• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.88-100
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• 2017

This study is for the textiles of at Sun Am Temple and characteristic of embroidery. Tak Ui was composed of orange body and green upper cover, and had no strings. The body plate was covered with embroidery, with Gauze base, and upper part was appliqued, by cutting dragon pattern, cloud pattern on satin damask. The thread for embroidery was silk floss, silk twisted thread, rapped gold thread, and rapped silk thread. For padding, it was used cotton thread in the part of dragon's scales. It was used satin stitch, outline stitch, split stitch, couching, and counted stitch, etc. as method of embroidery. In particular, it embroidered counted stitch of diamond shape consecutively on the whole of Tak Ui, it does so with counted stitch of same effect of weaving Brocade in the part of cloud. Besides, it is one of the characteristic for couching rapped silk thread. Such lead embroidery is the popular method in the Ming dynasty of China, in the 16~17 century. The design of Tak Ui is dragon, cloud, and wave in the theme. In the center, 'Seong-su-man-nyeon' was placed on the heads of dragon. This is similar to Dragon Robe of Four-petalled medallion patterns, period of Ming dynasty in China. Therefore, it confirmed that Tak Ui was remodeled the embroidered textiles, made for royal robe, originally, with Tak Ui at temple.

• The Plant Pathology Journal
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• v.37 no.3
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• pp.205-214
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• 2021

The use of the supernatant from a Bacillus subtilis culture mixed with sodium bicarbonate was explored as a means of controlling stem brown spot disease in dragon fruit plants. In in vitro experiments, the B. subtilis supernatant used with sodium bicarbonate showed a strong inhibition effect on the growth of the fungus, Neoscytalidium dimidiatum, the agent causing stem brown spot disease and was notably effective in preventing fungal invasion of dragon fruit plant. This combination not only directly suppressed the growth of N. dimidiatum, but also indirectly affected the development of the disease by eliciting the dragon-fruit plant's defense response. Substantial levels of the pathogenesis-related proteins, chitinase and glucanase, and the phenylpropanoid biosynthetic pathway enzymes, peroxidase and phenyl alanine ammonia-lyase, were triggered. Significant lignin deposition was also detected in treated cladodes of injured dragon fruit plants in in vivo experiments. In summary, B. subtilis supernatant combined with sodium bicarbonate protected dragon fruit plant loss through stem brown spot disease during plant development in the field through pathogenic fungal inhibition and the induction of defense response mechanisms.

• Proceedings of the Korean Society of Computer Information Conference
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• 2015.07a
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• pp.59-60
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• 2015

본 논문에서는 XNA Framework 기반의 모바일 게임 Dragon Dive를 설계하고 구현한다. 이 모바일 게임은 종 스크롤 형식의 탄막 슈팅 게임의 방식을 채택하고 있으며 100초 동안 최대 점수를 획득하는 게임이다. 플레이어는 정해진 시간동안 화면 위에서 내려오는 3종류의 몬스터를 제거하고, 제거한 몬스터의 수에 따라 Dragon 캐릭터의 모양과 미사일의 연사 속도가 증가한다. 그리고 제거하지 못한 몬스터가 10마리이상 되면 게임이 종료된다.

• Journal of Convergence for Information Technology
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• v.9 no.10
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• pp.94-100
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• 2019

This study presents the superiority of his calligraphy by analyzing the use, meaning, and calligraphy of nickname three dragon-man(yong-jeong) written by Kim Junghee before and after exile in Jeju Island. Based on the basic structure of the three dragon-man, the relationship between the times, the context, and the characters was studied. Through this change process, the difference of art engineering with other works was analyzed. Kim Junghee intentionally went through a difficult situation by using a nickname with a dragon. He wrote different meanings, uses, and typefaces of the nickname three dragon-man, depending on the circumstances. Finally, Kim Junghee used 'three dragon-man' to King Heonjong and Monk Choui to express his feelings and intentions. His writing was excellent in art engineering and unique in the world. All were found to be supported by his epigraphy insights. The results of this study will be a new methodology for analyzing the meaning of nicknames of ordinary artists.

• The International Journal of Costume Culture
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• v.8 no.2
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• pp.105-110
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• 2005

This paper documents a dress design process to demonstrate the theory that form follows intent. It includes a statement of the design context as a venue where the conceptual intent originated. The dragon icon became the subject, form, and content of the design project. The author's designerly endeavor is discussed with focus on reconfiguration of formal characteristics shown in the visual reference of the eastern dragon symbol into a dress design with the consideration of utilitarian, expressive, and symbolic issues. Throughout the process, the author was an active agent who created formal characteristics, manifested a thought into an object, and imbued a meaning to the dress, demonstrating the notion that form follows intent.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.68-78
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• 1996

In this study, it was carried out to characterize the figures of landform of Yong-San, called dragon mountain implied indentity and emblem of local landscape by analyzing palce name extracted from four county in Kyongsang Nam-Do. The figures of landform of Yong-San was characterized and divided into three types, called as Waryong lying dragon), Banryong(dragon lying in a coil), Yongdu(dragon's crown). And the spatial characterstics of three types of landform were analyzed. Furthermore, it was investigated the development of outlines of characteristic landform recognoxed as a Yong-San and figured out the structure of landform which was easily recognized. According to the results, the outlines and the spatial structure of landform recognized as a Yong-San including a symbolic meaning can be used as a standard of judgement if an area should be reserved for the efficient conduct of regional plan.

• Nuclear Engineering and Technology
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• v.49 no.6
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• pp.1135-1142
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• 2017

The applicability of the algebraic collapsing acceleration (ACA) technique to the method of characteristics (MOC) in cases with scattering anisotropy and/or linear sources was investigated. Previously, the ACA was proven successful in cases with isotropic scattering and uniform (step) sources. A presentation is first made of the MOC implementation, available in the DRAGON5 code. Two categories of schemes are available for integrating the propagation equations: (1) the first category is based on exact integration and leads to the classical step characteristics (SC) and linear discontinuous characteristics (LDC) schemes and (2) the second category leads to diamond differencing schemes of various orders in space. The acceleration of these MOC schemes using a combination of the generalized minimal residual [GMRES(m)] method preconditioned with the ACA technique was focused on. Numerical results are provided for a two-dimensional (2D) eight-symmetry pressurized water reactor (PWR) assembly mockup in the context of the DRAGON5 code.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.105-115
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• 2014

The costumes (including mask) of the first World Master series of The National Changguk Company of Korea, Achim Freyer's 'Mr. Rabbit & Dragon king' is directly designed by Achim Freyer who was in charge of direction and stage design. The new form called Pansori opera is proposed for modernization of Korean traditional opera, it maintained the original form of music yet introduced play form of opera. The costumes and stage also promoted modernistic transformation while maintaining the original Korean form. The overall concept of 'Mr. Rabbit & Dragon king' costumes emphasizes comical effect by abstractness like childlike scribble. It expressed characteristic of characters diversely through exaggeration and expansion while maintaining original form of Hanbok, used surface of costumes as a drawing board, and created flat and geometrically transformed silhouette. The complicated characters was caricatured like everyone is doing mask play by using masks, and it still maintained sophisticated oriental color with modern application of five cardinal colors. It may seems it just mixed our traditional elements like a hint of humor, however, it could be known that it introduced various techniques in it to deliver new subject while maintaining the original form of 'Mr. Rabbit & Dragon king'. From this study, open mind for our tradition and need for diverse attempt could be rediscovered and could also see the possibility to contribute on creating a Nation Brand of traditional performing art.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.32-46
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• 2011

The study researched the characteristic of helmet and armor reflecting Joseon Dynasty by focusing on the helmet and armor appearing in dramas, the Tear of Dragon and King Sejong, whose common point is the historical background, the early Joseon Dynasty, among the historical dramas, which are manufactured on the basis of historical person or age. First, the helmet and armor appearing in historical drama was reproduced on the basis of historical record depending on age. In the early Joseon Dynasty, helmet was classified into cheomju and wonju and armor was classified into chalgap, swaejagap, gyeongbeongap, dujeonggap and dudumigap. In drama, the Tear of Dragon and King Sejong, for helmet, cheomju and wonju were used and for armor, chalgap, dujeonggap and dudumigap, whose type and manufacture method were similar to that of historical record, were reproduced. Second, the helmet and armor appearing in historical drama searched for function. In drama, the Tear of Dragon, rather than heavy iron, plastic and textile were used and the metal scale inside armor was removed. In drama, King Sejong, the weight of armor was decreased by removing the metal scale inside armor and easy wearing was secured by using velcro. Third, the helmet and armor appearing in historical drama expressed various dramatic interpretations. In drama, the Tear of Dragon, the same color as that of armor was adopted for helmet to provide stable and unified feeling. Visually splendid display was added to armor by matching powerful prime color and glossy metal. In drama, King Sejong, modem sense was added to helmet and armor by actively using pastel color reflecting modem fashion.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.85-110
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• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.