• The Journal of the Petrological Society of Korea
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• v.23 no.3
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• pp.239-247
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• 2014

The (U-Th)/He dating utilizes the production of alpha particles ($^4He$ atoms) during natural radioactive decays of $^{238}U$, $^{235}U$ and $^{232}Th$. (U-Th)/He age can be determined from the abundances of the parent nuclides $^{238}U$, $^{235}U$ and $^{232}Th$ and the radiogenic $^4He$. Because helium is one of the noble gases (non-reactive) with a relatively small radius, it diffuses rapidly in many geological materials, even at low temperatures. Therefore, ingrowth of $^4He$ during radioactive decay competes with diffusive loss at elevated temperatures during the geologic time scale, determining the amount of $^4He$ existing today in natural samples. For example, He diffusion in apatite is known to be very rapid compared to that in most other minerals, causing a significant diffusive loss at ${\sim}80^{\circ}C$ or higher. At ${\sim}40^{\circ}C$, He diffusion in apatite becomes slow enough to preserve most $^4He$ in the sample. Thus, an apatite's (U-Th)/He age represents the timing when the sample passed through the temperature range of $80-40^{\circ}C$. The crustal depth corresponding to this temperature range is called a "partial retention zone." Normal closure temperatures for a typical grain size and cooling rate are ${\sim}60-70^{\circ}C$ for apatite and ${\sim}200^{\circ}C$ for zircon and titanite. Because the apatite He closure temperature is lower than that of most other thermochronometers, it can provide critical constraints on relatively recent or shallow-crustal exhumation histories.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.4-23
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• 2015

In the Buddhist paintings of the four devas, there is a change in the paper material of V aisravana(多聞天) in the early Joseon Dynasty. Until Goryeo Dynasty, Damuncheonwang, who holds a tower(塔) on the right side of Buddha was changed to the form which holds a mandolin(琵琶) in the early Joseon Dynasty. This change was first checked in Byeonsangdo in the Yuan period "The Avatamska Sutra(大方廣佛華嚴經, 1330~1336)", however the actual paper material change in the Buddhist painting is found first as a mural at the Tibetan temples, Cheolbangsa(哲蚌寺), Odunsa(吳屯寺), Baekgeosa(白居寺), which showed the change of tower which Vaisravaṇa held into mongoose. In Joseon Dynasty, also, new distribution of the four devas appeared first, which showed the change of paper material in the first floor roof-stones of Wongaksaji sipcheung seoktap, . However, the position of the four devas which held a tower and a mandolin consistently appear in the Buddhist paintings in the early Joseon Dynasty by mixing on the left and the right. This means the possibility that the paper material and the position of the four devas might be flexible in the early Joseon Dynasty. Just like reflecting this, painting image of the four devas in illustration of "saddharma-pundari-ka-$s{\bar{u}}tra$(Ming 1432, National Museum of Korea)" and illustration of "Jebulsejonyeorae-bosaljonjamyeongching-gagok(제불세존여래 보살존자명칭가곡, 1417)" has opposite position from each other. Therefore, the phenomenon in the Buddhist paintings of the early Joseon had a transitional characteristic which did not secure the fixed form of painting image by illustration of two copies where paper materials of the four devas were different, which characteristic can be said to be the characteristic of art in the transitional period.