• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.32-51
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• 2016

This study examines, based on the database of the Institute for the Translation of Korean Classics(ITKC), the garden plants and their symbolism, and the landscape culture recorded in 'Jipkyungjaeyoungsi(the Series of Poems on Gardens Poetry)' in relevance to traditional houses. First, Jipkyungjaeyoungsi had been continuously written since mid-Goryeo dynasty, when it was first brought in, until the late Joseon dynasty. It was mainly enjoyed by the upper class who chose the path of civil servants. 33 pieces of Jaeyoungsi(題詠詩) in 25 books out of a total of 165 books are related to residential gardens. The first person who wrote a poem in relation to this is believed to be Lee GyuBo(1168~1241) in the late Goryeo dynasty. He is believed to be the first person to contribute to the expansion of natural materials and the variation of entertainment in landscape culture with such books as 'Toesikjaepalyoung(退食齋八詠)', 'Gabeunjeungyukyoung(家盆中六詠)'and 'Gapoyukyoung(家圃六詠)'. Second, most of the poems used the names of the guesthouses. Out of the 33 sections, 19(57.5%) used 8 yeong(詠), then it was in the sequence of 4 yeong(詠), 6 yeong, 10 yeong, 14 yeong, 15 yeong, 16 yeong, 36 yeong(詠) and so on. In the poem writing, it appears to break the patterns of Sosangpalkyung(瀟湘八景) type of writings and is differentiated by (1) focusing on the independent title of the scenery, (2) combining the names of the place and landscape, (3) focusing on the name of the landscape. Third, the subtitles were derived from (1) mostly natural landscape focused on nature and garden plants(22 sections, 66.7%), (2) cultural landscape focused on landscape facilities such as guesthouses, ponds and pavilions(3 sections), (3) complex cultural scenery focused on the activities of people in nature(8 sections). Residents enjoy not only their aesthetic preferences and actual view, but the ideation of the scenery. Especially, they display attachment to and preference for vegetables and herbs, which had been neglected. Fourth, the percentage of deciduous tree population(17 species) rated higher(80.9%) compared to the evergreens(4 species). These aspects are similar results with the listed rate in 'Imwonkyungjaeji(林園經濟志)' by Seo YuGu [evergreen 18 species(21.2%) and deciduous trees 67 species(78.8%)] and precedent researches [Byun WooHyuk(1976), Jung DongOh(1977), Lee Sun(2006)]. Fifth, the frequency of the occurrence of garden plants were plum blossoms(14 times), bamboos(14 times), pine trees(11 times), lotus(11 times), chrysanthemum(10 times), willows(5 times), pomegranates(4 times), maple trees(14 times), royal foxglove trees, common crapemyrtle, chestnut trees, peony, plantains, reeds and a cockscombs(2 times). Thus, the frequency were higher with symbolic plants in relations to (1) Confucian norms(pine trees, oriental arbor vitae, plum blossoms, chrysanthemums, bamboos and lotus), (2) living philosophy of sustain-ability(chrysanthemum, willow), (3) the ideology of seclusion and seeking peace of mind(royal foxglove ree, bamboo). Sixth, it was possible to trace plants in the courtyard and outer garden, vegetable and herb garden. Many symbolic plants were introduced in the courtyard, and it became cultural landscape beyond aesthetic taste. In the vegetable and herb garden, vegetables, fruits and medicinal plants are apparently introduced for epigenetic use. The plants that were displayed to be observed and enjoyed were the sweet flag, pomegranate, daphne odora, chrysanthemum, bamboo, lotus and plum blossom. Seventh, it was possible to understand garden culture related to landscaping materials through poetic words such as pavilions, ponds, stream, flower pot, oddly shaped stones, backyard, orchard, herb garden, flower bed, chrysanthemum fence, boating, fishing, passing the glass around, feet bathing, flower blossom, forest of apricot trees, peach blossoms, stroking the pine tree, plum flower blossoming through the snow and frosted chrysanthemum.

• Journal of the Mineralogical Society of Korea
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• v.32 no.2
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• pp.127-143
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• 2019

The geology of the Chulmasan area consists of Precambrain Sogeunri formation, granitic gneiss, foliated biotite granite, foliated mica granite, basic dyke and acidic dyke. REE mineralization in the area occurs at granitic gneiss and foliated mica granite. Minerals with minor amounts of REE and Th from granitic gneiss and foliated mica granite are zircon ($Y_2O_3$ 0.00~1.18 wt.%, $Gd_2O_3$ 0.00~0.59 wt.%, $Er_2O_3$ 0.00~0.22 wt.%, $Yb_2O_3$ 0.00~0.34 wt.%, $Lu_2O_3$ 0.00~0.48 wt.%, $ThO_2$ 0.00~0.33 wt.%), thorianite ($Nd_2O_3$ 0.00~0.24 wt.%, $Lu_2O_3$ 0.00~0.26 wt.%), berthierine ($La_2O_3$ 0.04~0.26 wt.%, $Nd_2O_3$ 0.00~0.20 wt.%, $Tb_2O_3$ 0.04~0.12 wt.%, $Dy_2O_3$ 0.17~0.26 wt.%, $Er_2O_3$ 0.33~0.44 wt.%, $Lu_2O_3$ 0.00~0.19 wt.%, $ThO_2$ 0.61~0.93 wt.%), chlorite ($La_2O_3$ 0.44~0.68 wt.%, $Ce_2O_3$ 0.12~0.13 wt.%, $Nd_2O_3$ 0.31~0.44 wt.%, $Eu_2O_3$ 0.03~0.08 wt.%, $Dy_2O_3$ 0.09~0.21 wt.%, $Ho_2O_3$ 0.04~0.14 wt.%, $Er_2O_3$ 0.18~0.32 wt.%, $Lu_2O_3$ 0.07~0.21 wt.%, $ThO_2$ 0.00~0.97 wt.%), biotite ($Nd_2O_3$ 0.02~0.08 wt.%, $Gd_2O_3$ 0.07~0.08 wt.%, $Tb_2O_3$ 0.02~0.07 wt.%, $Dy_2O_3$ 0.35~0.43 wt.%, $Ho_2O_3$ 0.15~0.26 wt.%, $Er_2O_3$ 0.24~0.28 wt.%, $Yb_2O_3$ 0.06~0.18 wt.%, $ThO_2$ 0.00~0.12 wt.%), orthoclase ($Dy_2O_3$ 0.05~0.12 wt.%, $Ho_2O_3$ 0.05~0.06 wt.%, $Er_2O_3$ 0.28 wt.%, $Yb_2O_3$ 0.06~0.12 wt.%) and plagioclase ($Ho_2O_3$ 0.01~0.03 wt.%, $Er_2O_3$ 0.10~0.27 wt.%, $ThO_2$ 0.11~0.13 wt.%). REE minerals (bastnaesite and fergusonite) were sealed fractures in mainly fledspar, mica, zircon, apatite and ilmenite. Therefore, bastnaesite and fergusonite from the Chulmasan area were formed from redissolution/reconcentration of REE-and Th-bearing minerals from granitic gneiss and foliated mica granite at late stage by several igneous activies and metamorphism.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.5-37
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• 2004

A wooden coffin has been given academic attention in Kaya(伽倻), due to the place the stage of Samhan society appropriately in the development of ancient korea history. Special attention must be paid on Dohang-Ri(道項里) woden coffin, since it is expected to explain the origin of Arakaya(阿羅伽倻) in the region of southen korea peninsula. Dohang-Ri wooden coffin is become generally knowen two types, and complete its unique feature in Chin-Han(辰韓) and Byun-Han(弁韓). Recently the fact that Dohang-Ri wooden coffin is discovered only in the king tombs of Chang Won Daho-Ri(昌原茶戶里) and it is remarkable of political connection between Kuya-Kuk (狗邪國) and Anya-Kuk(安邪國). Various ironware unearth of Dohang-Ri has seen similar to that from Daho-Ri, but it has not bronze mirror be maid Chines, symbol with dignity of social position in the ruling ciass. It seems that political unit of Daho-Ri is advanced sociaity and central force than Dohang-Ri in the Byun-Han. The later of two century, I have a think about wooden coffin changes the wooden chamble of Dohang-Ri and Daho-Ri that it go out of sight at AD.2 century. Becouse of possitive achaelogical sites has not confirm, it request radical interpretaion. I inference to accordingly to the it appearance connected of the wars between the eight country of southen regins in korea peninsula at the first half of AD.3 cencury. Exactly, the politial units of Dohang-Ri and Daho-Ri has concentration of trade in Racdong river(洛東江) and Nam river(南江) water system and that give form to coexistence system of economic and political mutuality.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.371-405
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• 2004

International circulation of cultural assets involves numerous countries thereby making an approach based on international law essential to resolving this problem. Since the end of the $2^{nd}$ World War, as the value of cultural assets evolved from material value to moral and ethical values, with emphasis on establishing national identities, newly independent nations and former colonial states took issue with ownership of cultural assets which led to the need for international cooperation and statutory provisions for the return of cultural assets. UNESCO's 1954 "Convention for the Protection of Cultural Property in the Event of Armed Conflict" as preparatory measures for the protection of cultural assets, the 1970 "Convention on the Means of Prohibiting and Preventing the Illicit Import and Transfer of Ownership of Cultural Property" to regulate transfer of cultural assets, and the 1995 "Unidroit Convention on Stolen or Illegally Exported Cultural Objects" which required the return of illegally acquired cultural property are examples of international agreements established on illegal transfers of cultural assets. In addition, the UN agency UNESCO established the Division of Cultural Heritage to oversee cultural assets related matters, and the UN since its 1973 resolution 3187, has continued to demonstrate interest in protection of cultural assets. The resolution 3187 affirms the return of cultural assets to the country of origin, advises on preventing illegal transfers of works of art and cultural assets, advises cataloguing cultural assets within the respective countries and, conclusively, recommends becoming a member of UNESCO, composing a forum for international cooperation. Differences in defining cultural assets pose a limitation on international agreements. While the 1954 Convention states that cultural assets are not limited to movable property and includes immovable property, the 1970 Convention's objective of 'Prohibiting and preventing the illicit import, export and transfer of ownership of cultural property' effectively limits the subject to tangible movable cultural property. The 1995 Convention also has tangible movable cultural property as its subject. On this point, the two conventions demonstrate distinction from the 1954 Convention and the 1972 Convention that focuses on immovable cultural property and natural property. The disparity in defining cultural property is due to the object and purpose of the convention and does not reflect an inherent divergence. In the case of Korea, beginning with the 1866 French invasion, 36 years of Japanese colonial rule, military rule and period of economic development caused outflow of numerous cultural assets to foreign countries. Of course, it is neither possible nor necessary to have all of these cultural properties returned, but among those that have significant value in establishing cultural and historical identity or those that have been taken symbolically as a demonstration of occupational rule can cause issues in their return. In these cases, the 1954 Convention and the ratification of the first legislation must be actively considered. In the return of cultural property, if the illicit acquisition is the core issue, it is a simple matter of following the international accords, while if it rises to the level of diplomatic discussions, it will become a political issue. In that case, the country requesting the return must convince the counterpart country. Realizing a response to the earnest need for preventing illicit trading of cultural assets will require extensive national and civic societal efforts in the East Asian area to overcome its current deficiencies. The most effective way to prevent illicit trading of cultural property is rapid circulation of information between Interpol member countries, which will require development of an internet based communication system as well as more effective deployment of legislation to prevent trading of illicitly acquired cultural property, subscription to international conventions and cataloguing collections.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.58-67
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• 2020

The present study was conducted as part of basic research for selecting species of street trees with historical value in Seoul. It also made up a list of traditional landscape trees for a variety of alternatives. The following results are shown below. As to the history of street trees in Korea, records on to-be-estimated street trees are found in historical documents written in King Yangwon during the second year of Goguryeo Dynasty (546) and King Myeongjong during 27 year of Goryeo (1197). However, it is assumed that lack of clarity is found in historical records. During the 23 year of King Sejong in the early Joseon Dynasty (1441), the record showed that the state planted street trees as guideposts on the postal road. The records revealed that Ulmus spp. and Salix spp. were planted as guidance trees. The street tree system was performed in the early Joseon Dynasty as recorded in the first year of King Danjong document. Pinus densiflora, Pinus koraiensis, Pyrus pyrifolia var. culta, Castanea crenata, Styphnolobium japonicum and Salix spp. were planted along the avenue at both left and right sides. Morus alba were planted on streets during the five year of King Sejo (1459). As illustrated in pieces Apgujeong by painter Jeongseon and Jinheonmajeongsaekdo in the reign of King Yeongjo, street trees were planted. This arrangement is associated with a number of elements such as king procession, major entrance roads in Seoul, place for horse markets, prevention of roads from flood and indication. In the reign of King Jeongjo, there are many cases related to planting Pinus densiflora, Abies holophylla and Salix spp. for king procession. Turning king roads and related areas into sanctuaries is considered as technique for planting street trees. During the 32 year of King Gojong after opening ports (1985), the state promoted planting trees along both sides of roads. At the time, many Populus davidiana called white poplars were planted as rapidly growing street trees. There are 17 taxa in the Era of Three Kingdoms records, 31 taxa in Goryeo Dynasty records and 55 taxa in Joseon Dynasty records, respectively, described in historical documents to be available for being planted as street trees in Seoul. 16 taxa are recorded in three periods, which are Era of Three Kingdoms, Goryeo Dynasty and Joseon Dynasty. These taxa can be seen as relatively excellent ones in terms of historical value. The introduction of alien plants and legal improvement in the Japanese colonial period resulted in modernization of street tree planting system. Under the six-year street tree planting plan (1934-1940) implemented as part of expanding metropolitan areas outside the capital launched in 1936, four major street trees of top 10 taxa were a Populus deltoides, Populus nigra var. italica, Populus davidiana, Populus alba. The remaining six trees were Salix babylonica, Robinia pseudoacacia, platanus orientalis, Platanus occidentalis, Ginkgo biloba, and Acer negundo. Beginning in the mid- and late 1930s, platanus orientalis, Platanus occidentalis were introduced into Korea as new taxa of street trees and planted in many regions. Beginning on 1942, Ailanthus altissima was recommended as street trees for the purpose of producing silks. In 1957 after liberation, major street tree taxa included Platanus occidentalis, Ginkgo biloba, Populus nigra var. italica, Ailanthus altissima, Populus deltoides and Salix babylonica. The rank of major street tree species planted in the Japanese colonial period had changed. Tree planting trend around that period primarily representing Platanus occidentalis and Ginkgo biloba still holds true until now.

• (The)Study of the Eastern Classic
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• no.56
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• pp.147-170
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• 2014

To divide by the concept of Cheon (天) before and after the period of Song Dynasty: before Song Dynasty; according to the ancient Book of Odes (Sigyeong-詩經), "Cheon (天) gives birth to a large number of people", and, Confucius(孔子) say "Cheon(天) gave me Virtue(德)." Mencius(孟子) say "The person done with all his heart knows Seong(性, personality), so if he knows such Seong(性, personality), then he knows Cheon(天)." In Doctrine of the Mean(中庸), it says "Cheon(天) ordered it to be called - Seong(性, personality)." So, Cheon(天) had a religious meaning, such as Sangje(上帝) - Supreme Ruler. During the Song period, Cheon(天), the source of its existence, had construed as Mugeuk i Taegeuk Non(無極而太極論 - Theory of Supreme Ultimate while being Indeterminate) and Theory of li and ki (iginon-理氣論). Juja (朱子, a honorary name of Juhui, 朱熹) had said a reasonable Cheon(天), that is, Heavenly Principle (天理 - Cheolli) by interpreting Cheon(天) as Taegeuk(太極 - Supreme Polarity) and li(理) of Muwi(無爲 - uncontrived action). That's why Juja had lost the religiosity because of his reasonable frame. The purpose of this dissertation is to identify of the quality of being religious of li(理) on the basis of attribute of Cheon(天) argued by Toegye and Juja. In the text of Seomyeong(西銘 - Western Inscription), we can see their interpretation of the content that Toegye as "西銘考證講義"(Lecture on Historical Research of Western Inscription), and Juja as "西銘解"(Commentary on the Western Inscription). Seomyeong(西銘 - Western Inscription) was expounded as a logic of 'iil bunsu' (理一分殊 - coherence is one and distinguished into many). '理一分殊' means to live in as meaningful as possible according to the human nature that has been bestowed upon thyself. Juja and Toegye both said that in the aspect of 'iil'(理一 - coherence is one), Reverence(事天) ought to be done, but to look into the aspect of 'bunsu'(分殊-distinguished into many), Juja argued that people should follow the order of Heavenly Principle(天理 - Cheolli), and Toegye argued that people should have to perform the filial piety(孝). There are differences in methods of Toegye and Juja on account of distinction between attributes of Cheon(天). Such a distinction affects the attribute of li(理). Juja said divisively that Soiyeon(所以然-why its principle is so) is li(理), and Sodangyeon(所當然-what should be so) is Sa(事-divine project). Toegye argued that Sodangyeon(所當然-what should be so) is indeed li(理). It is the position of Toegye that to know Seong(性-the personality) of Sodangyeon(所當然-what should be so) is the first, rather than to know Cheon(天) of Soiyeon(所以然-why its principle is so) that is out of reach in a faraway place. Seong(性-the personality) is li(理) that bestowed by Cheon(天). In view of discussion about the essence and existence, for Toegye, the existence is the first, rather than the essence. The issues of existence is now enabled to talk about amid the discussion of metaphysics, namely li(理). Different from Juja, a theory noticed in Toegye is the theory of 'Lijado'(理自到). 'Lijado'(理自到) denotes 'Li(理) leads on their own.' It tells that separate from thing-in-itself, there is an energy that moves and oversees the thing. This is an issue of response between "I" as the principal agent and other people. If "I" as the principal agent is sincere to others, the others will come to me insomuch as they will be revealed through me. Here, a problem between the host and guest arises. Toegye perceived this problem that do not see me and others as same, and also do not see me and others as two. This is the logic of 'ilii iiil'(一而二 二而一 - looks like one but two, looks like two but one) of '理一分殊' (coherence is one and distinguished into many). The first thing to do between these two processes is to recognize the existence of 'iil'(理一). Toegye strongly displays a religious attitude identifying Cheon(天)=Li (理)=Sangje(上帝- Supreme Ruler) in the same light.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.176-199
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• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.

• The Journal of Korean Society for Radiation Therapy
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• v.32
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• pp.93-109
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• 2020

Purpose: The radiochromic film (Gafchromic EBT3, Ashland Advanced Materials, USA) and 3-dimensional analysis system dosimetry checkTM (DC, MathResolutions, USA) were evaluated for patient-specific quality assurance (QA) of helical tomotherapy. Materials and Methods: Depending on the tumors' positions, three types of targets, which are the abdominal tumor (130.6㎤), retroperitoneal tumor (849.0㎤), and the whole abdominal metastasis tumor (3131.0㎤) applied to the humanoid phantom (Anderson Rando Phantom, USA). We established a total of 12 comparative treatment plans by the four geometric conditions of the beam irradiation, which are the different field widths (FW) of 2.5-cm, 5.0-cm, and pitches of 0.287, 0.43. Ionization measurements (1D) with EBT3 by inserting the cheese phantom (2D) were compared to DC measurements of the 3D dose reconstruction on CT images from beam fluence log information. For the clinical feasibility evaluation of the DC, dose reconstruction has been performed using the same cheese phantom with the EBT3 method. Recalculated dose distributions revealed the dose error information during the actual irradiation on the same CT images quantitatively compared to the treatment plan. The Thread effect, which might appear in the Helical Tomotherapy, was analyzed by ripple amplitude (%). We also performed gamma index analysis (DD: 3mm/ DTA: 3%, pass threshold limit: 95%) for pattern check of the dose distribution. Results: Ripple amplitude measurement resulted in the highest average of 23.1% in the peritoneum tumor. In the radiochromic film analysis, the absolute dose was on average 0.9±0.4%, and gamma index analysis was on average 96.4±2.2% (Passing rate: >95%), which could be limited to the large target sizes such as the whole abdominal metastasis tumor. In the DC analysis with the humanoid phantom for FW of 5.0-cm, the three regions' average was 91.8±6.4% in the 2D and 3D plan. The three planes (axial, coronal, and sagittal) and dose profile could be analyzed with the entire peritoneum tumor and the whole abdominal metastasis target, with planned dose distributions. The dose errors based on the dose-volume histogram in the DC evaluations increased depending on FW and pitch. Conclusion: The DC method could implement a dose error analysis on the 3D patient image data by the measured beam fluence log information only without any dosimetry tools for patient-specific quality assurance. Also, there may be no limit to apply for the tumor location and size; therefore, the DC could be useful in patient-specific QAl during the treatment of Helical Tomotherapy of large and irregular tumors.

• Journal of Practical Agriculture & Fisheries Research
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• v.24 no.3
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• pp.15-24
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• 2022

In 2000, a total of 23,794ha of forest was lost due to the East Coast forest fire, and about 70% of the damaged area was concentrated in Samcheok. In 2001, artificial restoration and natural restoration were implemented in the damaged area. This study was conducted to understand the current vegetation structure 21 years after the restoration of forest fire damage in the Samcheok, Gumbong Mountain area. As a result of classifying the vegetation community, it was divided into three communities: Quercus variabilis-Pinus densiflora community, Pinus densiflora-Quercus mongolica community, and Pinus thunbergii community. Quercus variabilis, Pinus densiflora, and Pinus thunbergii planted in the artificial restoration site were found to continue to grow as dominant species in the local vegetation after restoration. As for the species diversity index of the community, the Quercus variabilis-Pinus densiflora community dominated by deciduous broad-leaf trees showed the highest, and the coniferous forest Pinus thunbergii community showed the lowest. Vegetation in areas affected by forest fires is greatly affected by reforestation tree species, and 21 years later, it has shown a tendency to recover to the forest type before forest fire. In order to establish DataBase for effective restoration and to prepare monitoring data, it is necessary to construct data through continuous vegetation survey on the areas affected by forest fires.