistically significant difference between the varieties. The phytosterol contents in IC varied in the following order: ${\beta}-sitosterol$ > stigmasterol > campesterol, but that in HC varied in the order ${\beta}-sitosterol$ > campesterol > stigmasterol. The campesterol content did not show significant differences between the varieties, but the stigmasterol and ${\beta}-sitosterol$ content was significantly higher in HC than in IC. Palmitic, linolieic, and linolenic acid were significantly correlated with campesterol and ${\beta}-sitosterol$, and stearic acid was positively correlated with stigmasterol. Oleic acid was positively correlated with campesterol and ${\beta}-sitosterol$ but negatively correlated with stigmasterol. As a result, it was suggested that fatty acids may affect the variation in phytosterol contents during the ripening period in waxy corn.

• Korean Journal of Poultry Science
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• v.45 no.4
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• pp.261-272
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• 2018

This study was conducted to evaluate the difference in the quality of chicken thigh meat from conventional and animal welfare farms during refrigeration storage over 9 days. Chicken thigh meat from conventional (CTC, n = 30) and animal welfare farms (CTW, n = 30) was tested. The pH value was significantly lower in CTW (6.28) than in CTC (6.37) on day 1; however, no significant differences were found on subsequent days. The yellowness of CTW was higher than that of CTC on day 1, but CTW showed lower yellowness than did CTC on day 7 and 9. The cooking loss, water holding capacity, lightness, redness, and coliform levels of CTC did not show any significant difference when compared with CTW during storage. The shear force of CTW was significantly higher than that of CTC on day 1, 3, 7, and 9. Total microorganism and coliform in CTC and CTW increased with increasing storage days. On day 7 and 9, the total microorganism level of CTW was lower than that of CTC. The thiobarbituric acid value of CTW was lower than that of CTC on day 9. The volatile basic nitrogen (VBN) of CTW was lower than that of CTC during storage. Anserine content and 1,1-diphenyl-2-picryl-hydrazyl(DPPH) scavenging activity of CTW was significantly higher than CTC on day 1. These results suggest that CTW stayed fresher for longer than did CTC because of low total microorganism level on day 7 and 9, and VBN during refrigerated storage.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.64-87
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• 2017

Dahoe is a traditional braid in Joseon Dynasty. There are many Dahoe artifacts, which can give us a glimpse of the costume, culture, and life of that era. The study of Dahoe is necessary in various fields, but it is difficult because this manufacturing technique has been passed down from hand to hand. Few studies have been done so far. This research examines the manufacturing technique of KwangDahoe which is passed down by Maedeupjang (Decorative Knotting) and is generally used for knotting and/or tying objects. The main characteristic of TieKwangDahoe, made through the same method as WonDahoe, is the square hole in the middle. It was impossibile to remake the original braid because there is no confirmed number of the strand. Especially it is very difficult to do conservation and restoration on serious degradation state of the fiber. Therefore, it is necessary to analyze the non-destructive manufacturing techniques method for Dahoe and assess their applicability. First, we analyzed the artifacts' manufacturing technique based on the database of the Dahoe's manufacturing technique. In order to do that, we undertook schematization, restoration, morphological analyzation of the Dahoe. And then, X-ray CT scans were performed to improve the reliability of the DB. These results of scanning were interpreted based on the manufacturing technique. The selected Tie-KwangDahoe on the sword for the study are artifacts including artistic value and symbolism in Joseon Dynasty. Based on the analysis of the manufacturing technique, we found that both artifacts were made of 20-strand braid of single cross according to the length-scale measure. It was manufactured using 8-strand on left-right side, 12-strand on front-back side by the braiding manufacturing technique method Finally, this research suggests non-destructive analysis method of Dahoe's manufacturing technique is based on the database and the analysis results. I hope this research can be useful in various professional fields of Dahoe in the future. Moreover, I hope this can be of any help in preserving Korean cultural heritage.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.32-45
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• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.