• Journal of Bio-Environment Control
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• v.6 no.2
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• pp.92-96
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• 1997

This study was carried out to clarify the effects of number of branches per pot on the growth and yield in long term bag-culture of sweet pepper. Two plants were grown in pot with four, six, and eight branches. The results are summarized as the followings : 1. Plant height, stem diameter, leaf dry weight, root dry weight, and stem dry weight did not significantly differ among treatments, while the number of leaves and leaf area were the greatest In the treatment with eight branches per pot. 2. Although fruit length was not influenced by the number of branches per pot, fruit diameter and fruit weight were greater with four branches per pot. The yield of the four branches was 124.5ton/ha, which was not significantly different from the yield of the eight branches, 113.4ton/ha. Considering the average fruit weight, fruit quality, and labor saving, four branches per pot appears to be appropriate. 3. Although the yield of eight branches per pot during the first five months was higher, however, four branches per pot should be recommended for the long term bag- culture of sweet pepper because the yield of the four branches from April, which is the middle stage of growth to the final harvest was higher than the yields of the others.

• Korean Journal of Microbiology
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• v.55 no.1
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• pp.64-66
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• 2019

Cutibacterium acnes is a member of normal flora of human skin, conjunctiva, intestinal tract, the external auditory canal as well as oral cavity. It has been identified as an opportunistic pathogen related to acne vulagris, endocarditis infections, sarcoidosis, brain abscess, periodontitis, and osteomyelitis of the humerus. C. acnes KCOM 1315 (= ChDC KB81) was isolated from a human jaw osteomyelitis lesion. Here, we present the complete genome sequence of C. acnes KCOM 1315.

• Korean Journal of Microbiology
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• v.55 no.2
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• pp.154-156
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• 2019

Eikenella corrodens is Gram-negative, facultatively anaerobic, and rod-shaped bacterium. It is a part of the normal human mucosal flora that can cause several systemic diseases such as endocarditis, liver abscess, and intracranial bacterial infection. E. corrodens KCOM 3110 (= JS217) was isolated from human subgingival dental plaque of periodontitis lesion. Here, we present the complete genome sequence of E. corrodens KCOM 3110.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.57-66
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• 2010

In reviewing 'Dongkukesangkukjip(東國李相國集)' a selection of prose and poetry describing Toesikje, the house of Kee Heung-soo, a military official in the middle Goryeo Dynasty, the outcome of the study intended to infer garden scenery and landscape culture managed and possessed by high society at that time is outlined as follows. First, Kee Heung-soo, the owner of the house and Lee Kyu-bo, the author of Toesikje Palryeng(退食齋八詠) are thought to be those who first designated the 8 scenic points and recreated the concept of public enjoyment of into the concept of personal enjoyment in Korea. Second, the spatial configuration of the Toesikje garden is presumed to be in the Gee-Seung-Jeon-Gyul(introduction-development-turn-conclusion) style in which a fairyland is built to enjoy a free and peaceful life, while anticipating coming days and pursuing creation-prosperity-transcendence-return. Third, the viewpoint structure of the scenery Wongyeong(Toesikje), Donggyeong(Youngcheondong), Cheonggyeong(Cheokseojung), Myunggyeong(Dokrakwon), Jingyeong(Yeonmukdang), Sigyeong(Yeoneuiji), Yunggyeong(Nokgunheon), and Hyungyeong(Daehoseok) contains a symbolic universal vision of Palchejigyeongsek(the 8 scenic points) which incorporates Samwon(heaven, earth and water) and Obangwi(orientations), and the harmonization principle of the scenic points where the building and garden are harmonized. Fourth, Je, Dang, and Heon, Jeong(齋, 堂, 軒, 亭) are introduced to the garden, and Geehwayeecho, Jingeumgeesoo, Gasan and Goeseok(stone) were used in a variety of ways. Fifth, it was found that the management of Shinseongyeong and enjoyment of Yoosanggoksu events, with the study and seeking of perfect knowledge and discipline, wandering and rest led to a sublime appreciation of aesthetic beauty and divine glory. Sixth, a miniature garden was built to enjoy the view from above, together with the view in the distance, and a culture of secluded living, along with scenery expressing the heart's desire for Utopia was induced.

• Korean Journal of Crystallography
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• v.4 no.2
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• pp.63-73
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• 1993

Ag+ 이온이 부분적으로 치환된 3가지 제올라이트 A(Ag4Na8-A, Ag6Na6-A 및 Ag8Na4-A)를 완전히 탈수한 후 280℃에서 24시간동안 약 0.1 Torr의 Cs중기로 처리하 였다. 이들의 결정구조는 22(1)℃ 노에서 입방공간군 Pm3m (단위세포상수 a가 각각 12.321(3) A, 12.295(1) A 및 12.380(7) A임)을 사용하여 단결정 X-선회절법으로 해석 하였다. 이들 세가지 구조에서 Cs+이온은 각각 서로 다른 4개의 결정학적 위치에서 발견되었다. 단위세포당 3개의 Cs+이온은 8-링 중심에 위치하고, 약 6.9-7.3개의 Cs+이온 은 큰 동공의 6-링과 마주보는 위치에 있는 3회 회전축상에서 발견되었다. 그리고 약 2.17-2.74개의 Cs+이온은 소다 라이트 동공내에서 발견되며 약 0.5-1.0개의 Cs+'이온은 4링과 마주보는 곳에 위치한다. 또한 이들 구조에서 단위세포당 각각 1.88(5),2.30(3) 및 5.28(10)개의 Ag종이 존재하며 이들은 큰동공의 중심에서 헥사실버 클러스트를 형성한다. 8-링위치가 Cs+이온으로 모두 차있어서 Ag0가 골조밖으로 이동하는 것을 막을 수 있다. 각각의 헥사실버 클러스터는 서로 다른 좌표에 위치하는 14개의 Cs+이온에 의해 안정화된다. 이들 구조에서 발견되는 약 12.35-13.49개의 Cs+이온들은 Cso의 흡착이 일어나 제올라이트 기본 골 격에 있는 음이온 전하와 균형을 맞출 수 있는 12개의 Cs+ 이온 이상의 이온 또는 원자로 존재하고 있다. Cs+의 배열 은 다음과 같은 두 가지 배열로 쉽게 설명할 수 있다. 일부는 2개의 Cs+이온이 소다이트 동공내에 있는 6-링과 마주보는 곳에 위치하고 큰동공내에는 6개의 Cs+이온이 6링 근처에 위치하며 1개는 4-링 근처에 위치한다. 그 나머지는 소다라이트 동공내에 위치하는 3개의 Cs+이온과 한변의 길이를 3.52 A로 갖는 삼각형을 형성한 후 6-링을 통 하여 큰 동공 내에 위치한 3개의 Cs원자와 결합하게 되므로 3m (C3v)의 대칭구조를 갖는 (CS6)4+클러스터를 형성한다. 그 밖의 5개 Cs+이온은 비어있는 큰동공의 6-링에 위치한다.

• Journal of Plant Biotechnology
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• v.49 no.3
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• pp.187-192
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• 2022

The repeated monthly or weekly subculture of plant callus is labor intensive and increases the risk of somaclonal variation from the parental callus line. The most effective method for preserving plant callus is cryopreservation, which involves storage in liquid nitrogen. However, this method cannot be applied to the callus of different plant species in the same manner, so it is difficult to develop a standardized cryopreservation method. In addition, the survival rate of the frozen callus after thawing and the regeneration rate after survival are uncertain. Therefore, it is necessary to develop a method to extend the subculture interval of plant callus in an active state. In this study, active plant calli of various species without freezing was incubated at 15℃ for 4 to 12 weeks without subculture. After 12 weeks, 8 lines of plant callus grew less than 2-fold when cultured at 25℃, but at least 2 times as much when cultured at 15℃. Moreover, total antioxidant activity did not differ significantly between plant callus recovered at 25℃ after culturing at 15℃ or at 25℃. These results show that the subculture interval can be extended at a temperature of 15℃ without need for modified medium composition or additional processes. In addition, positive results in all calli of several plant species are expected to reduce labor as well as somaclonal variation by increasing the subculture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.10-21
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• 2014

This study focuses on the landscape of Daegodae(大孤臺), a prominent rock placed at the side of Namgae Stream in Hamyang, and the person who enjoy the landscape. Through the analysis of the letters such as names carved on the rocks based on ancient poetry and stone walls, the study examines the characteristics of the landscape and the space of Daegodae and the phase of hegemony to enjoy the landscape and space. The result of this study is as follow.2) There are 5 Seowon(書院: lecture halls) nearby Daegodae identified in the ancient map has 5 auditoriums nearby, and three-dimensional volume and eccentricity of the Daegodae is impressive. Daegodae, named by Noh Jin(1518~1578) in 16th century, was used in a variety of ways, including viewing, game, recreation, and meeting, by the staff of the lecture halls including Namgae Seowon(南溪書院), as a result of analyzing the ancient document Go-dae-il-Loc(孤臺日錄) written by Jung Kyung-Woon(鄭慶雲: 1556~?). The structure of Daegodae is that there is Chunggeunchung(淸近亭) on the rock face of the top and Sanangjae(山仰齋) to the west around the memorial stone for Yang Hee(梁喜: 1515~1581). The upper part of the foundation of Daegodae with 11m high and $10m^2$ wide to the east and west was widely used for lecturing and poetry reading. To the north and west of the foundation were the writing of Kim Jeong-Hee(金正喜: 1786~1856) with the words 'Seoksong Chusa(石松 秋史)' carved on the rock and the remains of a dead tree that is presumed to have been called as 'Seoksong'. They are the landscapes that further enhance the history and authenticity of this place. The two kinds of letters carved on the rock 'Daegodae Gaeeunseo(大高臺 介隱書)' and 'Mukheon JungGeunSang(鄭近相: 1893~1934)' were recorded each by Jung Jae-Gi(1811~1879) and his grandson Jung Geun-Sang, which are, as the outcome of exclusive space possession and space hegemony, the signatures indicating that they were the persons who enjoyed this place during the late Joseon and Japanese colonial era. In other words, Daegodae had some implied meaning of preoccupancy of the place as Gujolyangseonsengjangguso since the middle of Joseon, and the place was passed down as a buddhism lecturing and memorial venue called "Dungbukganghoiso Cheonryungjaeseonhyunjangguso" after going through the space hegemony of Jung Jae-Gi and Jung Geun-Sang during the late Joseon and Japanese colonial era each, Nevertheless, a number of letters carved on the rock identified also imply that 'Hadong Jung(河東鄭氏)' and 'Pungcheon Noh(豊川盧氏)' were those who enjoyed the landscape of Daegodae and the center of the space hegemony. The "letters carved on the rock of Daegudae" is another case of cultural landscape and traditional gardening space that serves as the representation of the will of enjoying the landscape in this place and the history of space hegemony.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.36-48
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• 2010

The objectives of this study are to research and analyze the positioning of Mt. Back Hwa(白華山) and the characteristics of its neighboring cultural scenery based on the Two Seated Buddah Temple, a small Buddhist temple of Taeul in Taean and to view both landscape geographic codes and religious attractions over Mt. Back Hwa by discussing its expression and meaning for the scenery scattered or nested over this districts. The panoramic view of west shows the character of Mt. Back Hwa as a magnanimity of Buddhist Goddess of Mercy which is viewed as a view point field no less than its location as a landscape target and its singularity as a rocky mountain. The ancient castle, signal beacon post and the small Buddhist temple of Taeul to be read importantly in the old map and SinjeungDongkukyeojiseungram(新增東國輿地勝覽) form the core of place identity, and a number of carve(engrave) letters such as Eopungdae(御風臺), Youngsadae(永思臺), etc. show the prospect of this mountain and monumentality derived from place characteristics. In addition removing of Taeiljeon, a portrait scroll of Dangun, national ancestor makes possible to guess the national status hold by Mt. Back Hwa in advance and to know that it has symbiotic relationship with indigenous religion and shares with the universal locality which have been continued for a long time through a portrait scroll of Dangun enshrined in Samsunggak. More than anything else, however the Rock-carved Buddha Triad in Taean, Giant Buddha of Baekjae era enshrined in the small Buddhist temple of Taeul is not only why Mt. Back Hwa, magnanimity of Buddhist Goddess of Mercy exists but also a signifier. In spite of such a placity, the union ideas of confucianism, buddhism and doctrinism of buddhism prevailed in the Late Joseon Dynasty allows the cultural phenomenon of taoism to be read in the same weight through Ilsogae(一笑溪) and Gammodae(感慕臺) which are mountain stream and pond area respectively centered in the carve letter, 'Taeeuldongcheon(太乙洞天)' constructed in front of the small Buddhist temple of Taeul, the Baduk board type of rock carvings engraved over them and a number of traces of carve letters made by confucian scholars since the Middle of Joseon Dynasty. The reason such various cultural sceneries are mixed in Mt. Back Hwa is in the results of inheritance of religious places and fusion of sprit of the times, and the various type of cultural scenery elements scattered in Mt. Back Hwa are deemed as unique geographic code to understand the multi-layered placity and the characteristics of scenery of Mt. Back Hwa in Taean.