• Journal of agriculture & life science
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• v.50 no.5
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• pp.173-182
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• 2016

This study was aimed to identify the phenotypic relationships between calving interval and lactation curve parameters in Korean Holstein cow. The data of 36,505 lactation records was obtained from the Dairy Herd Improvement program run by Dairy Cattle Improvemnet Center of National Agricultural Federation of Korea. All lactation records were collectied from the multiparous cows calving between 2011 to 2013. The estimated lactation curves were drawn using Wood model based on actual milk yield records, and NLIN Procedure of SAS program (ver. 9.2). General linear multivariate models for calving interval, 305-d milk yield, lactation parameters(A, b, c), persistency, peak day, and peak yield included fixed effects of calving year-season (spring, summer, fall and winter) and parity(2, 3 and 4). For calving interval, 305-d milk yield, lactation parameters(A, b, c), persistency, peak day and peak yield, all two fixed effect(calving year-season, parity) were significant(p<0.05). The estimated lactation functions using Wood model for 2, 3, and 4 parity were yt=24.66t0.175e-0.00302t, yt=24.69t0.192e-0.00334t, and yt=24.22t0.200e-0.00341t, respectively. Phenotypic correlation (partial residual correlation) between calving interval and 305-d milk yield, A, b, c, persistency, peak day, and peak yield were 0.093, -0.014, 0.028, -0.046, 0.099, 0.085, and 0.052, respectively. To conclude, if calving interval increase then ascent to peak, persistency, peak day and peak yield are increase, and descent after peak is decrease. So, total 305-d milk yield is increase.

• 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.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.46-61
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• 2023

Various Buddhist metal artifacts were excavated from the Heungjeon-ri Temple site from 2014 to 2020, such as gilt-bronze openwork decorations, a bronze kundika, a lion incense burner with a handle and lion weight, and so on. The gilt-bronze openwork decoration founded from the main hall of the western area is believed to have been used for the decoration of the Buddhist temple, and it is considered to be the best example of the gilt-bronze openwork decorations of the unified Silla that have been discovered so far. The incense burner with a handle and lion weight excavated from Heungjeon-ri Temple site is the earliest example of the style. The bronze kundikas excavated at the Heungjeon-ri Temple site have a more developed style than those of Ingaksa Temple. The bronze bowl and bronze bowl with a lid are similar to those excavated from the Anapji, Hwangryongsa Temple site, and Inwangdong Temple site. So these bronze vessels seem to have spread from the capital city to the provinces. Bronze seals excavated from the Heungjeon-ri Temple site are similar to those of the Hwangnyongsa Temple site in form and font. So, it was considered that they were produced and sent by the royal palace. In addition, "梵雄官衙之印" on the seal can be said to show that Heungjeonri Temple site was related to the organization of the monks at the time. The Buddhist metal artifacts excavated from Heungjeon-ri Temple site are believed to have been used from the early to mid-9th century at the temple by the Seon Order monk who was the main character of the monument. It can be said to be an important example of how the royal palace of Unified Silla and local crafts had a two-way influence, not a one-way influence, from the first half to the middle of the 9th century.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.22-43
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• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

• Journal of The Korean Society of Inherited Metabolic disease
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• v.23 no.1
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• pp.25-30
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• 2023

Leigh syndrome is a rare progressive neurodegenerative mitochondrial disorder with clinical and genetic heterogeneity. Recently, balletic IARS2 variants have been identified in a number of patients presenting broad clinical phenotypes from Leigh and West syndrome to a rare syndrome CAGSSS characterized by cataracts, growth hormone deficiency, sensory neuropathy, sensorineural hearing loss, and skeletal dysplasia syndrome (OMIM#616007). We describe a child with Korean Leigh syndrome with urologic manifestations resulting from a compound heterozygote mutation in IARS2. A 5-year-old girl visited the emergency room with a complaint of abdominal pain accompanied by abdominal distension. Abdominal-pelvic CT showed a markedly distended urinary bladder without definite obstructive lesions. She was diagnosed with neurogenic bladder dysfunction based on a urodynamic study. She had global delayed development due to neurologic regression after 6 months of age and a history of bilateral cataract surgery at the age of 2 years. Her brain magnetic resonance imaging showed symmetrically increased signal intensities in the bilateral putamen and caudate nuclei with diffuse cerebral atrophy. No gene variants were identified through whole-mitochondrial genome analysis. Whole exome sequencing was performed for diagnosis, and compound heterozygous pathogenic variants were identified in IARS2: c.2446C>T (p. Arg816Ter) and c.2450G>A (p. Arg817His). To the best of our knowledge, this is the first case report of bladder dysfunction manifestation in a patient with IARS2-related Leigh syndrome. Thus, it broadens the clinical and genetic spectrum of IARS2-associated diseases.

• Journal of Teachers' Pension
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• v.3
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• pp.69-105
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• 2018

저출산과 고령화 이슈는 우리사회의 경제적 문제뿐만 아니라 공적연금의 재정지속가능성 여부와도 맞물려 있다. 실제로 우리나라 모든 공적연금은 사회보험역설(social insurance paradox)이 지속되기 힘든 새로운 도전에 직면하였다. 즉, 재정지속가능성은 제도 내적 연금개혁 혹은 제도 외적 재정지원이 없다면 항시적 수지불균형 상태가 누적될 것으로 예측된다. 이에 정부는 직접 고용과 관련된 공무원연금과 군인연금에 대해서만 연금충당부채를 산출하도록 규정하고 있다. 발생주의회계를 채택한 국제회계기준(종업원급여)을 참조하여 연금충당부채 산출을 위한 연금회계준칙(2011.8.3. 제정; 2011.1.1. 시행) 그리고 '연금회계 평가 및 공시 지침(2011.8.3. 고시 : 이하 편의상 연금회계지침이라 함)'을 신설하였다. 사학연금에 적용성 여부 논의에 앞서, 이들의 산출방법상의 문제점을 먼저 살펴보았다. 첫째, 공적연금은 공통적으로 세대 간 합의에 의해 운영되는 사회계약에 해당하므로 제도의 연속성을 전제로 한다. 하지만 연금회계준칙 및 지침은 제도의 청산을 전제로 현재 가입자(연금 미수령자, 연금 수령자)에 대해서 연금충당부채를 산출하는 폐쇄형측정(closed group valuation)을 채택하고 있다. 즉, 폐쇄형은 제도의 연속성 속성을 반영하고 있지 못하고 있어 기본 전제와 모순된다. 둘째, 공무원연금과 군인연금은 이미 기금 소진(최소한의 유동성기금만 보유함)이 되었고 정부의 보전금에 의해 수지 균형이 유지되는 순수부과방식 체계로 전환되었다. 따라서 연금충당부채는 해당 적립기금의 과소 여부를 판정하는 재정상태 기준 값에 해당하므로 기금소진이 진행된 현 상황에서는 산출의 목적, 필요성을 찾기가 힘들다. 부언하면, 제도 외적 재정지원(보전금)에 의한 수지균형방식이라면 발생주의회계보다는 현금주의회계가 회계의 목적적합성이 높다. 마지막으로 연금충당부채 산출에 있어 가장 민감한 할인율 설정 권한을 기재부장관에게 위임한 내용은 산출의 객관성, 일관성을 확보하기 힘들다고 판단된다. 이를 해소하기 위한 방안으로 본 연구에서는 5년마다 실시하고 있는 장기재정계산에서 예측된 명목 기금투자수익률을 연도별로 적용할 것을 권고하고 있다. 현행 정부회계기준을 사학연금제도에 그대로 적용하기에는 상당한 무리가 있다. 그 이유와 공시방안에 대해 살펴본다. 현재 사학연금은 기금소진 이슈로부터 상당부분 벗어나기 위해 2015년 연금개혁을 단행한 바가 있고 이를 통해 상당기간 부분적립방식 체계가 유지될 것이다. 물론 제도 외적 재정지원은 사학연금법 제53조의7에서 정부지원의 가능성만을 열어 놓은 상태이므로 미래기금소진의 가능성은 상존한다고 볼 수 있다. 먼 미래에는 순수부과방식 체계로 전환될 개연성이 높다. 이러한 재정의 양면성을 본 연구에서는 이중재정방식(dual financing system)이라고 한다. 이러한 속성을 고려하여 연금충당부채(연금채무라는 표현이 적합할 것으로 사료됨)를 산출하고 공시하여야 한다. 그 주요 연구 결과는 다음과 같이 요약된다. 먼저 현행 부분적립방식의 재정상태 검증을 위해 연금채무를 산정할 필요성이 있다. 이를 위해 본 연구에서는 기발생주의(예측단위방식 적용)에 근거한 폐쇄형 측정I(제도 종료를 전제로 현 가입자의 잠재연금채무(IPD) 산출에 초점을 둠) 그리고 미래발생주의(가입연령방식 적용)에 근거한 폐쇄형 측정II(추가적으로 현 가입자의 일정기간 급여 및 기여 발생 허용)을 제안하고 있다. 이를 통해 미적립채무의 규모 그리고 이를 해소하기 위한 상각부담률을 산출할 수 있다. 최종적으로 미래 가입자들까지 포함하고 기금소진 가능성까지 고려하는 개방형측정(open group valuation)을 다루고 있다. 단, 본 연구에서는 공무원연금처럼 기금부족분에 대해서 향후 정부보전금이 있다는 가정 하에 공시 방법을 제시하고 있다. 요약하면, 현행 사학연금제도는 현재와 미래의 재정 양면성을 모두 고려하여 연금채무 및 미적립채무를 공시하여야 한다. 부언하면, 현재 부분적립방식 재정상태를 반영하는 연금채무는 발생주의회계를 적용하고 미래에 도래할 순수부과방식 재정상태는 현금주의회계를 적용할 것을 최종 결론으로 도출하고 있다. 마지막으로 본 연구의 한계는 정부보전금의 가능성에 대한 법률적 해석과 병행하여 책임준비금 범위의 안정적 확대를 전제로 한 공시 논의 그리고 보전금의 책임한도 범위에 따른 공시 논의 등은 다루고 있지 않다는 점이다. 이러한 논의 사항은 향후 연구과제로 두고자 한다.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.17 no.2
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• pp.23-42
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• 2006

This is a study of the digital archives of Culturecontent.com where 'Cultural Archetype Contents' are currently in service. One of the major purposes of our study is to point out problems in the current system and eventually propose improvements to the digital archives. The government launched a four-year project for developing the cultural archetype content sources and establishing its related business with the hope of enhancing the nation's competitiveness. More specifically, the project focuses on the production of source materials of cultural archetype contents in the subjects of Korea's history. tradition, everyday life. arts and general geographical books. In addition, through this project, the government also intends to establish a proper distribution system of digitalized culture contents and to control copyright issues. This paper analyzes the digital archives system that stores the culture content data that have been produced from 2002 to 2005 and evaluates the current system's weaknesses and strengths. The summary of our findings is as follows. First. the digital archives system does not contain a semantic search engine and therefore its full function is 1agged. Second, similar data is not classified into the same categories but into the different ones, thereby confusing and inconveniencing users. Users who want to find source materials could be disappointed by the current distributive system. Our paper suggests a better system of digital archives with text mining technology which consists of five significant intelligent process-keyword searches, summarization, clustering, classification and topic tracking. Our paper endeavors to develop the best technical environment for preserving and using culture contents data. With the new digitalized upgraded settings, users of culture contents data will discover a world of new knowledge. The technology we introduce in this paper will lead to the highest achievable digital intelligence through a new framework.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.3
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• pp.37-53
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• 2023

This study aimed to analyze the commemoration characteristics of the national war memorials made by the United States, the Union of Soviet Socialist Republics(the Soviet Union), and Germany that participated in World War II(WW II). The results of the study are summarized as follows. First, the creation of the WW II memorials of the United States, the Soviet Union, and Germany aimed to commemorate the dead and victims. By country, the United States promoted unity and victory with representing the just and great cause for freedom, and the communist Soviet Union emphasized the Great Patriotic War that defeated fascist Nazi Germany. On the other hand, Germany, which had difficulty in national commemoration, cherish the victims of the war and aimed for peace. Second, WW II memorials were located in places of national significance such as national representative places and battlefields, and in Germany they were built in church cemeteries and public cemeteries. In addition, it showed concise and moderate aesthetic characteristics with a symmetrical and formal form centered on the axis of space in memorials. Third, the United States and the Soviet Union commonly visualized the appearance of war on the memorial wall. By country, the United States engraved sacrifice and dedication for freedom, and differently the Soviet Union and East Germany engraved messages promoting communist ideology as memorial texts. As for landscape details and sculpture, the United States emphasized national unity through eagles symbolizing the country and a colonnade representing each state and territory, and the Soviet Union set up a communist-style soldier sculpture. The United States and the Soviet Union, both countries used sculptures and laurels that symbolize victory, but in Germany, the statues of a fallen soldiers were installed in the memorial. Politically, the United States commemorated the victory of the war and also promoted unity, and the Soviet Union emphasized the Great Patriotic War and promoted communism. As the United States, the Soviet Union, and the Germans believed in Christianity universally, Christian symbols such as the crucifixion, the church, and the statue of Evita were often used. Further study will be required to establish national identity at memorials and advanced commemorative culture in Korea.