• Korean journal of applied entomology
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• v.48 no.4
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• pp.479-484
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• 2009

A leafhopper, Zorka sp. was collected from a persimmon (Diospyrosi kaki, cv SangjuDungsi) orchard in Sangju, Gyeongsangbuk-do, Korea on 15 June, 2008. This leafhopper gave a serious damage to persimmon leaves, being a new pest to persimmon. This leafhopper was tentatively identified as Zorka sp., which has not been recorded in the science. White spots of <1mm-circle occurred around the vein of damaged leaves. Most part of leaf was turned to white when heavy infection occurred. The first symptom occurred from 4 days after introduction of Zorka sp. (4 adults/persimmon leaf). We investigated the occurrence of Zorka sp. in the persimmon orchards in Korea from 2008 to 2009. Total 143 orchards from 11 cities in 6 provinces were observed from July to August. The damage caused by Zorka sp. was found in 22 orchards (15.4%) of the investigated. According to locality, 40.7% of orchards were damaged in Yeongdong, Chungcheongbuk-do and 33.3% in Wanju, Jeollabuk-do. However, no damage was observed from the orchards in Gyeongsangnam-do and Jeju-do, south part of Korea. Especially, 9 of 11 orchards in Youngdong were located close to grapevine yards.

• Toxicological Research
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• v.20 no.1
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• pp.83-88
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• 2004

The present study was carried out to investigate the potential adverse effects of CKD-602 by a 5-day repeated intravenous dose in Sprague-Dawley rats. The test article, CKD-602, was administered intravenously to male and female rats at dose levels of 0.07, 0.22, 0.67, 2.0 and 6.0 mg/kg/day for 5 days consecutively. Mortalities, clinical findings, and body weight changes were monitored for the 14-day period after cessation of the administration. At the end of 14-day observation period, all animals were sacrificed and complete gross postmortem examinations were performed. There were 2 and 5 treatment related deaths in the 0.67 and 2.0 mg/kg/day dose groups of both genders, respectively. Treatment related clinical signs, including hair loss, skin paleness, decreased locomotor activity, emaciation, and changes in stool were observed in a dose-dependent manner from the third day after initiation of the injection. Decrease or suppression of body weight was also observed dose-dependently in males and females of the treated groups. Gross postmortem examinations revealed a dose-dependent increase in the incidence and severity of atrophy or hypertrophy and white membrane formation in the spleen, atrophy of the thymus, diffuse white spots and paleness of the liver, paleness of the lung, kidney and adrenal gland, and dark red discoloration and dark red contents in the alimentary tract. Based on these results, it was concluded that the 5-repeated intravenous injection of CKD-602 to male and female rats resulted in increased incidence of abnormal clinical signs and death, decreased or suppressed body weight, and increased incidence of abnormal gross findings. In the present experimental conditions, the $LD_{50}$ value was 2.07 (95% confidence limit not specified) mg/kg/day in both genders and the $LD_{10}$ value was 1.72 (95% confidence limit not specified) mg/kg/day in both genders.

• Korean Journal of Plant Tissue Culture
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• v.27 no.3
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• pp.155-161
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• 2000

This experiment was carried out to examine the effects of culture medium on cell growth of the viola (Viola patrinii DC.) suspension culture. The results are as follows: The greatest cell growth rates were found with MS medium suggesting that this medium could be recommendable for the viola suspension cell culture. When the nitrogen sources (NH$_4$NO$_3$ and KNO$_3$) of MS salts were diluted at half concentrations, the cell growth rates were slightly increased, but when the combined concentration rations of NH$_4$+ and NO$_3$ions were 25 to 75 the greatest cell growth rates were obtained. This result imply that the nitrogen ion sources had slight influence on the rates. Another feature was obtained. This result implys that the nitrogen ion sources had slight influence on the rates. Another feature was that as the concentration of NH$_4$+ ion lowered, the callus color changed to pale yellow with some red spots. The addition of casein hydrolysate (5 g/L) was more effective for the cell growth. On the basis of microscopic observation, the highest cell growth rates were detected during 2-4 weeks culture and after 6 weeks of the culture, some elongated and vacuolated cells were determined.

• Journal of Sericultural and Entomological Science
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• v.45 no.2
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• pp.108-111
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• 2003

A infectious fungus (J131) recently isolated from artificial cultivation farms of Paecilomyces tenuipes is known to cause a great yield loss and deterioration of products. In this study, its occurrence and characterization were made. The isolate (J131) was identified as Paecilomyces farinosus (Holm ex S. F. Gray) Brown ＆ Smith. Colonies of the isolate on PDA grew moderately fast, attaining a diameter of 19mm within 14 days at 24${\pm}$1$^{\circ}C$. Vegetative hyphae are smooth-walled and hyaline. Conidiophores mainly arose from the submerged mycelium, usually measuring 1.3-1.5$\mu\textrm{m}$ wide and consisted of verticillate branches with whorls of 2 to 4 phialides. Phialides of 3.8-5.8${\times}$1.5-1.8 $\mu\textrm{m}$, with a swollen basal portion tapered into a distinct neck of about 0.6-0.8 $\mu\textrm{m}$ wide. Conidia arisen from the phialides, were ellipsoidal to fusiform, smooth-walled, hyaline, 1.8-2.4${\times}$1.1-1.4$\mu\textrm{m}$. .When silkworm larvae were injected with concentration of 1${\times}$10$\^$8/ conidia/$m\ell$ of infectious fungus J131, infection rate was 41.3％ and synnemata formation rate was 23.6％. Black spots were appeared on the surface of silkworm larvae in 5-9 days after injection. The surface of larvae was covered with hyphae which were gradually turned into yellow from white color during the incubation period of 3-4 days. 1 to several 4-6mm long synnemata of yellow or orange color were formed on the surface. The matured synnemata were ramified from its end and produced much conidia of white color.

• Journal of Practical Agriculture & Fisheries Research
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• v.23 no.2
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• pp.25-32
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• 2021

There is a need to breed and distribute of domestic varieties for Lilium longiflorum because most of the lily bulbs cultivated in Korea were imported from foreign country. The L. longiflorum 'Ace' and 'Nellie White' collected from 1996 had been self-crossed from 1996 to 2010. In 2012, the L. longiflorum 'Bright LoSong' was developed as a F₁ hybrid crossed between 'L₂-17-4' and 'L₂-16-6' that obtained by 7th self-fertilization. The 'Bright LoSong' was tested for homogeneity, regional adaptability test, consumer preference show from 2014 to 2015, and it was registered in 2017. The flower of 'Bright LoSong' is a trumpet shaped single flower with no spots.It has 5.8 flowers per plant, which is a relatively many number compared control 'Mount Carmel', Its flower diamater is 9.8cm, relatively a bit small size. And the flower inflorescence has umbel or raceme while the attitude of longitudinal axis is horizontal. The plant height is 38.4cm with 30.8 leaves per plant and 1.9cm of the leaf width. 'Bright LoSong' has a longer flowering period because of relatively small diameter or many number of flowers than those of the control 'Mount Carmel'. Thus, the 'Bright LoSong' showed a high consumer preference, and the cultivar has the advantage of being able to reproduce since the parents are pure lines.

• Journal of fish pathology
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• v.11 no.1
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• pp.51-60
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• 1998

Concerned to the lyfe cycle of Ichthyophthirius multifiliis, the experimental infection and development of the parasites were studied in the several freshwater cultured fishes. Opitimum conditions for the propagation of the parasite by serial passage with the rainbow trout fry was observed. Visiable white spots were examined in the body surface, fins and gills of the healthy fries, and a stable infection has been maintained for 2 months in the experimental system (Temperature: $18{\pm}1^{\circ}C$ DO: 7-7.5 ppm; pH: $7{\pm}0.2$). Induction conditions for artificial infection of the parasite by interms of the host fishes, stages of the parasites, and rearing temperature regimes was investigated. Rainbow trout fries showed a positive infection which was resulted from exposure of theront at $18^{\circ}C$. The rainbow trout fries induced white spots on the body surface at 3-7 days exposure to the theronts at $18^{\circ}C$. It was found that exposure of the rainbow trout fries exposed to 1,000 theronts per fish (10 theront/ml) for 45-60 minutes at $18^{\circ}C$ would consistently produce infection. Perfect infection (100%) was induced when the fries were exposed to 1,500 theront per fish (15 theront/ml) under laboratory condition. Development of I. multifiliis in the rainbow trout was observed for 7 days postexposure (PE). The parasite increased in average diameter from $54{\mu}m$ on the 1st day PE to $426{\mu}m$ on the 7th day PE. In the initial infestation period, the parasites were found on the gill epithelium, and on the 3rd day PE they invaded into the basal part of the gill filament adjacent to the major blood vessels, particularly the afferent vessels. Morphological change of buccal apparatus were observed on the 2nd day PE. Contractile vacuoles were more prominent on the 4th day PE, and they had notable changes on the 7th day PE.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.98-106
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• 2010

Bangseonmun(訪仙門) is the attractive spots where Shinseon(神仙: Taoist hermit) ideas that makes Mt. Younju(瀛洲山) or the current Mt. Halla mystique has still remained and situated at Hancheon(漢川) Valley. Bangseonmun, which is known as 'Landscape Setting Here($L_{SH}$)' of Youngguchunhwa(瀛丘春花), which is one of ten famous spots in Youngjusipkyung(瀛洲十景), and Deulreonggui refer to 'the gate to the place where Shinseon is living.' It is described as the path to Mt. Youngju for Shinseon and the boundary between the mundane world and the world beyond the mundane. The old scholars at Mt. Halla entered the gate and met Shinseon, carving the word or picture of Bangseonmun, Whanseonmun, Wuseondae or Deungyounggu so as to structure the enchanting image on Bangseonmun. It is the poetic expression of the taste for the arts, breaking from the troublesome mundane world and riding the white deer to become the Shinseon, the desire for the ideal world in Taoism, and the identity of four famous scenic spots of Bangseonmun. Besides its enchanting meaning and the locational value of Bangseonmun, geological features of the valley and river and ecological value prove its unique value as a natural scenic beauty. Not to mention the locational identity and enchanting meaning of the poets carved in Meeaegak of Bangseonmun and the scenic view of 'Youngguchunhwa' as the subject of 10 famous scenes of Youngju, it is the place for communing with nature with the natural beauty of Bangseonmun Valley. As the cultural place for being together with Jeju people, it simultaneously shows the typical model as a scenic spot in our living. Viewing the scenic value and standard from the aspect of the Cultural Properties Protection Law, Bangseonmun Valley in Jeju must be the typical place and space that meet the requirements to become scenic sites.

• Korean Journal of Environment and Ecology
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• v.22 no.4
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• pp.435-441
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• 2008

This study conducted a survey on the moulting sequence subsequent to age of Haliaeetus pelagicus raised in captivity at the Ornithology Laboratory attached to Kyungsung University for about six years from November, 2000 until July, 2006. The survey indicated that the moult of rectrices usually began in July and continued until April of the next year and most of the rectrices were replaced by one-time moult. Usually, about two thirds of the tail feathers were replaced while the rest were replaced no later than April of the next year, and the moult also continued during the wintertime. The total number of rectrices was 14, and the moult progressed alternately on a systematic basis. The progress of the moult for female & male was made on four stages and three stages respectively and the characteristic shown on every stage of the moult was that the left & right tail feathers progressed symmetrically and not until one stage of progress almost completed did the next stage began. The color of the juvenile steller's sea-eagle was dotted with black spots on its original white color and there existed regular black belt on its feather's fringes; however, it was difficult to identify its age by tail feathers only because there was almost no difference in color between feathers ranging from the first to the third generation(1st-3rd summer feathers). In addition, this research took the different amounts of black-speckled pattern appearing by individual into consideration. There existed slight black speckles in white color feathers of the fourth generation(the 4th summer feathers) while showing a big difference compared to the 3rd generation feathers. The 5th generation feathers[the 5th summer feathers]were found to be equipped with perfect tail feathers having virgin white of a steller's sea-eagle after completing its 4th molt. When observing a steller's sea-eagle in the open air, it is necessary for an observer to have a deliberate examination in judging its age belonging to the 1st-3rd generation feathers, and it is considered that the changes of other parts of feathers should be also observed besides tail feathers.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Horticultural Science & Technology
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• v.33 no.2
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• pp.292-297
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• 2015

A new cultivar of Hibiscus 'Red Bohanjae' (Hibiscus syriacus 'Red Bohanjae') was developed after crossing between Hibiscus syriacus 'Andong' (♀) with white flowers and Hibiscus syriacus 'Samchully' (♂) with pink flowers to improve flower quality and growth habit. The Hibiscus breeding program was initiated in 2002, and H. syriacus 'Red Bohanjae' was preliminarily selected as '02-RV-17' in 2003 due to its stable flower quality with rich pink flowers and small tree type. The selected line was further evaluated for growth characteristics, leaf shape, leaf size, flowering characteristics, and tested for distinctness, homogeneity, and stability during 2004-2007. The characteristics preserved by grafting. 'Red Bohanjae' showed a small growth habit with slightly upright branches. The tree had potential use as a potted plant or bonsai because of its dwarf form. The new cultivar 'Red Bohanjae' had violet-pink color flowers (RHS N78C) with red eye spots, small size (9.2 cm) and spatulate (I-type) petals. Leaves were 4.2 cm long and 2.3 cm wide. After the evaluation of plant characteristics for 3 years (2005-2007), it was registered as cultivar 'Red Bohanjae' (4118, plant variety protection rights number) in 2012. 'Red Bohanjae' having violet-pink flowers with red eye and dwarf tree form seems to be suitable for pot or bonsai cultivation in both indoor and outdoor conditions.