• The Journal of Internal Korean Medicine
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• v.16 no.1
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• pp.258-261
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• 1995

본 논문은 예꿰이(엽계(葉桂), $1667{\sim}1746$, 자(字) 천사(天士), 호(號) 향암(香岩), 강소오현인(江蘇吳縣人)가 중풍전조증(中風前兆症)을 논치(論治)한 임상경험을 검토했다. 5인4법(5因4法)을 제시했는데, 이 경험은 중풍전조증의 예방과 치료에 여전히 임상지도의의(臨床指導意義)가 있다.

• KOMUNHWA
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• no.70
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• pp.17-34
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• 2007

Jigangkooksa's Monument at Beopchonsa is a monument representing the Goryeo Era, registered as the National Treasure No. 59. Haerin was a descent of a small regional clan, who overcame a number of challenges to become the leader of the nation at the age of 75. The tower and monument built after his death are among the finest works of the Goryeo Era. The Yongwha-world of the Jigangkooksa's Monument is the expression of a new utopia, which cannot be found in numerous Buddhist arts including Buddhist holy picture's art or other Codex. After passing through the pillar of cloud where 4 heavenly birds play, the new world of vault unfolds. Below are the 13 mountains which stand for 13th Heaven. In the center stands Tusita, the sky. On the top of Tusita is a Nagapuspa. The Nagapuspa in general has wooden pillars of treasure dragon patterns with dragonhead-shaped flowers on top. On the bottom, indrajala hang down. The Yongwha-world of the Jigangkooksa's Monument is carved with patterns related to Maitreya entering Nirvana. Jigangkooksa was active in the Moonjong Kingdom, the most prosperous times of the Goryeo Era, and led the publication of the Buddhism's Collection of Sacred Writings, the holiest work of the Goryeo people. At the time, people have offered on his tower a picture of him as the owner of Yongwha-world, with the utmost respect. This was the ideal utopia perceived by the people of Goryeo.

• Journal of Korean Society of Transportation
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• v.29 no.4
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• pp.53-62
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• 2011

This study discusses the effectiveness of safety management programs resulted from examining crash data collected during the period of implementation of the programs by a commercial transport company. For the analysis, two tye of comparison approaches are adopted: 1) a study comparing before-after of the implementation of a safety program, and 2) a study comparing a traffic accident index for various target groups. Technically, the effect of the safety management program is derived by eliminating both the 'regression to the mean' and the changing trend in the traffic accident index. The results show that safety management programs are effective to prevent traffic accidents, whereas company type appears irrelevant. The results also show that the effectiveness is significantly different depending on the intensity of safety management program and company size. In addition, a reciprocal effect is very likely to existamong the combination of these variables. This indicates that in order to improve the accident reduction effectiveness of such programs, the development and application of safety management programs based on both safety management strength and company size are required.

• Journal of Food Hygiene and Safety
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• v.36 no.6
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• pp.474-480
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• 2021

Sodium alginate is the sodium salt of alginic acid, commonly used as a food additive for stabilizing, thickening, and emulsifying properties. A relatively simple and universal analysis method is used to study sodium alginate due to the complex pretreatment process and extended analysis time required during the quantitative method. As for the equipment, HPLC-UVD and Unison US-Phenyl column were used for analysis. For the pretreatment condition, a shaking apparatus was used for extraction at 150 rpm for 180 minutes at room temperature. The calibration curve made from the standard sodium alginate solution in 5 concentration ranges showed that the linearity (R²) is 0.9999 on average. LOD and LOQ showed 3.96 mg/kg and 12.0 mg/kg, respectively. Furthermore, the average intraday and inter-day accuracy (%) and precision (RSD%) were 98.47-103.74% and 1.69-3.08% for seaweed jelly noodle samples and 99.95-105.76% and 0.59-3.63% for sherbet samples, respectively. The relative uncertainty value was appropriate for the CODEX standard with 1.5-7.9%. To evaluate the applicability of the method developed in this study, the sodium alginate concentrations of 103 products were quantified. The result showed that the detection rate is highest from starch vermicelli and instant fried noodles to sugar processed products.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.