• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Science of Emotion and Sensibility
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• v.6 no.4
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• pp.9-14
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• 2003

Sleep stages have been useful indicator to check a person's comfortableness in a sleep, But the traditional method of scoring sleep stages with polysomnography based on the integrated analysis of the electroencephalogram(EEG), electrooculogram(EOG), electrocardiogram(ECG), and electromyogram(EMG) is too restrictive to take a comfortable sleep for the participants, While the sympathetic nervous system is predominant during a wakefulness, the parasympathetic nervous system is more active during a sleep, Cardiovascular function is controlled by this autonomic nervous system, So, we have interpreted the heart rate variability(HRV) among sleep stages to find a simple method of classifying sleep stages, Six healthy male college students participated, and 12 night sleeps were recorded in this research, Sleep stages based on the "Standard scoring system for sleep stage" were automatically classified with polysomnograph by measuring EEG, EOG, ECG, and EMG(chin and leg) for the six participants during sleeping, To extract only the ECG signals from the polysomnograph and to interpret the HRV, a Sleep Data Acquisition/Analysis System was devised in this research, The power spectrum of HRV was divided into three ranges; low frequency(LF), medium frequency(MF), and high frequency(HF), It showed that, the LF/HF ratio of the Stage W(Wakefulness) was 325% higher than that of the Stage 2(p＜.05), 628% higher than that of the Stage 3(p＜.001), and 800% higher than that of the Stage 4(p＜.001), Moreover, this ratio of the Stage 4 was 427% lower than that of the Stage REM (rapid eye movement) (p＜.05) and 418% lower than that of the Stage l(p＜.05), respectively, It was observed that the LF/HF ratio decreased monotonously as the sleep stage changes from the Stage W, Stage REM, Stage 1, Stage 2, Stage 3, to Stage 4, While the difference of the MF/(LF+HF) ratio among sleep Stages was not significant, it was higher in the Stage REM and Stage 3 than that of in the other sleep stages in view of descriptive statistic analysis for the sample group.

• Journal of Conservation Science
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• v.32 no.4
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• pp.579-588
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• 2016

This study analyzed nonmetallic inclusions in iron swords with a ring pommel excavated in the Ipbuk-dong, Suwon. Scanning electron microscopy with energy dispersive spectroscopy(SEM-EDS) was used to estimate the iron-making temperature, and we compared the oxide with $SiO_2$ to investigate the heat-treatment technology in the production of iron swords with a ring pommel by investigating the artificial insertion of a slag former and the metallurgical structure. From the wustite observed in most of the specimens, it is judged that these swords were produced by heating and forging iron smelted at a low temperature using the solid reduction method. In addition, judging from the partial presence of $P_2O_5$, it is assumed that they were smelted directly with natural ore, not calcined. From the ratios of $CaO/SiO_2$ and $TiO_2/SiO_2$, it is judged that the raw material for iron-making was iron ore and that a calcareous slag former was not artificially inserted. The structure of the blade part on the front end was pure iron. From the high carbon content of the blade part on the ring pommel and the formation of a martensitic structure and pearlite colony, it is judged that they were tempered after carburizing and that the back, handle part, and ring pommel were unintentionally carburized. Judging from the structure of these specimens, it was noted that they were produced by applying artificial partial heat-treatment technology. This study attempted to present a more scientific analysis by using the method of interpretation through component analysis of nonmetallic inclusions appearing in one relic by the ratio of the oxide divided by $SiO_2$. It is judged that reinterpreting the arguments by the results of the existing analysis and research in this way can obtain different interpretations.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.4-23
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• 2021

The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.