• Korean Journal of Plant Taxonomy
• /
• v.45 no.1
• /
• pp.22-28
• /
• 2015

A new distribution of Dalbergia hupeana has been reported at Mt. Yudal in Mokpo-si, Korea. It was previously thought to be restricted to China, but is now recognized as a new addition to Korean flora. Species identification was confirmed according to morphological characteristics and DNA sequences. The genus Dalbergia is clearly distinguished from other leguminous tree species in Korea due to its diadelphous (5+5) stamens. Here, we describe the characteristics of the genus and species and speculate about whether its origins are native or introduced in Korea.

• Korean Journal of Plant Taxonomy
• /
• v.40 no.4
• /
• pp.251-254
• /
• 2010

We describe a new taxon of Goodyera (Orchidaceae), G. ${\times}$ tamnaensis N.S. Lee, K.S. Lee, S.H. Yeau & C.S. Lee, sp. nov., from Jeju Island. This taxon is presumed to be a hybrid between G. schlechtendaliana and G. velutina based on several morphological characteristics, i.e., leaf venation, a patterned leaf surface and raised leaf epidermal cells, the color of the flower and the bract, the lateral sepal shape, and the hair length. The morphological characteristics and illustrations of the species based on the holotype are provided together with photographs of the habitat.

• Cartoon and Animation Studies
• /
• s.50
• /
• pp.327-347
• /
• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• The Journal of Natural Sciences
• /
• v.8 no.2
• /
• pp.289-321
• /
• 1996

After the two big wars (Imjin Woeran and Byungia Horan), the Lee Dynasty confronted rapid transitional periods in almost all aspects of the society. Corruption of the governmental system by the wars and disordered social structures also caused confusion in the social position system. In addition, development of the commercial economic system and monetary economy brought up a new rich middle-class, "Joong in Gyegeup". In ideological aspects, Confucianism indulged in and stick to isms and ics, and the Confucian morality slackened, thus a more pragmatic ideology, "Silhak Sasang", developed. And the emergence of the modern literature and art of the 'common people' was followed by the appearance of the common-people class including those having the common-people concept among the noble-class "Yangban Gyegeup". This evoked a new common costume culture and the fashion appeared. The public could no longer find the power and appeal from the preexisting ruling classes due to the changed role and sense of value. Thus, they sought a new symbolic leader group that would to be the new standard of the newly changed society. That was a group of people called as "Kisaeng" liberal and independent. They were performing social activities, enjoying poetry, music and dancing, and classy dressers, having physically attractive bodies. The erotic as well as luxurious mode proposed by them reflected the trend of that time. It concurred well with the concept and taste of the public, so it was accepted with a good response. That is, by following these leaders, the public achieved their identification and tried to share the prestige of the leaders. For this reason, the Kisaeng group attracted the public attention and led the taste of the public, thereby becoming the influential fashion leaders of that age.

• Proceedings of the SOHE Conference
• /
• 1999.10a
• /
• pp.85-101
• /
• 1999

새천년에 대한 미래를 생각해보면 우리에게 회망과 동시에 웬지 모를 불안올 주기도 한다. 발전지향적으로 살아 온 우리 인간의 지혜로 말미암아 현대에 살고 있는 우리는 과 거 우리 조상 어느 시대 못지 않게 첨단 과학 기술의 혜택으로 물질적 풍요와 함께 사 상적으로도 신분계급이나 남녀문제나 이데올로기의 극심한 차별이 사라져가는 그야말 로 자유스러운 생활올 맛보고 있다. 그러나 한편으로는 이러한 혜택과 이익을 얻는 대 신 지나친 물질의 생산과 사용의 과다는 우리 환경을 파괴하고 나아가 정신적으로도 물질의 지배를 받게 되는 즉, 물질의 소유와 사용에 따른 삶과 사람의 평가가 횡행하 는 기이한 구조에 우리 자신도 모르는 사이에 말려 들어가 피폐된 정신환경의 진행을 우려하지 않올 수 없다. 누구든지 공감하는 이러한 부분이 아마도 다가올 21세기에 대 한 불안이 아닐까 생각한다. 우리의 주거생활도 반세기도 채 안되는 이 시점에 그동안 놀라운 변모를 거듭하여 비교적 선진국과 가까운 수준에 육박하고 있다. 그렇다면 지금 이 시점에서 다가올 주 생활에 대한 이야기는 잘못되어지는 불안을 막고 더 멋지고 쾌적한 주거환경올 창출하 여 주거의 질을 높히기 위한 선도적 쟁점이 되어야 할 것이다. 이러한 의미에서 본고 에서는 새천년의 주거생활문화에 대한 주제를 거시적이고 개념적인 정책적 내용보다는 생활과학의 한 맥락에서 미시적이고 구체적이며 실천지향적인 뜩변에서 나아가야 할 쟁점이 무엇인지를 함께 생각해 보고자 하며 학술 이론적 내용보다는 평이한 사례를 중심으로 함께 생각해 보고자 한다. 밝혀졌다. 그러나, 생산계획시스템에서 1주 간격으로 계획오더를 이송할 때는 Order Release 방법을 적용하여 작업현장에서의 평균 리드타임과 리드타임의 변동, 공정중재고가 줄어드는 결과를 보였고, 가동률 수준이 높을수록 ORR 방법간의 차이가 크게 나타났다. 그리고 부하평준화 기능은 Order Release 정책의 유효성에 별 영향을 주지 않는 것으로 나타났다. 결론적으로, Order Release 방법은 우선순위규칙간의 성능차이를 줄이거나, 대체할 수 통제 기법이라기보다는 우선순위규칙을 보완하여 공정중재고와 작업현장에서의 리드타임, 리드타임의 편차를 줄여주는 역할을 한다고 볼 수 있다. 그리고, 계획시스템이 존재하여 계획오더가 일정기간간격으로 이송되는 환경에서 특히 유용하다는 결론을 얻었다. 알 수 있었다. 것인데, 제조업에서의 심각한 고비용, 저효율 문제 를 해결하기 위해 필수적으로 도입해야만 하는 실정이다. 또한 소비자의 다양한 요구로 인 하여 제품의 종류와 사양면에서 심한 변동을 보이는 시장 수요에, 신속한 정보처리로 대응 하는데도 크게 기여하고 있다. 이에 본 연구에서는, 자동차 Job Shop의 동기화 생산방식을 지원하는 동기화 생산시스템의 구축 모델을 제시하고자 한다.과로 여겨지며, 또한 혈청중의 ALT, ALP 및 LDH활성을 유의성있게 감소시키므로서 감잎 phenolic compounds가 에탄올에 의한 간세포 손상에 대한 해독 및 보호작용이 있는 것으로 사료된다.반적으로 홍삼 제조시 내공의 발생은 제조공정에서 나타나는 경우가 많으며, 내백의 경

• Korean Journal of Heritage: History & Science
• /
• v.51 no.4
• /
• pp.44-65
• /
• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.3
• /
• pp.76-98
• /
• 2023

The results of analyzing the outfits of male and female characters depicted in the "Hoehonryedocheop" (回婚禮圖帖, Deoksu 6375) held by the National Museum of Korea and estimating its production date of the "Hoehonryedocheop"are as follows. Firstly, an elderly groom is depicted wearing a patterned heukdanryeong (黑團領) with rank badges, a garment commonly donned by government officials in works such as "Jeonanryedo (奠鴈禮圖)" and "Gyobaeryedo (交拜禮圖)". And the old groom in "Heonsuryedo (獻壽禮圖)" "Jeobbindo (接賓圖)" and "Jungroeyeondo (重牢宴圖)" is shown wearing a jarip (purple hat) without a paeyoung (ornamental jewelry strap), accompanied by jade colored robe with a red strap belt. Gireokabeom (雁夫) is observed wearing a jarip (紫笠) adorned with a paeyoung (貝纓) and a patternless heukdanryeong with rank badges. Adult male descendants are depicted wearing dopo (道袍), while guests wear dopo, cheolrik (帖裏), and jikryeong (直領), accompanied by red and blue straps denoting their social status. Jingssi (徵氏), sidong (侍童), and young grandchildren are observed wearing jungchimak(中赤莫). The young servants are wearing jungchimak, and the boys carrying the food have braided their hair and worn sochangu (小氅衣), while adults servants wore jeonrip (氈笠) and sochangui. Performers are seen clad in a sochangui, jeonbok, and a blue sash around their waists. Secondly, the elderly bride is portrayed wearing a keunmeori (ceremonial headdress) and a green wonsam (圓衫) in "Gyobaeryedo," while in "Heonsuyeondo," she is depicted in a blue skirt and a jade colored jeogori (赤古里). Women descendants are shown adorning headdress decorations, such as binyeo(簪), banja(斑子) and pearl daenggi (眞珠唐紒) on their eoyeomeori (於于味, ceremonial headdress). They are further dressed in skirts of navy, red, and jade hues, paired with various-colored jeogori. Additionally, a woman wearing a navy skirt and a green jangot (長衣) is also depicted. The dongnyeo (童女, unmarried women) wear beolsaengmeri (娘子雙髻), headdress) with long binyeo and long dodaik-daenggi (都多益唐只). They wear chilbo-jokduri (七寶簇頭里) and a red skirt with a green hoejang-jeogori (回裝赤古里). Bija (婢子) wears garima (加里亇) on her eoyeomeori and is seen dressed in skirts and jeogori resembling those worn by noble women, albeit with lighter colors, shorter skirt length, and a subdued volume. Ginyeo's attire bears similarities to that of noble women, although with a dress with less vibrant tones and devoid of decorations on the eoyeomeori. Thirdly, based on the main character's jarip, along with the cheolrik and jikryeong worn by the guests, as well as the performances by musicians of the military camp, it is suggested that the main character of the 60th wedding anniversary is connected to the Ministry of Military Affairs or the military camp. Judging by the military band's short-sleeved vest, the silhouettes of the women dress, and the headdresses, it is likely that the "Hoehonryedocheop" was produced between the 1760s and 1780s.

• KOREAN JOURNAL OF CROP SCIENCE
• /
• v.40 no.5
• /
• pp.655-661
• /
• 1995

This study was conducted to get basic information of dry matter production and agronomic characteristics for increasing grain ripening in rice cultivar with large grains. Three cultivars which have different grain size were used. Of the two large grain cultivars, SR7796-3-1-5-1-l(SR7796F$_{7}$) had long culm and SR11269-13-3-4-2(SR11269F$_{6}$) had short culm. On the other hand, Tamjinbyeo was recommended cultivar had medium size of grain and culm. LAI was highest in Tamjinbyeo, followed by the SR11269F$_{6}$ and SR7796F$_{7}$, LAI decrement was higher in large grain cultivars than that of Tamjinbyeo after 20days after heading. Total dry weight(TDW) of areal part was highest in SR11269F$_{6}$, followed by the Tamjinbyeo and SR7796F$_{7}$. Dry weight (DW) of stem (leaf sheath+culm) at harvesting stage was decreased 15%, 12% in Tamjinbyeo, SR11269F$_{6}$, respectively, but was increased 5% in SR7796F$_{7}$ compared to heading stage. In distribution rate of each organ to TDW, distribution rate of leaf blade was low in large grain cultivar, but that of stem in Tamjinbyeo, SR7796F$_{7}$ and SR11269F$_{6}$ was 36%, 38% and 42%, respectively. In canopy architecture leaf blade weight was the highest 30~40cm, 40~50cm and 70~8Ocm above the ground in SR11269F$_{6}$, Tamjinbyeo and SR7796F$_{7}$, respectively. Range of panicle distribution in the canopy was 40cm in Tamjinbyeo, and was 70cm in large-grain cultivars. The results suggest that it has to take a growing interest in developing culture method for increasing LAI during growth stage, especially, around heading, in keeping green leaf till ripening stage and also in growing unformly plant within rice hill in large grain cultivars.cultivars.ltivars.