• Journal of the Korean Society of Food Culture
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• v.2 no.2
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• pp.103-116
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• 1987

To investigate the utilization of Korean traditional cookies by housewives, a survey was conducted to 1,037 housewives residing in Seoul, from October 16 to 23, 1986. Results are summarized as follows; The frequency of intake of Korean traditional cookies was very low depending on the age and total income. Housewives didn't prepare Korean traditional cookies at home, but mainly purchased commercial products in the market. Older people preferred Korean traditional cookies than younger people. The Korean traditional cookies which preferred by the housewives were generally Yackwa, Sesame-Gangjung, Soybean-Gangjung, Sanja, Perilla-Yutgangjung, Maejagkwa, Seban-Gangjung, Soybean-Yutgangjung and Black sesame-Gangjung. Improvement of taste in Korean traditional cookies was desired by 44.7% out of respondents. Additionally the respondents agreed that quality of Korean traditional cookies which is on the market have superior quality than western cookies, that the price of Korean traditional cookies is expensive and that Korean traditional cookies have various and abundent kind. The respondents preferred bamboo basket packing as packing materials of Korean traditional cookies. The main reason why Korean traditional cookies isn't wide spread use is the mass production of Korean traditional cookies does not accomplished.

• The Korean Journal of Food And Nutrition
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• v.6 no.1
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• pp.16-24
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• 1993

The "Namul" is a Korean common vegetable food composed of edible young leaves and soft stalks of wild plants or cultivating vegetables and treated with traditional condiments. It has been widely used as not only a regular diet but seasonal foods or special ceremonial foods. In this thesis, the kinds of edible plants for namul were philologically approached by books published in Korea from Koryo to Chosun dynasty. The first historical record about cultivated vegetable as food in Korea was a garlic and a gourd in $\ulcorner$Samkuksaki$\lrcorner$. According to numerous records, edible wild plants might have played an important part as food resources, since they have variable edible portions as famine relief foods. Four kinds of namul were first introduced in Koryo age, but in Chosun dynasty over eighty kinds were recorded. The root of ballonflower and white radish were most commonly used for raw namul and bamboo shoot and squash for boils ones. Most kinds of namul were introduced in $\ulcorner$Zeungtosanrimkwungiae$\lrcorner$ and $\ulcorner$Limwonsiprwukji$\lrcorner$ influenced by pragmatism in later half period of Chosun. The chronic state of famine in later half period of Chosun caused to introduce various edible wild vegetables, and had greatly influenced on the Korean people to acquire vegetarian food habits and to favor salty taste. It seems to need a further study on recent nutritional problems including dietary fiber.ary fiber.

• Journal of the Korean Home Economics Association
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• v.51 no.2
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• pp.161-171
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• 2013

The purpose of this research was to examine the subjective evaluation of sensory images and preferences according to the mechanical properties of linen and ramie fabrics for summer shirts. 54 male and female teachers evaluated the sensory images and preferences of 6 specimens of linen and ramie fabrics sold on the market. For statistical analysis, factor analysis, Mann-Whitney and Kruskal-Wallis test, Pearson correlation, and regression were used. The results were as follows: The sensory images of shirt fabrics were classified into 5 factors: 'smoothness', 'stiffness', 'elasticity', 'dry/coolness', and 'wetness'. There were partially significant differences by the gender and age in the sensory images for the shirt fabrics. Females were more sensitive than males for the 'stiffness', 'elasticity', and 'wetness' factor and the evaluators in their 20's felt fabrics were stiffer. The sensory images showed many correlations with the mechanical properties of fabric mostly. The preferences of tactile and purchase were no different according to the gender and age. They preferred a thin and soft sensory image as like ramie/cotton blended fabric and bamboo fabric for summer shirts. The significant sensory image factors affecting tactile preference were 'smoothness', 'dry/coolness', and 'elasticity', and the ones affecting purchase preference were 'smoothness', 'stiffness', 'dry/coolness', and 'elasticity'. W, WT, MMD, and G properties of the mechanical properties of fabrics affected the tactile preference for summer shirt fabrics.

• Asian-Australasian Journal of Animal Sciences
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• v.20 no.7
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• pp.1057-1066
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• 2007

Six male Gayal (Bos frontalis), approximately two years of age and with a mean live weight of $203{\pm}17$ kg ($mean{\pm}standard\;deviation$), were housed indoors in metabolism cages and fed bamboo (Sinarundinaria) leaves and twigs. After an adjustment period of 24 days of feeding the diet, samples of rumen liquor were obtained for analyses of bacteria in the liquor. The diversity of rumen bacteria was investigated by constructing a 16S rDNA clone library. A total of 147 clones, comprising nearly full length sequences (with a mean length of 1.5 kb) were sequenced and submitted to an on-line similarity search and phylogenetic analysis. Using the criterion of 97% or greater similarity with the sequences of known bacteria, 17 clones were identified as Ruminococcus albus, Butyrivibrio fibrosolvens, Quinella ovalis, Clostridium symbiosium, Succiniclasticum ruminis, Selenomonas ruminantium and Allisonella histaminiformans, respectively. A further 22 clones shared similarity ranging from 90-97% with known bacteria but the similarity in sequences for the remaining 109 clones was less than 90% of those of known bacteria. Using a phylogenetic analysis it was found that the majority of the clones identified (57.1%) were located in the low G+C subdivision, with most of the remainder (42.2% of clones) located in the Cytophage-Flexibacter-Bacteroides (CFB) phylum and one clone (0.7%) was identified as a Spirochaete. It was apparent that Gayal have a large and diverse range of bacteria in the rumen liquor which differ from those of cattle and other ruminants. This may explain the greater live weights of Gayal, compared to cattle, grazing in the harsh natural environments in which Gayal are located naturally.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.12
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• pp.425-435
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• 2018

The purpose of this study is to investigate the cultural value as well as business value of Juk-Bang-Ryeum(fishing instrument made by bamboo weir) by the investigation of remains in Gyeongnam Sacheon area and reviewing various historical literatures. The research will contribute to make back data necessary for the registration of World Heritage(UNESCO) and Globally Important Agricultural Heritage Systems(FAO). Fisheries, along with agriculture, have been great significance in human history. In particular, the Fisheries has been considered very important industry due to the geopolitical characteristics of our country surrounded by the sea. We can imagine may types of fishing practices and instruments at the agricultural age. Nonetheless, there are a few fishery heritages such as collecting and hunting tools that remains today. Fortunately, there are many Juk-Bang-Ryeum which is actually operate now from the past 500 years ago at the The Sacheon and Namhae areas. We could found some literature records about it in the historical ancient literatures. We could also infer that Juk-Bang-Ryeum was an important fishery resource of the country for a long time. It was built on the basis of scientific principles to capture fishes using the rapid tide of the natural geological straits, and it prove the wisdom of our ancestors. We also could found some unique cultural heritages that was important to the local community. Naturally, it has been managed as an important asset for the residents. In addition to such historical and humanistic values, it also has business and educational value. It can be useful to understand scientific fishery principles as well as fishery experience field. It has business value as an important tourism resource in the region in connection with historical relics and geological environment resources. In conclusion, it is a valuable asset to be handed down as a valuable cultural heritage.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.1
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• pp.53-63
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• 1994

There are lots of forests around the Korean rural village. This study was conducted to investigate the state of the forests by the 15 forests case study of the Kamgok region in Chon-guk-Do province, Korea. The results are as follows. 1. The forests lose mostly original form by the construction of road and forest clearing for the land development business. And almostly the form of the forests is a trapezoid or roundness. 2. The forests were remained on account of the Korean cemetery customs which is burying underground. 3. The conservation of the forests becomes more difficult because of the continuous development pressure. 4. Because the scale of the forests is so small, they aren't named as the natural resort forest by the forest law. So it will be the better alternative that they are conserved and used by inducing the concept of the village resort forest. 5. Because the owenership of the forests exists in a person or a family, the forests will be destructed continuously by the cemetery development. 6. The vegetation of the upper trees in the forests is the simple forests of Pinus densiflora, Pinus rigida and bamboo. The height of upper tree is average 10-12m. And average root diameter is 13-29cm. The age of the tree is average 50 years old. The state of the forests is mostly fine. 7. It is clarified that the price of the forest land is 3-5 times expensive than the other cultivated land. 8. The forests were made by the forefathers for the purpose of the practical use and were reforested in the era 1960s, 1970s.

• The Korean Journal of Community Living Science
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• v.21 no.2
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• pp.243-257
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• 2010

This study was conducted to search the health food intake behavioral intentions of male workers. The health-related behavior of 150 subjects were compared(smoke, alcohol drink, breakfast, BMI, sleep, exercise and health check). On the basis of the Theory of Planned Behavior, the factors health-food intake behavior were evaluated; there were normative beliefs, motivation for compliance, subjective norms, social influence factors, and barriers as perceived behavior control. The results were showed with five points by the Likert scale and Significance by t-test. The most frequently consumed health food was tea(3.40/4points) followed by healthy drinks(2.49/4). As behavioral beliefs, if consumption of 'nutritional supplements'(3.61/5) and 'fatigue recovery'(3.62/5) received the highest scores. As a result, the idea of 'nutritional supplements'(3.94/5) and 'fatigue recovery'(4.06/5) were the important aspects, but others were also positively evaluated. As a sub-factor of subjective norms on normative beliefs, The highest social groups to encourage consumption of health food were parents (3.93/5), and the lowest were doctors (3.02/5). The most influential people were doctors (3.67/5) and spouses (3.65/5). Barriers to consumption health food were side effects (1.09/5) and price (2.08/5). Taking Ginseng products and other processed foods (juice, honey, bamboo, etc.) were correlated with health concern (p<0.05). Taking traditional stamina foods was correlated with dietary habit recognition (p<0.05). Mineral intake was positively correlated with age. Healthy drinks was negative (p<0.05). Minerals and supplement consumption were correlated with the practice of healthy behavior (p<0.01).

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.348-354
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• 2023

A tattoo is a cultural form that has been handed down to mankind for a long time. Traditional tattoo customs that have been handed down and developed in the various cultures of mankind have the important value of academic research in various fields such as history, art, society, etc. The Derung people, one of the minorities living in Yunnan Province and nearby areas in the southwest of China, have 'facial tattoo' customs. The traditional culture of the Derung people, which had maintained the form of primitive society until 1949 when the People's Republic of China was established, was passed down through oral tradition, so there are no preserved materials about their tattoo culture, showing the need for research on the culture. Therefore, it was conducted in two ways: a research on modern and contemporary literature and a field trip to Yunnan Province. The exact reason and time of facial tattoo customs are unknown, but the customs disappeared after being banned in 1966 due to the Chinese Cultural Revolution. The symbols and functions of facial tattoos can be largely divided into four categories, including religious worship, coming-of-age ceremonies, aesthetic decorations, and ethnic and social history, through an on-site survey and research by modern and contemporary scholars. And, it is known that women of the Derung People get tattoos from the age of 7 to 8. The design of facial tattoos became more complicated for upper-class women and simpler for lower-class women depending on the area they live. Tattoos are mainly performed by relatives, and mainly bamboo skewers and lixivium extracted from the bottom of the pot are used as the materials. Currently, there are fewer than 25 women of the Derung people with facial tattoos, and most of them are elderly. Therefore, they seem to disappear altogether within a few decades. Therefore, it is urgent to have documentation on the unique facial tattoo culture of the Derung people.