• Journal of Science of Art and Design
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• v.1
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• pp.63-93
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• 1999

This treatise begins with finding a meaning of Paul Klee's . It is pretty simpleto choose the square of Klee. The most important formative language for twenty century is abstraction. The element of speaking for abstraction issquare. The artists are trying to contain the nature and universe in the square. The role of magic square consisting with small squares of Klee is crystallized. The other side, the test of this study is a method analysis. The method analysis is changing while concept and style have been changing according to a period. The existing method analysis is an iconology used many times in Art history. This treatise introduces France symbolists, Bernard Cocula and Claude Peyroutet's analysis of a meaning of image(Semantique do l'image) who were applied to Modern Art. based on Iconography. It also applies to analysis of artwork of Klee. Cocula's is developed from one phase to five phase step by step. The first phase deals with an appearance of artwork. Subsequently, the second phase is directly adjacent to personal feeling and impression. This is an adequate method for image study in the analysis of modern arts. This phase makes it a rule to enjoy talking with artworks above all. The third phase begins with this question 'What do you see? (que voyons-nous?).' The applies exhaustively and strictly to complicated image artworks which need an elaborate analysis. It is very hard but audiences must try to maintain neutrality in front of artwork because cord formation and interpretation should be formed objectively. The meaning analysis and interpretation of the forth phase begins with this question 'what is the image rouse'(qu'evoque cote image?).' This phase is the most important in a process of symbolic analysis. The audience investigates personal elements and common elements. The fifth is synthetic analysis and interpretation phase. The synthesis is last phase and it reaches a valuation and a conclusion. Namely, the synthesis phase makes up synthesis conclusion, summarizes image character, and completes value adjudication. Sometimes it completes no conclusions in a silence. This study found a new possible analysis example from Paul Klee's work. The study emphasizes square analysis and interpretation and uses . The analysis of artwork by Cocula's is an example of the most important work of Klee's three artworks. The first analysis of artwork is and the second one is . The third one is . In these analyses, Klee usedmagic square 'to make natural pictorial element and to explain organic living things.'

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.491-500
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• 2017

Recently, there are many children's hospitals which medical facilities are need to be improved in China. Except medical facilities, the environmental element-children's emotional security and mental development-were often been ignored. The waiting space is a place for the formation of the impression of hospital and the important space of spatial constitution for emotional security. It is necessary to provide a friendly environment for children. Previous studies showed there are three factors that affected healing environment in children's hospitals' waiting space: physical, psychological and conduct. The result showed that Chinese children's hospitals performed better in physical factor, but lack of psychological and conduct factor based on the case study of 6 children's hospitals in Beijing. In order meet the needs of patients and protectors better, the main purpose of this study is provide the suggestion for improving the healing environment from the perspective of design.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• Korean Journal of Environmental Biology
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• v.17 no.1
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• pp.1-9
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• 1999

Numerous observations revealed strong evidence of increased middle ultraviolet radiation or UV-B (280 ~ 320 nm) at the earth's surface resulting from stratospheric ozone depletion. UV is the waveband of electromagnetic radiation which is strongly absorbed by nucleic acids and proteins, thus causing damage to living systems. It has been recorded in the East Sea, Korea that solar UV-B impinging on the ocean surface penetrates seawater to significant depths. Recent researches showed that exposure to UV-B for as short as 2h at the ambient level (2.0 Wm$^{-2}$) decreased macroalgal growth and photosynthesis and destroyed photosynthetic pigments. These may suggest that UV-B could be an important environmental factor to determine algal survival and distribution. Some adaptive mechanisms to protect macroalgae from UV-damage have been found, which include photoreactivation and formation of UV-absorbing pigments. Post-illumination of visible light mitigated UV-induced damage in laminarian young sporophytes with blue the most effective waveband. The existence of UV-B absorbing pigments has been recognized in the green alga, Ulva pertusa and the red alga, Pachymeniopsis sp., which is likely to exert protective function for photosynthetic pigments inside the thalli from UV-damage. Further studies are however needed to confirm that these mechanisms are of general occurrence in seaweeds. Macroalgae together with phytoplankton are the primary producers to incorporate about 100 Gt of carbons per year, and provide half of the total biomass on the earth. UV-driven reduction in macroalgal biomass, if any, would therefore cause deleterious effects on marine ecosystem. The ultimate impacts of increasing UV-B flux due to ozone destruction are still unknown, but the impression from UV studies made so far seems to highlight the importance of setting up long-term monitoring system for us to be able to predict and detect the onset of large -scale deterioration in aquatic ecosystem.

• The Journal of the Acoustical Society of Korea
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• v.24 no.8
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• pp.481-491
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• 2005

The purpose of this study is to interpret the evaluation structure of auditory images about streetscapes in urban area on the basis of the semantic view of soundscapes. Using the caption evaluation method. which is a new method, from 2001 to 2005, a total of 45 college students participated in a fieldwork to find out the images of sounds while walking on the main streets of Namwon city. It was able get various data which include elements, features, impressions, and preferences about auditory scene. In Namwon city, the elements of the formation of auditory images are classified into natural sound and artificial sound which include machinery sounds, community sounds. and signal sounds. Also, the features of the auditory scene are classified by kind of sound, behavior, condition, character, relationship of circumference and image. Finally, the impression of auditory scene is classified into three categories, which are the emotions of humans, atmosphere of the streets, and the characteristics of the sound itself. From the relationship between auditory scene and estimation, the elements, features and impressions of auditory scene consist of the items which are positive, neutral, and negative images. Also, it was able to grasp the characteristics of auditory image of place or space through the evaluation model of streetscapes in Namwon city.

• The korean journal of orthodontics
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• v.26 no.2 s.55
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• pp.153-162
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• 1996

Rapid maxillary expansion is widely used for the correction of anteroposterior discrepancies, constriction of the maxillary arch, etc. This experiment was undertaken to examine the serial changes in the osteogenesis as well as the collagen fiber bundles in the intermaxillary suture during the rapid maxillary expansion treatment. Four young female dogs aged 6 to 8 months old and not showing menarche yet were used for the experiment. The maxillary impression of dogs were taken, expansion device cast and Hyrax screw soldered at the midline in the 1st premolar area. RME device was delivered to the dogs and the activation of 0.25 mm per quarter-turn was done 2 times per day for 10 days until 5 mm separation was made. Separation of the maxilla was confirmed by X-ray. The animals were sacrificed on 0, 15, 30, 60 days from the finish of maxillary separation and preparations for light microscopy and surface electron microscopy were made. The sutures were cut into frontal serial sections for examination of the histological reactions. The following results were obtained and the conclusions made. 1. The edges of the two palatal plates bordering the midpalatal suture which at the beginning of the retention period were mainly composed of compact bone, underwent extensive resorption followed by new bone formation and gradually became spongy bone rich in bone marrow which in the 60 day retention animal became the compact bone with short intermaxillary suture space. During this transformation, newly formed trabecular bone tissues were added to the original margin. 2. Throughout the expansion period, the collagen fibers underwent successive changes such as stretching, loss of polarity, and finally fibrillogenesis. Towards the end of the expansion procedure, sharpey's fiber formation in newly formed bones were observed. 3. Bony spicules were found in the initial stage of retention on occlusal topographic X-rays, which later were confirmed to have ossified. 4. Judging from the histological changes occuring during the experimental expansion, excessive expansion will cause an excessive bleeding, and retard the remodeling of intermaxillary suture. According to the above results, the bone remodeling after rapid maxillary expansion was preceded by the migration of migratory cells into the intermaxillary suture area. The bone remodeling phenomena were on-going during the 2 months retention sample.

• 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.