• 한국정보디스플레이학회:학술대회논문집
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• 2009.10a
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• pp.755-757
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• 2009

We developed a novel patterning method of organic light emitting materials using a laser-inscribed sacrificial layer for fabricating high-resolution pixels in organic light emitting displays (OLEDs). Our patterning process is capable of achieving high spatial resolution of about 10 ${\mu}m$. Moreover, it has no detrimental effect on the electrical properties of organic materials. This patterning approach is expected to be applicable for patterning and integrating a wide range of organic materials for organic electronic and optoelectronic devices.

• Journal of Conservation Science
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• v.37 no.1
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• pp.25-33
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• 2021

To extend the application of digital technology to the replication of artifacts, meticulous details of the process and the diversity of three-dimensional (3D) printing output materials need to be supplemented. Thus, in this study, a bronze mirror with Hwangbichangcheon inscription was digitalized by 3D scanning, converted into a voxel model, and virtual conservation treatment was performed using a haptic device. Furthermore, the digital mold of the bronze mirror completed by Boolean modeling was printed using a 3D sand-printer. Such contactless replication based on digital technology reflects the stability, precision, expressivity, collectivity, durability, and economic feasibility of artifacts. Its application can be further extended to cultural products as well as such areas as education, exhibition, and research. It is expected to be in high demand for metal artifacts that require casting. If empirical studies through experimental research on casting are supplemented in the future, it could extend the application of digital technology-based contactless replication methods.

• (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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• The Journal of Korean Medical History
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• v.23 no.2
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• pp.23-36
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• 2010

In this paper, this writer looked into the initial law and fortification, which are two of the most important phonetic changes of Sino-Korean words. Pronunciation and inscription rules of Oriental Medical terminologies have also been studied. Moreover, several problems of meaningful rendering of Oriental Medical Chinese terminologies into Korean have been looked into. As a result, the following conclusions could be drawn. 1. The initial law only applies to Sino-Korean words that consist of more than one syllable. It does not apply to words borrowed from foreign languages. Especially, compound words like Jang-ssi-yu-gyeong(張氏類經) or Im-sin-yuk-hyeol(姙娠衄血) consist of already existing words such as Jang-ssi(張氏), Yu-gyeong(類經), Im-sin(姙娠), and Yuk-hyeol(衄血), and thus the initial law applies to these words. They are inscribed and pronounced 'Jang-ssi-yu-gyeong' and 'Im-sin-yuk-hyeol'. 2. Fortification of Sino-Korean words can be applied variously according to the structure and meaning of the words. Words such as '科', '格', '氣', '法', '病', '症', and '證' are often fortified and at the same time used frequently in Oriental Medicine. Also, many other words are derived from these words. However, there has not been a scholastic consent among the Oriental Medical society as to in which circumstances these words will be fortified. Therefore, a standardization process to stipulate the pronunciation of Oriental Medical terminologies is necessary. 3. Meaningful rendering of Oriental Medical Chinese terminologies into Korean also needs scholastic investigation. Especially, the word 兪 should be meaningfully rendered and pronounced 'su' just like the words 輸 and 腧, but is wrongly pronounced 'yu'. Other than this, the words 井滎兪經合, 秦艽, 膻中, 共振丹, 成無已, and 麗澤通氣湯 should respectively be pronounced 'jeong-hyeong-su-gyeong-hap', 'jin-gyo', 'dan-jung', 'gong-sin-dan', 'Seong-mu-yi', and 'Yi-taek-tong-gi-tang'. Moreover, there are four pronunciations to the word 梴 of 李梴. This should also be standardized. This writer proposes that in the future, correct meaningful rendering of Chinese terminologies into Korean and phonetic signs be inscribed in dictionaries regarding Oriental Medical terminologies.

• Journal of Korean Society of Forest Science
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• v.104 no.3
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• pp.476-487
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• 2015

This study was conducted to analyze the potential of Baekdu-daegan Mountain System (BDMS) in the Republic of Korea for World Heritage inscription and undertook preliminary global comparative analysis. UNEP WCMC global datasets, World Heritage global gap analyses and thematic studies conducted by IUCN were reviewed to see if the BDMS could have been identified within these as a priority area for World Heritage. With respect to potential Outstanding Universal Value this study found that the case for BDMS was weak. The BDMS lies within biogeographic regions which are already represented on the World Heritage List and at a global scale its natural values do not stand out. It was emphasized that a more fine scale analysis of the values should be undertaken. The BDMS stands out at a global scale in terms of the degree of contiguity between protected areas along its length and the legal and institutional frameworks established in the Republic of Korea. The BDMS has potential for a trans-national and serial properties along the full length of the BDMS, if two Koreas agree to work together.

• Conservation Science in Museum
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• v.24
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• pp.81-98
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• 2020

This paper presents the results of a comprehensive nondestructive analysis of Portrait of Master Gowun at Wunamyeongdang Shrine (Hereafter, Portrait of Choe Chiwon), Tangible Cultural Heritage No. 187 of Gyeongsangnam-do, including the underlying images drawn at the time of its production and the pigments present. The analysis revealed that the portrait was produced in 1793 at Ssanggyesa Temple in Hadong, Gyeongsangnam-do, which makes it the earliest known example among the extant portraits of Choe Chiwon. X-ray examination found images of a half-length boy monk and a full-length boy monk on either side of the portrait, which had been painted over and became invisible to the naked eye. XRF analysis of the pigments indicated that white lead was used for white, cinnabar and red lead for red, malachite for green, azurite for blue, and gold for gold. It was revealed that the overpainted boy monks were colored using the same pigments as those applied in the portrait of the main figure. It is hoped that the analysis of the pigments used for the boy monks can provide basic materials for research on the production of copied portraits and local Buddhist paintings. Also, additional research drawing upon other fields of study is required to examine the details of the inscription of the portrait.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.57-66
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• 2022

Since the discovery of the inscriptions engraved with the "Chinese characters of Empress Wu(則天文字)" at 251 and 256-1, Seonjin-ri, Sacheon-si, Gyeongsangnam-do in 2003, researchers from the Gyeongnam Institute of Cultural Properties, Kwak Seung-Hoon, and Kim Chang-Gyeom have attempted to read and interpret the inscriptions. However, there are still different theories as to the origin of the "Chinese characters of Empress Wu" appearing in the inscriptions and the use of Idu(吏讀)-type notation. This study aims to clarify, this inscription was erected by the king of Silla in the late 7th and mid-8th centuries to commemorate his participation in the Sacheon and Jinju patrols and Buddhist activities, and it is revealed that the main character of the inscription is likely to be King Seongdeok who has visited southern countries. In addition, in the case of "上了言", which has been interpreted as a human name, it should be understood as an Idu-type notation or a 變體漢文 because of the use of the proposition 了, and it should be interpreted as a character that means the end of a specific act. Although it is not a religious text like 『Mugujeonggwangdaedaranigyeong (The Great Dharani Sutra)』, the reason why the "Chinese characters of Empress Wu(則天文字)" was used is that in the process of accepting the Huayan school, the royal family of Silla came into contact with the Buddhist scriptures of the period of the Empress Wu, which is closely related to the rise of the Huayan school in the Middle Ages, and it appears to have learned and used in this process.

• Journal of the Korean Society of Food Culture
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• v.32 no.1
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• pp.39-51
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• 2017

The purpose of this study was to analyze the current status relating to food packaging and design for status of small and medium food enterprises. A company survey was conducted from June to October, 2015 and targeted 1300 small and medium domestic food enterprises. Finally, a total of 1300 (recovery rate 100%) useable data were selected. Statistical analyses were performed on the data utilizing the SPSS PASW Statistics 18.0 for Windows, such as descriptive statistics and frequency analysis. According to the results, awareness and importance of food labeling were high, but performance of English inscription of product name was relatively low. The most important reason for food labeling was 'providing correct information on food' 910 (72.8%). Accordingly, a system which can provide the latest information by continuously monitoring mandatory disclosure requirements for types of foods in individual countries is needed.