• Environmental and Resource Economics Review
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• v.33 no.3
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• pp.291-314
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• 2024

The International Maritime Organization (IMO) has strengthened environmental regulations, leading to an increase in demand for LNG-powered ships. To enhance the competitiveness of ports and promote the use of LNG-powered ships, establishing LNG bunkering infrastructure is necessary. However, no ports in Korea currently have such infrastructure. This study used the 2015 regional input-output table to examine the economic impact of establishing LNG bunkering infrastructure in Busan Port, the largest port in Korea. The estimated cost of the project in 2023 was KRW 21.09 billion. The average production, value-added, and employment inducement coefficients were 1.223, 0.372, and 7.58, respectively.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• 한국신재생에너지학회:학술대회논문집
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• 2010.06a
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• pp.157-157
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• 2010

우리나라는 기후변화협약에 대응하기 위한 교토의정서를 비준한 국가로서, 아직 온실가스의 의무감축 대상 국가는 아니다. 그러나 2012년부터 시작될 교토의정서 2차 공약기간 중에 브라질, 중국 및 인도와 같이 2차 의무감축대상이 가장 유력시 되는 국가로 지목되고 있으므로, 이러한 변화에 능동적으로 대처할 수 있는 기술적, 사회적, 정책적 방안이 신속히 마련될 필요가 있다. CCS(carbon capture & storage)란 화석연료로 부터 연소시 대기 중으로 배출되는 온실가스($CO_2$)를 포집하여 재생 또는 지중, 해양에 저장하는 기술로서 국가녹색성장 핵심기술중의 하나로 분류되며, 대료적인 $CO_2$ 발생대상인 석탄화력발전소로 부터 $CO_2$ 회수방안, 회수, 처리관련 연구를 포함하여 국내외 적으로 활발한 연구가 이루어 지고 있다. 순산소 연소기술을 통한 $CO_2$ 회수, 처리기술은 연료(천연가스, 석탄, 석유)의 산화제를 공기대신 순도 95% 이상의 고농도 산소를 이용하여 순산소연소를 하며, 이때 발생하는 배가스의 대부분은 $CO_2$와 수증기로 구성되어 있다. 발생된 배가스의 약 70~80%를 다시 연소실로 재순환시켜 연소기의 열적 특성에 적절한 연소가 가능하도록 최적화함과 동시에 배가스의 $CO_2$ 농도를 80% 이상으로 농축시켜 회수를 용이하게 하며, 특히 공해물질은 NOx 발생량을 10ppM 이하로 줄일 수 있다. 천연가스가 생산되는 LNG기지에서 LNG를 기화시키기 위하여 해수식 기화기(ORV : Open Rack Vaporizer와 수중연소식 기화기(SMV ; Submerged Combustion Vaporizer)를 사용하고 있으며, 특히 SMV는 버너를 이용하여 $-162^{\circ}C$ LNG를 $10^{\circ}C$의 LN로 기화시키는 설비로서 이때 연소시 $CO_2$를 상당량 발생시킨다. 본 논문에서는 SMV에서 순산소 연소방식을 적용하여 연료인 천연가스를 연소시키고, 이때 발생되는 $CO_2$와 수분이 주 성분인 배가스를 연소기에 재순환시켜, 연소실내 고온문제를 해결하며, 최종적으로 배가스중 $CO_2$는 $-162^{\circ}C$의 LNG 냉열을 이용하여 고순도의 액체 $CO_2$로 액화시키므로서 $CO_2$의 회수, 처리문제를 해결하는 방식을 소개하고자 한다. 이러한 방식은 천연가스에서 발생되는 $CO_2$ 회수를 LNG 냉열을 활용하므로서 폐열을 활용하는 에너지 효율적인 문제와 사용가능한 고순도 $CO_2$로 회수하므로서 환경적인 문제를 처리하는 기술이라 할 수 있다.

• 한국연소학회:학술대회논문집
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• 2014.11a
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• pp.253-254
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• 2014

지구온난화 문제는 한국가의 문제가 아니라 인류의 문제로 대두되어 많은 이에대한 많은 연구가 이루어 지고 있다. 지구온난화의 주 대상물질인 화석연료로부터 연소시 발생하는 이산화탄소를 감축하기위한 많은 규제와 노력이 요구된다. CCS(Carbon Capture & Storage)란 화석연료로 부터 연소시 대기 중으로 배출되는 온실가스($CO_2$)를 포집하여 재생 또는 지중, 해양에 저장하는 기술로서 국가녹색성장 핵심기술중의 하나로 분류되며, $CO_2$ 회수방안, 저장, 처리관련 연구를 비롯하여 국내외 적으로 활발한 연구가 이루어 지고 있다. 또한 순산소 연소기술을 통한 $CO_2$ 회수, 처리기술은 연료의 산화제를 공기대신 순도 95% 이상의 고농도 산소를 이용하여 순산소연소를 하며, 이때 발생하는 배가스의 대부분은 $CO_2$와 수증기로 구성되어 있다. 발생된 배가스의 약 70~80%를 다시 연소실로 재순환시켜 연소기의 열적 특성에 적절한 연소가 가능하도록 최적화함과 동시에 배가스의 $CO_2$ 농도를 80% 이상으로 농축시켜 회수를 용이하게 하며, 동시에 공해물질은 NOx 발생량을 10ppM 이하로 줄일 수 있는 기술이다. 천연가스를 생산하는 LNG기지에서 연소에 의한 이산화탄소를 발생시키는 기기로는 수중연소식기화기(SMV ; Submerged Combustion Vaporizer)를 들 수 있다. SMV는 버너를 이용하여 $-162^{\circ}C$ LNG를 $10^{\circ}C$의 LN로 기화시키는 설비로서 특히 동절기에 작동시키며 $CO_2$를 배출시키는 연소기다. 본 연구에서는 수중연소식 SMV에 순산소 연소방식을 적용하여 천연가스와 산소를 연소시키므로서 발생되는 $CO_2$를 LNG냉열을 이용 액체화 시켜 회수하는 연구를 수행하고 있다. 내용중에 수중연 소식 SMV에 대한 순산소 연소기를 개발하는 연구를 수행하였으며, 실제 SMV의 1/10크기, 열량기준 1/900로 모형을 제작하여 실험하였다. 연소기 노즐 은 직경 0.6mm, 배가스가 수조내에서 48개의 노즐을 제작하였다. 실험결과 일정량 이상의 $CO_2$ EGR율이 일정 값 이상이 되면 화염의 길이가 공기/NG 화염 길이와 큰 차이가 없었으며 $CO_2$ EGR율이 100%이상에서는 $CO_2$ EGR율 증가에 따른 화염길이 변화는 크게 나타나지 않았다. CO 배출 농도는 공기/NG 연소의 경우보다 높게 나타났으며, ${\lambda}$가 1.4보다 높은 조건에서는 측정되지 않았다. NOx의 배출 농도는 약 1~8ppm으로 나타났다.

• Applied Chemistry for Engineering
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• v.9 no.7
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• pp.1070-1078
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• 1998

Thermodynamic analysis on carbon dioxide reforming of methane was performed using a computer program which can handle condensed species in the products, and the reforming experiments were conducted over $Al_2O_3$, $La_2O_3$, ZSM-5, MCM-41, KIT-1 supported nickel catalysts, and a commercial ICI 46-1. It was estabished that a system which consists of $CH_4$, $CO_2$, CO, $H_2$, $H_2O$, and C is appropriate for theoretical equilibrium calculations and addition of water vapor or oxygen was found to diminish the contribution of carbon dioxide in reforming. Silicate molecular sieve-supported catalysts such as Ni/ZSM-5, Ni/MCM-41, Ni/KIT-1 were effective for high $CH_4$ and $CO_2$ conversions as well as for high CO yield. Coke formation was suppressed when CaO was added as a promoter. Ni/Ca/KIT-1 which contains 10% Ni with 3% Ca showed conversion approaching equilibrium levels above $650^{\circ}C$ and maintained constant activity over 20 h. Despite increased space velocity, relatively high conversion and CO yield were observed.

• Applied Chemistry for Engineering
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• v.4 no.2
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• pp.365-372
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• 1993

$CO_2$ methanation was performed over Ni supported on cation-exchanged Y zeolites under atmospheric pressure at $250{\sim}550^{\circ}C$ and $H_2/CO_2$ mole ratio of 4. Adsorption strength between carbon dioxide and nickel was found to be Influenced by the cation exchanged in the zeolite. TPD(Temperature-programmed desorption) results show that the adsorption strength decreases in the order of Ni/NaY>Ni/MaY>Ni/HY. TPSR(Temperature-programmed surface reaction) results indicate that enhanced methanation activity is obtained when the adsorption strength between carbon dioxide and nickel is stroing. As the reduction temperature increases, the methantion activity of the catalyst increase. From this result the larger size nickel particle seems advantageous for $CO_2$ methanation reaction. The maximum activity is obtained when nickel loading is 3.3wt%. Carbon monoxide is produced as a by-product throughout the reaction temperature range, and as the contact time increases, the selectivity to methane increases and the selectivity to carbon monoxide decreases steadily. Thus methane seems to be produced from $CO_2$ via CO as an intermediate species. In the temperature range of $410{\sim}450^{\circ}C$, the methane production rate is found to be dependent on the orders of 3.3~-0.5 and 1.4~3.6 with respect to $CO_2$ and $H_2$ partial pressures, respectively. This clearly shows that $CO_2$ and $H_2$ are competing for adsorption sites and as the reaction temperature increases, it becomes increasingly difficult for $H_2$ to be adsorbed on the catalyst surface.

• Journal of the Korean Chemical Society
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• v.33 no.1
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• pp.135-142
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• 1989

Methyl tert-butyl ether(MTBE) was synthesized from vapor phase reaction of methanol with iso-butylene over HZSM-5 catalysts, and effects of SiO$_2/Al_2O_3$ ratio in the HZSM-5 catalysts and reaction conditions on products distribution have been examined. Acid strength and acid type of each catalyst with different SiO$_2/Al_2O_3$ ratio were measured using pyridine adsorption followed by temperature programmed desorption(TPD) and IR analysis. Reactants and products adsorption characteristics on different acid sites have also been examined. As the SiO$_2/Al_2O_3$ ratio of HZSM-5 catalyst was increased, selectivity to MTBE was improved as a result of decrease in dimethylether(DME) formation at the strong acid sites. Conversion and selectivity to MTBE were also greatly enhanced as $i-C_4H_8/CH_3OH$ reactant ratio was increased, and overall about 80$^{\circ}$C was adequate for the MTBE synthesis. The properties of deposited coke on spent catalysts were examined by TG, DTA and IR spectrum analysis, indicating the amount of the coke deposit in the order of HY > H-Mordenite > HZSM-5. Even if the coke deposited on H-Mordenite was little more in amount than to that on HZSM-5, the former deactivated quickly due to its non-interconnected channel structure. For HY, owing to its lange pore size, significant $i-C_4H_8$ polymerization was occured, and rapid deactivation and severe coke formation has resulted within few hours.

• Applied Chemistry for Engineering
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• v.9 no.5
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• pp.639-647
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• 1998

Al-containing titanium silicalite-1 ([Al]-TS-1) catalyst was prepared hydrothermally, and the effects of synthesis parameters such as silica/alumina sources, $SiO_2/TiO_2$ ratio, and aging treatment were investigated. The structure, crystal size, and shape were examined by XRD and SEM, and the extent of titanium incorporation into the zeolite framework was examined using UV-vis DRS spectroscopy. For [Al]-TS-1 catalyst preparation, aging of ca. 24h was essential, and the faster crystallization rates were achieved with Cab-O-Sil than with Ludox or TEOS as a silica source. In addition, the higher crystallinity and faster crystallization rate were obtained using sodium aluminate as an aluminum source. 2-butanol oxidation using $H_2O_2$ as an oxidant was carried out to confirm the redox property of the [Al]-TS-1. Acid sites catalyzed toluene alkylation study indicated that lattice titanium species in [Al]-TS-1 weakened the acid strength, and the para-ethyltoluene selectivity was enhanced as a results.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.