• Journal of Bio-Environment Control
• /
• v.28 no.3
• /
• pp.197-203
• /
• 2019

This study was carried out to investigate the effect of chlorine water and plasma gas treatment on the quality and microbial control of Latuca indica L. baby Leaf during storage. Latuca indica L. baby leaves were harvested from a plant height of 10cm. They were sterilized with $100{\mu}L{\cdot}L^{-1}$ chlorine water and plasma-gas (1, 3, and 6hours), and packaged with $1,300cc{\cdot}m^{-2}{\cdot}day^{-1}{\cdot}atm^{-1}$ films and then stored at $8{\pm}1^{\circ}C$ and RH $85{\pm}5%$ for 25days. During storage, the fresh weight loss of all treatments were less than 1.0%, and the carbon dioxide and oxygen concentrations in packages were 6-8% and 16-17%, respectively for all treatments in the final storage day. The concentration of ethylene in the packages fluctuated between $1-3{\mu}L{\cdot}L^{-1}$ during the storage and the highest concentration of ethylene was observed at 6 hours plasma treatment in the final storage day. The off-odor of all treatments were almost odorless, the treatments of chlorine water and 1 hour plasma maintained the marketable visual quality until the end of storage. Chlorophyll content and Hue angle value measured at the final storage day were similar to those measured before storage in chlorine water and 1 hour of plasma treatments. E. coli was not detected immediately after sterilization in all sterilization treatments. After 6 hours of plasma treatment, the total bacteria fungus counts were lower than the domestic microbial standard for agricultural product in all sterilization treatments. The total aerobic counts in the end storage day increased compared to before storage, whereas E. coli was not detected in all sterilization treatments. The sterilization effect against bacteria and fungi was the best in chlorine water treatment. Plasma treatment showed sterilization effects, but within a prolonged period of time. In addition, the sterilization effect decreased gradually. These results suggest that chlorine water and plasma treatment were effective in maintaining Latuca indica L. baby Leaf commerciality and controlling microorganisms during postharvest storage.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.5-25
• /
• 2008

Seoul's community beliefs originated from the ritual performed by the shrines affiliated to each government office in the Joseon Dynasty. Lower branches of government officials were assigned to perform these rituals. Generally, these shrines were called Bugundang(府君堂). Records show that Bugundang(府君堂) was generally one to three units and enshrined the portrait of Bugun(府君), the worshipped, inside. According to historical records, the worshipped were mostly General Choi Young(崔瑩將軍) or Madame Song(宋氏夫人). In fact, however, each Bugundang(府君堂) worshipped different persons. Some of the worshipped were historical characters from the Goryeo Dynasty or the founding period of Joseon Dynasty, Guan Yu(關羽) and Zhuge Liang(諸葛孔明) that became gods after the Japanese Invasion of 1952, Wanggun(王建), Dangun(檀君), General Nam Yi(南怡將軍), Kim Yoo Shin(金庾信), Lim Gyeong Up (林慶業), King Gongmin(恭愍王), King Taejo(Lee Sung Gye, 太祖 李成桂), Joban(趙?) who is one of the supporters of the foundation of Joseon Dynasty, Sir Hong(洪氏大監) and his women who appear in the legend of Nanhansanseong(南漢山城) area, and many other historical figures. It is difficult to compare the rituals of these shrines from community Gut(Shaman ritual) performances of Seoul. According to historical records, Gut and ceremony coexisted in rituals. As time passed, these rituals spread as the community Beliefs of commoners and have been transmitted in the context of Seoul's cultural change. This study examined the existence of affiliated shrines of local government offices in the Joseon Dynasty and discussed the cases of Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟), Bangsan-dong Seongje Shrine(方山洞 聖帝廟), and Seobinggo Bugundang(西氷庫 府君堂) to trace the succession of rituals at these shrines as folk customs of commoners. Bangsan-dong Seongje Shrine(方山洞 聖帝廟) spread to the public as Gwanwoo(關羽), who was considered the god of soldiers, transformed into the god of merchants along with historical transition. It clearly shows the process as to how merchants from a certain region developed a community religion. Jangchung-dong Gwanseong Shrine(將忠洞 關聖廟) is Bugundang(府君堂) of the soldiers of Nampyoug(南營). As the ritual was succeeded by a ritual group called Yeoungsinsa(永信社), composed of nearby residents, it was naturally spread and succeeded by the residents in local community. Seobinggo Bugundang(西氷庫 府君堂) was related to the changes in the historical background of ice gathering in the late Joseon Dynasty.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.99
• /
• pp.50-71
• /
• 2021

The Five-story Stone Pagoda from the Dongsa-ri Temple Site in Buyeo, dated to early Goyeo Dynasty, is valuable in that it is the southernmost example of the capital Kaesong pagoda style. This pagoda exhibits characteristics of the central Goryeo style featured in the pagodas built in and around the capital Kaesong, such as the diagonally curved section of the support for the cover stone above the upper stereobate. It also shares stylistic affinities with eleventh-century stone pagodas. The ansangmun (elephant eye patterns) in the lower stereobate of the Dongsa-ri Five-story Stone Pagoda resemble those in the pedestal of the Stone Seated Buddha (which was likely repaired in 1028 during the reign of King Hyeonjong), at the Jeongrimsa Temple site in Buyeo. It also reflects elements found in the flagpole supports from the Cheonheungsa Temple site in Cheonan. The sculpting techniques used in these patterns are also similar. Such congruencies suggest that the Dongsa-ri Five-story Stone Pagoda was built in the eleventh century. The Dongsa-ri Temple Site in Buyeo, located near the Geumgang River, served as a principal route for transporting grain-tax during the Goryeo Dynasty. It was also situated along the way to the Goryeo royal temple, Gaetaesa Temple. The geographical significance of the site and the extensive repairs undertaken at Jeongrimsa Temple during the reign of King Hyeonjong (r. 1009-1031) of the Goryeo Dynasty appear to have impacted the production of the Dongsa-ri Five-story Stone Pagoda. The Dongsa-ri Five-story Stone Pagoda also bears stylistic resemblances to the stone pagoda and flagpole supports found at neighboring Cheonheungsa Temple, which is presumed to be related to the establishment of Honggyeongsa (or Honggyeongwon) Temple in 1021 in Cheonan. This indicates the route of the transmission of the Kaesong pagoda style. The Five-story Stone Pagoda from the Dongsa-ri Temple Site pays testimony to the cultural accomplishments of eleventh-century stone artworks in Buyeo and adjacent regions. This pagoda embodies the majestic and assertive aesthetics that define of the Goryeo Dynasty, as do early Goryeo colossal Buddhist sculptures, including the Stone Standing Maitreya Bodhisattva at Daejosa Temple in Buyeo, the Stone Standing Buddha Triad at Gaetaesa Temple in Nonsan, and the Stone Standing Maitreya Bodhisattva at Gwanchoksa Temple in Nonsan. All of these bear similarities to the massive stone lantern and pagoda at Hyeonhwasa Temple in the capital Kaesong. The production of the light, sleek, sharp, and sophisticated Dongsa-ri Five-story Stone Pagoda is presumed to reflect the maturity of the cultural competence of the people in Dongsa-ri, Buyeo under the influence of Buddhist culture from the capital Kaesong during the eleventh century, a time marked by active cultural exchanges among regions.

• The Journal of Korean Philosophical History
• /
• no.56
• /
• pp.9-46
• /
• 2018

Seongdeokdaewang-Shinjong, the 29th National Treasure, is highly valuable as a study material in various aspects including the histories of ideology, Buddhism, politics, art-craft, Chinese character study, calligraphy, epigraphy and so on of the mid-time of Shinra. Compared with the people's interest in the Shinjong, however, the studies on the words carved on it have not been yet deepened. Such studies have not been yet overcoming the phase of decoding and translation of the words. Today, it is required to analyze and study the words systematically. This article starts with such critical mind. That is why the subtitle of this article is Research on the Background of Thoughts considering that this study must be followed by its 2nd study. This study has totally reviewed the decoding and annotation works that have been done so far. Byeonryeomun (騈儷文: a writing style of Chinese character) has been also studied on its written patterns. As a result, approximately 20 problems have been found and corrected. Especially, such key phrases as '工匠?模' and '日月?暉' have been translated in a new way to spotlight the importance of translation of the carved words. The words carved on the Shinjong are highly valuable to study in the aspect of ideology history. The words fully show not only Buddhist thoughts, Confucian thoughts and Taoist thoughts but also Korea's own unique thoughts, which are all melted in the words without any obstacle to each other. In general, they are highly philosophical words. The words are unique especially in the aspect: They give a meaning to the Shinjong based on the keyword Won-Gong (圓空: circle and empty) and suggest the key point of Buddhist thoughts and governing philosophy altogether. That is, they imply that King Seongdeok's political ideology and governing principle are connected to Pungryudo (風流道), Korea's own unique philosophy. This implication is key evidence that makes it possible to trace the context of transmission of Pungryudo. You should not miss also the phrases implying that there was a big argument between reform group based on Confucian thoughts and conservative group based on Korea's own unique thoughts.

• Journal of the Korea Society for Simulation
• /
• v.18 no.3
• /
• pp.73-82
• /
• 2009

Due to the many advantages including low price, low power consumption, and miniaturization, the CMOS camera has been utilized in many applications, including mobile phones, the automotive industry, medical sciences and sensoring, robotic controls, and research in the security field. In particular, the 360 degree omni-directional camera when utilized in multi-camera applications has displayed issues of software nature, interface communication management, delays, and a complicated image display control. Other issues include energy management problems, and miniaturization of a multi-camera in the hardware field. Traditional CMOS camera systems are comprised of an embedded system that consists of a high-performance MCU enabling a camera to send and receive images and a multi-layer system similar to an individual control system that consists of the camera's high performance Micro Controller Unit. We proposed the SL-AVS (Small Size/Low power Around-View System) to be able to control a camera while collecting image data using a high speed synchronization technique on the foundation of a single layer low performance MCU. It is an initial model of the omni-directional camera that takes images from a 360 view drawing from several CMOS camera utilizing a 110 degree view. We then connected a single MCU with four low-power CMOS cameras and implemented controls that include synchronization, controlling, and transmit/receive functions of individual camera compared with the traditional system. The synchronization of the respective cameras were controlled and then memorized by handling each interrupt through the MCU. We were able to improve the efficiency of data transmission that minimizes re-synchronization amongst a target, the CMOS camera, and the MCU. Further, depending on the choice of users, respective or groups of images divided into 4 domains were then provided with a target. We finally analyzed and compared the performance of the developed camera system including the synchronization and time of data transfer and image data loss, etc.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.79-120
• /
• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.325-356
• /
• 2021

This study is to analyze the current status of transmission and musical characteristics of Naeseo-deulilsori in Changwon, and the purpose of this study is to illuminate the value of deulilsori in Naeseo region, so that it can be continuously inherited. Naeseo-deulsori consists of the Mosimgi-sori, Nonmaegi-sori, and Chingchingi-sori. Mosimgi-sori, which is called when planting a seedling, is divided into 6 types according to the order and situation of work. ① rice planting sound, ② rice planting sound called in the morning, ③ rice planting sound called at lunch time, ④ rice planting sound called after lunch, ⑤ rice planting sound called when it is raining or cloudy, ⑥ rice planting sound called at sunset. Mosimgi-sori, which is called when planting a seedling, is based on Menali-tori, but partly influenced by Yugjabaegi-tori. However, it was typical Menali-tori in the slow The sound of rice planting in the nearby Haman region, but as the speed increased in the fast The sound of rice planting, the characteristics of Menali-tori faded and la↘mi perfect fourth descending frequently appeared. In the sound of rice planting in Goseong, both slow and fast sounds were strongly influenced by Yugjabaegi-tori. In the end, the sound of rice planting in the Naeseo region is less Yugjabaegi-tori than in the Goseong region and stronger than in Haman region. This combination of tori is a musical bargaining phenomenon that appears in the border region, and it can be said to be a geographical and regional characteristic of the Naeseo region. Nonmaegi-sori has the same sound as 'Sangsadeio' throughout the nearby Goseong and Haman regions. However, in Nonmaegi-sori in the Naeseo region, a strong Gyeong-tori tendency is found in the sound received. Looking at the flow of the melody of Nonmaegi-sori, it seems that the pitch has been changed by the intestines in recent years, and this modified melodic form has continued as it is. In order to guarantee locality, this part seems to need to be corrected in the future.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.393-413
• /
• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.

• Journal of the Daesoon Academy of Sciences
• /
• v.48
• /
• pp.305-335
• /
• 2024

In the 7th and 8th centuries, Chinese Buddhism was at its peak, and major sects emerged and began to differ from one another in significant ways. This fact was also revealed through several versions of Biographies of the Eminent Monks and changes observable in the peculiarity of their formats. In the early 6th century, Huijiao (慧皎) compiled Gaosengzhuan (高僧傳, Biographies of Eminent Monks) which contains the history of Buddhism after it was introduced to China. At this time, he established a new format called the ten-subjects (十科). In 645, Daoxuan (道宣) used these ten-subjects as the basic framework to compile Xu-Gaosengzhuan (續高僧傳). However, by modifying and supplementing some parts of the ten-subjects, he standardized the ten-subjects into a format suitable for historiography. After the Xu-Gaosengzhuan, several versions of Biographies of the Eminent Monks were compiled in a format that further modified the ten-subjects. Fazang (法藏) wrote Huayanjing zhuanji (華嚴經傳記, 690?) which consisted of the ten-subjects, but the names and meanings of the subjects changed significantly to emphasize the Avatamsaka philosophy. Subsequently, while compiling Hongzan fahuazhuan (弘贊法華傳, 706?), Huixiang (惠詳) compiled a newly modified list of eight-subjects based on the ten-subjects of Gaosengzhuan and Xu-Gaosengzhuan. Sengxiang (僧詳) compiled Fahua xhuanji (法華傳記, 750?) in the format of twelve-subjects which added two new subjects to the ten-subjects of the Huayanjing zhuanji. These two formats focused on faith rather than philosophy. Even in the Chan (Zen) schools, a series of Biographies of the Eminent Monks was compiled from the beginning of the 8th century. Chuan fabaoji (傳法寶紀, 713?), Lengqui shiziji (楞伽師資記, 713?), Lidai fabaoji (歷代法寶記, 774), and Baolin zhuan (寶林傳, 801) are all examples of such compilations. However, the format of these four Biographies of the Eminent Monks was completely different from prior versions. Without setting any subjects, the authors established and described a dharma lineage transmitted continually from master to disciple. This is because Chan Buddhism does not rely on Buddhist texts but focuses on monks achieving realization through other means. At first, only the Chinese patriarchs were listed, but starting with Baolin zhuan, 27 patriarchs including Buddha and Kasyapa were included in the dharma lineage and presented as history. This fictional lineage was based on the need to secure sectarian superiority and legitimacy as Chan Buddhism flourished.

• KOREAN JOURNAL OF CROP SCIENCE
• /
• v.69 no.1
• /
• pp.34-48
• /
• 2024

The objective of this study was to evaluate the safety of biodegradable mulching films in soybean (Glycine max) cultivation by measuring their effects on crop growth and yield, film decomposition and soil chemical and physical properties. In 2022 and 2023, plant height, branch number, chlorophyll contents, yield components, and yield of soybean did not vary significantly in areas using PE films and biodegradable mulching films. The light transmission rate of the biodegradable mulching films ranged from 6.4 to 15.8% when measured 112 days after soybean transplanting, and was higher, on average, in 2023 than in 2022. In both years, degradation of the biodegradable mulching films began 20 days after soybean transplantation and increased over time. In addition, remains of biodegradable mulching films were present in fields at soybean harvest and remained until 50 days after harvest. Decomposition rates of the biodegradable mulching films at 112 days after soybean transplanting ranged from 9.8 to 26.7% in 2022 and 13 to 36% in 2023. Although soil pH and EC varied based on the year and timing of measurements, there was no significant difference between areas that used biodegradable mulching films and PE films. Soil organic matter, nitrate and exchangeable cation contents such as Ca, Mg, and K were not significantly different in areas that used both PE films and biodegradable films. However, significantly higher levels of available phosphoric acid content were measured in areas that used biodegradable mulch films E, S, and T. Regardless of which films were used, there were no significant differences in the soil's physical properties. In 2022 and 2023, there was no difference between areas that used biodegradable mulch films and PE films. However, soil temperature in mulched areas was 2℃ higher and soil moisture was 5-15% higher than in non-mulched areas. Barley growth was not affected by being planted in soil that had been used for soybean cultivation with biodegradable films. Therefore, the biodegradable mulch films used in this study can be used without negatively affecting the growth, yield, and soil environment of soybeans.