• Journal of the Korean Institute of Gas
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• v.21 no.4
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• pp.70-75
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• 2017

This paper presents the FEM analysis results on the deformation behavior safety of automatic cut-off horizontal and conventional vertical gas valves. Based on the FEM analysis, the primary maximum deformation of $4.4{\mu}m$ was formed on the right end side of a valve body when the internal gas pressure was supplied on the screw port and gas discharge port of an automatic cut-off horizontal gas valve. And the secondary maximum deformation of $2.9{\mu}m$ was formed on the end side of safety valve port. This small deformation of an automatic cut-off horizontal gas valve is strongly related to the balanced design of a horizontal gas valve main body, which is composed of a screw part, gas outlet port, port for a stem and spindle shaft assembly, and safety valve port. But, the primary maximum deformation of 0.076mm was formed on the upper part of a conventional automatic cut-off vertical gas valve when the internal gas pressure was supplied on the screw port and gas discharge port. And the secondary maximum deformation of 0.055mm was formed on the left end side of a gas outlet port. This may effect on the sealing clearance of o-ring that is inserted on the groove of an automatic cut-off unit. Thus, this paper recommends an automatic cut-off horizontal gas valve compared with that of a conventional gas valve for a gas leakage free mechanism of a LPG cylinder valve.

• The Journal of Korean Academy of Prosthodontics
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• v.37 no.2
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• pp.242-255
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• 1999

The purpose of this study was to estimate the morphology and the size of permanent mandibular molar in Korean Adult. The 100 dental college students with a normal dentition and without any dental prosthesis and severe caries were selected for this study The subjects were taken impression to make study model. On the study model, the 5 dentists measured those sizes and estimated morphological structures with a calipers, a Boley gauge and a protractor. The results were as follows; 1. The clinical crown height, width, thickness and the other anatomical structures had symmetrical relationship between the left and right mandibular molar. 2. In the clinical crown height aspect, the buccal crown heights always were higher than the lingual crown height. The heights of the each surface, the buccal or lingual surface, were gradually decreased from the 1st molar to the 2nd molar and the difference on the buccal surface was higher than that on the lingual surface. 3. In the clinical crown width aspect, the mesiodistal measurement of the mandibular 1st molar was higher than that of the mandibular 2st molar. 4. In the clinical crown thickness aspect, the mesial buccolingual measurement was highest on the mandibular 1st molar and the distal buccolingual distance was lowest on the mandibular 2nd molar. This distal thickness of the mandibular molar always was higher than that of the mesial half. 5. The well-developed mesiobuccal groove of the 1st molar was observed more often than that of the 2nd molar. The buccal pit was also observed more frequently at the 1st molar, but the frequency(35%) was not high. 6. The occlusal type according to the number of cusp was almost 5-cusp(98%) in the 1st molar and was also 5-cusp(63%) in the 2nd molar. The frequency of the 6th cusp was 31% in the 1st molar and was 22% in the 2nd molar. The frequency of the 7th cusp was below 2of in the both teeth. 7. In the buccolingual intercuspal distance aspect of the mesial and distal half, the intercuspal distance of distal half was higher than that of the mesial half on the 1st and 2nd molar, but the difference on the 1st molar was higher than that on the 2nd molar. 8. The difference between the widths of the buccal and lingual half was 1.5mm in the 1st molar and 0.8mm in the 2nd molar. Therefore the lingual convergency of the occlusal surface was more higher in the 1st molar. 9. On the mandibular 1st and 2nd molar, the distobuccal external angle was more acute than the mesiobuccal external angle. But the mesiobuccal internal angle was more acute than the distobuccal internal angle. 10. When the mandibular molar was a 5-cusp type, the development of the distal cusp on the 1st molar was better than that on the 2nd molar. The difference between the cusps was around 0.4mm.

• Journal of the korean academy of Pediatric Dentistry
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• v.36 no.1
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• pp.119-125
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• 2009

Fusion and gemination are irregularities in tooth development. It is often difficult to differentiate between gemination and fusion and it is common to refer to these anomalies as 'double teeth'. The deciduous teeth are most commonly involved, but in 0.1% of cases permanent teeth are affected, in which case aesthetic, funtional and periodontal problems can result. Double teeth present great difficulties in management and required a multidisciplinary approach. The central groove on the labial and palatal surfaces of a double tooth is extremely prone to caries, therefore early 'fissure sealing' is essential. In permanent dentition, surgical separation of fused teeth may be possible with subsequent orthodontic alignment and restorative treatment as needed to reshape the crown. Reshaping or reduction of a double tooth with a single canal may be attempted by modifying the appearance of the labial groove and the use of composite tints but is often impossible and extraction may be the only alternative. Orthodontic treatment and prosthetic replacement is then required. Implants may be an option for adolescents. The present study describes three clinical cases of double teeth in the position of the maxillary permanent incisors. The first case demonstrates an example of multidisciplinary care including surgical intraoral hemisection, root canal therapy, restorative and orthodontic treatment. The second and third cases describe the external and internal morphology of the two fused teeth by means of three dimensional dental computer tomography.

• Conservation Science in Museum
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• v.8
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• pp.49-69
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• 2007

This is about the scientific analysis of the 10 items of the gilt-bronze Panbul excavated from Anapji, Gyeongju. First, the composition of the Panbul was confirmed, using X-ray fluorescence spectrometer (XRF), and the patinas covering the surface of the Panbul were analyzed, using X-ray diffractometer (XRD). And the micro structures and gilt layer of the Panbul were investigated, using microscope and scanning electron microscope with energy dispersive spectrometer (SEM/EDS), and in order to investigate the internal conditions of the Panbul, X-radiography was conducted. As the result, it is found out that the material of the Panbul excavated from Anapji was the bronze of copper (86~95%) and tin (4~12%), and coated with gold. And cuprite (Cu₂O) was detected from red patina of the gilt-bronze Panbul, and chalcocite(Cu₂S) also was detected from the black patina. As the result of the observation of the micro structure through microscope, it is estimated that it was manufactured, using the wax molding method, and, judging from the fact that the thickness of gilt layer was not even, and that the groove had been filled, it was presumed that the amalgam coating method had been used, but some questions still remain, because mercury was not detected. Lastly, through the X-radiography, it was observed that the tiny round spots existed, which was presumed to have been generated during the casting.

• Journal of the Korean Orthopaedic Association
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• v.55 no.2
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• pp.188-192
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• 2020

An indirect reduction through the bicipital groove and allogenic iliac tricortical bone graft was performed as a treatment for a large Hill-Sachs lesion with a rotator cuff tear in an acute traumatic shoulder joint dislocation in an elderly patient. Six months after surgery, the rotator cuff healing and bone union were confirmed. The patient also showed satisfactory clinical results with 95 points of the American Shoulder and Elbow Surgeons (ASES) shoulder score and active range of motion with 155° flexion, 120° abduction, and 70° external rotation and 30° internal rotation at 90° abduction. The surgical method can be considered for a large Hill-Sachs lesion with rotator cuff tear in an acute traumatic shoulder joint dislocation in elderly patients.

• The Journal of Korean Orthopaedic Ultrasound Society
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• v.7 no.1
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• pp.1-6
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• 2014

Purpose: In order to know the effectiveness of ultrasonographic examination in diagnosis and follow-up evaluation for the frozen shoulder, we compared those with contralateral side in initial and after steroid injection. Materials and Methods: For the 20 unilateral frozen shoulder from July 2012 to July 2013, ultrasonographic examination was tried using reference line 1 (CBT: distance from coracoid process to LHB tendon) and line 2 (CBG: distance from coracoid process to bicipital groove). We tried 1 time steroid injection and compared the improvement in gross motion and reference line with 2 month, 4 month, and 6 month's serial ultrasonographic examination. Results: The differences on CBT line between lesion side and normal side were -5.6 mm, -5.0 mm, and -4.3 mm in neutral (Neut), external rotation (ER) and internal rotation (IR), respectively. The differences on CBG line were -6.1 mm, -4.7 mm, and -5.0 mm respectively (p<0.05). The changes in the reference line after steroid injection were evaluated at 2 month (CBT: -4.8 mm, -3.5 mm, -2.6 mm / CBG: -4.7 mm, -4.0 mm, -3.6 mm), 4 month (CBT: -4.7 mm, -3.2 mm, -1.7 mm / CBG: -4.3 mm, -3.7 mm, -1.2 mm), and 6 month (CBT: -1.1 mm, -2.9 mm, -0.5 mm / CBG: -1.2 mm, -0.7 mm, -0.9 mm). The gross motion was improved at 4 month after injection, from elevation $108^{\circ}$, ER $32^{\circ}$, IR L5 in initial to $133^{\circ}$, $42^{\circ}$, L3 respectively (p<0.05). Pain improved from 7.5 in initial to 3.0 at 2 month on visual analog scale (VAS). Conclusion: The serial examination after steroid injection revealed that the delayed improvement on reference line (6 month) compared with pain (2 month) or gross motion (4 month). Dynamic ultrasonogram was useful in diagnosis and follow-up evaluation of frozen shoulder.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.