• Korean Journal of Medicinal Crop Science
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• v.2 no.1
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• pp.51-59
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• 1994

This study was carried out to investigate the optimal propagation condition through stem node tissue culture of yam supplemented with concentration levels of growth regulators and activated charcoal in 1 /8MS white media. For shoot induction and plant regeneration from yam stem node tissue wre more effectivein combination of auxin, kinetin and activated charcoal than combination of auxin and kinetin. Shoot induction and plant regeneration were more effective in 1/8 medium suplemented with 1AA $2mg\;/\;\ell,\;kinetin\;2mg\;/\;\ell$ and activated charcoal $1g\;/\;\ell$ than in white medium, but in case of white medium, Shoot induction and plant regeneration wre effective in culture medium supplemented with NAAa $4mg\;/\;\ell,\;kinetin\;2mg\;/\;\ell$ and activated charcoal $1g\;/\;\ell$. Growth status in optimal propagation condition from yam stem node tissue brought the results of multiple plant, elongated plant height and increase in number of leaves and roots, but tissue culture effect by kinds of media in number of multiple plant were more effective in 1 /8MS medium than in white medium.

• Journal of Bio-Environment Control
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• v.21 no.4
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• pp.398-403
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• 2012

This study was carried out to investigate the effect of irrigation method adopted for reducing nutrient solution drainage on the root zone environment, growth and yield of a tomato crop grown in a rockwool medium. The irrigation control methods used were large quantity irrigation at a long interval controlled by only an integrated solar radiation sensor (standard), medium quantity irrigation at a medium interval (zero drainage 1), and small quantity irrigation at a short interval (zero drainage 2) controlled by both an integrated solar radiation sensor and a zero drainage sensor. The amount of the nutrient solution supplied and the drain percentage per plant of the standard, zero drainage 1, and zero drainage 2 were 1.4, 0.9 and 0.8 L, and 23.8, 8.6 and 3.7%, respectively. The average, minimum, and maximum water contents and EC of the standard, zero drainage 1, and zero drainage 2 were 64.5~88% and $1.5{\sim}3.5dS{\cdot}m^{-2}$, 40.3~76.0% and $2.5{\sim}4.0dS{\cdot}m^{-2}$, and 56.3~69.0% and $2.7{\sim}3.7dS{\cdot}m^{-2}$, respectively. There was no difference in leaf width, number of leaves, and stem diameter among the treatments. However, plant height and leaf length decreased in the zero drainage 1 and 2 treatments as compared to the standard. The fruit marketable yield per 10a in the zero drainage 1 and 2 treatments was about 93 and 88%, respectively, of that in the standard treatment.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.2
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• pp.33-40
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• 2014

The purpose of this study is to examine vegetation of the outer walls of the Jeongyi Town Wall in Jeju and analyze the characteristics and problems identified, for suggesting preliminary data for selecting species of plants appropriate for the greening of the walls in the southern temperate climate region, including Jeju. The result of this study is as follows. The number of plants growing naturally around the walls of the town was identified to be 52 taxa. Based on the list of naturalized plants, there are 5 taxa; Sonchus oleraceus, Houttuynia cordata, Crassocephalum crepidioides, Erigeron annuus and Lamium purpureum. The number of species by district was from 3 to 14 taxa with 7.1 taxa on average. Analyzing by the constancy class, plants in class III included Sedum bulbiferum, Trichosanthes kirilowii, Hedera rhombea and Boehmeria nivea. Manipulation of the species composition table shows that the number of plant species growing naturally around the walls of Jeongyi Town Wall is a total of 52 taxa, including 11 taxa by differential species of community and 41 taxa by companion species. The types of plants very useful for the covering of the walls are evergreen climbing vine, such as Hedera rhombea, Ficus thunbergii and Euonymus fortunei and deciduous climbing vine, such as Parthenocissus tricuspidata, Trichosanthes kirilowii and Paederia scandens. In addition, Ficus stipulata is identified as a vegetation more appropriate for the southern-ward lattice-blocked walls. Woody plants, such as Akebia quinata, Celastrus flagellaris, Ampelopsis brevipedunculata for. citrulloides, Rubus hirsutus, Clematis apiifolia and herbaceous plants, such as Dioscorea tenuipes, D. quinqueloba, D. nipponica, Cayatia japonica and Paederia scandens var. angustifolia are highly useful materials for climbing plants for covering the walls of the southern province. Pteridophyte, such as Lemmaphyllum microphyllum, Pteris multifida, Cyrtomium falcatum and Lygodium japonicumare suggested as very useful for increasing unique regional characteristics of the southern province, including Jeju.

• Restorative Dentistry and Endodontics
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• v.36 no.4
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• pp.306-312
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• 2011

Objectives: This clinical study evaluated the effect of light activation on the whitening efficacy and safety of in-office bleaching system containing 15% hydrogen peroxide gel. Materials and Methods: Thirty-three volunteers were randomly treated with (n = 17, experimental group) or without light activation (n = 16, control group), using Zoom2 white gel (15% $H_2O_2$, Discus Dental) for a total treatment time of 45 min. Visual and instrumental color measurements were obtained using Vitapan Classical shade guide and Shadepilot (DeguDent) at screening test, after bleaching, and 1 month and 3 month after bleaching. Data were analyzed using t-test, repeated measure ANOVA, and chi-squared test. Results: Zoom2 white gel produced significant shade changes in both experimental and control group when pre-treatment shade was compared with that after bleaching. However, shade difference between two groups was not statistically significant (p > 0.05). Tooth shade relapse was not detected at 3 months after bleaching. The incidence of transient tooth sensitivity was 39.4%, with being no differences between two groups. Conclusions: The application of light activation with Zoom2 white gel system neither achieved additional whitening effects nor showed more detrimental influences.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.14-22
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• 2012

The position, size and landscape of the former Donam SeoWon as well as the physical organization of the old site, are studied to extract data for the enhancement of the authenticity of Donam SeoWon since its registration as a world heritage site. The results are as follows. The 'Donam(豚巖)' encaved rock, the tombstone of teacher Sagye(沙溪), Kimjipsadang(金集祠堂), the head of the Gwangsan Kim family, the Sagye stream in front of them, and the Gyeryong and Daedun mountains in the distance are united in the former Donam SeoWon as landscape elements that clearly show the characteristics of the former site, which was called 'Donam-Wollim(豚巖園林).' Moreover Yangseongdangsipyoung(養性堂十詠), adds the garden elements of a medical herb field, twins pond, a bamboo forest, a school, and a peach field. On this site, one can also engage in activities that are related to the land and are closely related to Neo-Confucianism such as fish watching, conferencing, visit in seclusion(訪隱), looking for monks, and overseeing farming. The former site facing east is assumed to have Sau(祠宇) - Eungdodang(凝道堂) - Ipdeokmum(入德門) - Sanangru(山仰樓: estimated). Jeonsacheong seems to have been located to the left of the Sau area, Yangseongdang, which contained upper and lower twin lotus ponds, on the right and was surrounded by various plants. As it has been used as a lecture hall for the past 250 years, the former Donam SeoWon, located 1.8km away from the current area, must be preserved, and the landscape should be formed to establish the authenticity of Donam SeoWon.

• 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.1-13
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• 2010

This research was conducted to understand the characteristics and traits of Baekje's palace backyard by studying and analyzing the usage, shape, size, material, and place of origin of the odd-shaped stones found at the remains of Baekje's palace in Waggung-ri, Iksan. The results of the research are as following. The odd-shaped stones found at the Baekje palace backyard were used for two purposes. Some of the stones were used as heaping stones(疊石) for the stone waterfall in the backyard while others were used as ornamental stones(置石) to exhibit the uniqueness and beauty of the stone themselves. The stones used for the waterfall had various shapes and materials and were arranged to symbolize the beauty of natural scenery. On the other hand, the ornamental stones were used to exhibit their beauty of forms. Among the twenty six ornamental stones, four were large, four were mid-sized, and eighteen were small. The twenty four heaping stones used for the waterfall were all categorized as small. All of the stones were not too big, easily coming into sight of human beings. The heaping stones were mostly limestones, and some of them were metamorphic rocks such as marble, quartz, green rock, slaty rock, and phyllite. Almost all of the odd-shaped stones used for Baekje's palace backyard have beautiful patterns and specific forms that resemble natural scenes or animals such as a turtle, terrapin, pig, bear, or elephant. Some of the ornamental stones apparently went through carving to emphasize the unique shapes. Considering the usage and characteristic of the odd-shaped stones, one of the most characteristic feature of the Wanggung-ri palace backyard can be said to be 'the garden of odd-shaped stones'. Meanwhile, according to references, interviews, questionings, and on-the-spot surveys on the people who quarried the stones, the stones found at the remains of the Wanggung-ri palace came mostly from Mt. Cheonho in Hosan-ri, Yeosan-myeon, Iksna, and Mt. Shidae in Dosoon-ri, Wanggung-myeon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.14-28
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• 2010

By philological geography method for dismantling and reconstituting Buyeo's Palkyung(扶餘 八景), which best signify the image of ancient city Buyeo's landscape, this research is to demonstrate the fact that the place's inertia of certain historic sites has been passed down as a type of geographic code. Titled poems and retrospective poems about Buyeo's Palkyung and its spectacles and landscapes reveal the fact that the splendid and glorious cultural heritage of Baekje had faded but its traces have remained in the each eight views including Nakhwa-am(落花巖), Goran-sa(皐蘭寺), and Jayong-dae(釣龍臺). In addtion, the spectacles and historic sites of Buyeo's Palkyung appear as the symbol of Baekje's fall and loss in the poems. Thus, it can be said that Buyeo's culture and civilization have never escaped from the cultural and historical scars of Baekhe's fall, being dominated by the place's inertia originated from the identity as "Baekje'slastcapital". It is ironical that Buyeo's future development and prosperity are not free from its cultural and historical spectacles which bear the image of the fall of Baekje. 'Older Buyeos' Palkyung(扶餘舊八景)' and, Prior Buyeo's Palkyung(夫餘前八景), originate from nine views of an unknown builder and after the construction of pavilions and towers, 'Subuk-jeong eight views(水北亭八景)' by Heungguk Kim(金興國) and the eight poems of the, Retrospect of Buyeo(扶餘懷古八景), were created. 'Buyeo's later Palkyung(扶餘後八景), which are especially free from the site's inertia are known to have expanded the scope of Buyeo's landscape by deliberately demonstrating spectacles and sites different from those of existing views. Nakhwa-am, Goran-sa, Joryong-dae, Songwal-dae(送月臺), Youngwal-dae(迎月臺), and Pyungje-tap(平濟塔) are all located within a one kilometer radius of Banwol-sung(半月城), Buyeo's palace and the Baekma river(白馬江), Daewang-po(大旺浦), Busan(浮山) in a two kilometers radius. Jaon-dae(自溫臺), Subuk-jeong(水北亭), and Gyuam-jin(窺岩津) are located within a three kilometers radius. Even Chunjeong-dae(天政臺), which are located within a four kilometers radius of Banwol-sung are located alongside the Baekma river. This indicates the fact that these spectacles had not been established temporarily or impromptu but for a long period time by historic retrospect and the inertia of landscape's geographic cycle. In conclusion, the geographic phenomenon of historical and cultural inertia appeared because Buyeo had the geographic message of "fallen, ancient city". Therefore, Buyeo's Palkyung which have constant retrospective inertia is clearly an geographic code effective and helpful to understand not only the characteristics of historic sites and spectacles of Buyeo in the Sabi period but also the quality of the site itself.