• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Geophysics and Geophysical Exploration
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• v.8 no.1
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• pp.50-58
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• 2005

Recently, the imaging of geological structures beneath water-covered areas has been in great demand because of numerous tunnel and bridge construction projects on river or lake sites. An electrical resistivity survey can be effective in such a situation because it provides a subsurface image of faults or weak zones beneath the water layer. Even though conventional resistivity surveys in water-covered areas, in which electrodes are installed on the water bottom, do give high-resolution subsurface images, much time and effort is required to install electrodes. Therefore, an easier and more convenient method is sought to find the strike direction of the main zones of weakness, especially for reconnaissance surveys. In this paper, we investigate the applicability of the streamer resistivity survey method, which uses electrodes in a streamer cable towed by ship or boat, for delineating a fault zone. We do this through numerical experiments with models of water-covered areas. We demonstrate that the fault zone can be imaged, not only by installing electrodes on the water bottom, but also by using floating electrodes, when the depth of water is less than twice the electrode spacing. In addition, we compare the signal-to-noise ratio and resolving power of four kinds of electrode arrays that can be adapted to the streamer resistivity method. Following this numerical study, we carried out both conventional and streamer resistivity surveys for the planned tunnel construction site located at the Han River in Seoul, Korea. To obtain high-resolution resistivity images we used the conventional method, and installed electrodes on the water bottom along the planned route of the tunnel beneath the river. Applying a two-dimensional inversion scheme to the measured data, we found three distinctive low-resistivity anomalies, which we interpreted as associated with fault zones. To determine the strike direction of these three fault zones, we used the quick and convenient streamer resistivity.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.8
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• pp.29-37
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• 2019

Textile quality management targets the physical properties of fabrics and the subjective discriminations of color and fitting. Color is the most representative quality factor that consumers can use to evaluate quality levels without any instruments. For this reason, quantification using a color discrimination device has been used for statistical quality management in the textile industry. However, small and medium-sized domestic textile manufacturers use only visual inspection for color discrimination. As a result, color discrimination is different based on the inspectors' individual tendencies and work procedures. In this research, we want to develop a textile industry-friendly quality management method, evaluating the possibility of rapid color discrimination using a digital imaging device, which is one of the office-automation instruments. The results show that an imaging process-based color discrimination method is highly correlated with conventional color discrimination instruments ($R^2=0.969$), and is also applicable to field discrimination of the manufacturing process, or for different lots. Moreover, it is possible to recognize quality management factors by analyzing color components, ${\Delta}L$, ${\Delta}a$, ${\Delta}b$. We hope that our rapid discrimination method will be a substitute technique for conventional color discrimination instruments via elaboration and optimization.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.45 no.2
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• pp.131-138
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• 2019

Carbonylated proteins (CPs) are synthesized by the chemical reaction of basic amino acid residues in proteins with aldehyde compounds yielded by lipid peroxidation. CPs are excited by a range of light from UVA to blue light, and resulted in the generation of superoxide anion radicals ($^{\cdot}O_2{^-}$) by photosensitizing reaction. Then, they CPs induce new protein carbonylation in stratum corneum through ROS generation. Furthermore, the superoxide anion radicals produce CPs in the stratum corneum (SC) through lipid peroxidation and finally affects skin conditions including color and moisture functions. The purpose of this study was to investigate the relationship between the production of stratum corneum carbonylated protein (SCCP) and the skin elasticity. 46 healthy female Koream at the ages of 30 ~ 50 years old were participated in this study for 8 weeks. The skin test was experiment conducted into two groups; placebo group (N = 23) used cream that did not contain active ingredients, and the other group (N = 23) used cream containing the elasticity improving ingredients. Test areas were the crow 's feet and the cheek. Various non-invasive methods were carried out to measure biophysical parameters on human skin indicating that dermis density and skin wrinkle were measured by using DUB scanner and Primos premium, respectively. Skin elasticity were measured using dermal torque meter (DTM310) and balistometer (BLS780). SCCP was assessed in a simple and non-invasive method using skin surface biopsy on the cheek of the subject. The amount of SCCP was determined using image analysis. All measurements were taken at 0, 4 and 8 8week. Results revealed that the amount of CP in SC was reduced when the skin wrinkle and skin elasticity related parameters were improved. This indicates that the correlation between the elasticity improvement and the amount of CP can be used as a anti-aging indicator and applicable to the skin clinical test for the measurement of skin aging in the future.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.124-136
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• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.45 no.1
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• pp.9-17
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• 2019

In this study, $L-{\alpha}-amino$ acid, which is a constituent of natural moisturizing factor, was applied to skin in periodic cycle to improve skin tone and texture roughness. Based on the polarity of the alkyl group (R) of the $L-{\alpha}-amino$ acid, the acid was categorized into two groups and their efficacy was studied. As a result, it was found that the improvement rate of $L-{\alpha}-amino$ acid complex with polar alkyl group ($L-{\alpha}-AAC-1$) is 21% higher than that of $L-{\alpha}-amino$ acid complex with non-polar alkyl group ($L-{\alpha}-AAC-2$). For clinical trials, emulsions containing $L-{\alpha}-amino$ acid complex ($L-{\alpha}-AAC-1$) were applied to the randomly selected 20 to 40 year old female participants, as an experimental group, on the right facial cheek once per day for 8 weeks, and emulsions without $L-{\alpha}-amino$ acid complex, as a control group, were applied to the left facial cheek in the same way. Improvements in skin tone were measured using $JANUS^{(R)}$ equipment and analyzed using image analysis software. Skin texture improvement was measured and analyzed mechanically using the phaseshift rapid in-vivo measurement of the skin (PRIMOS) equipment. As a result, improvements of skin tone and skin texture were 11.7% and 6.7%, respectively. In addition, a questionnaire survey was conducted to the participants on the aesthetic improvement and the degree of the feeling of skin improvement. The results suggest that $L-{\alpha}-amino$ acid can be used as a cosmetic substance that can provide aesthetic satisfaction through physiological skin tone and texture roughness.

• The Korean Journal of Archival Studies
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• no.42
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• pp.135-183
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• 2014

Korea has a high standard of IT environment to serve exhibit programs through the web with internet propagation and IT technology. However, the web exhibition of public institutions not only seem to introduce off-line exhibitions but also not to invigorate. It is caused by the lack of awareness, the cost of system installation and the lack of professional manpower. In this situation, OMEKA could suggest practical solutions to archives where need their own exhibition through the web. Especially, it would helpful for small record management organizations which are not enough budget and personal. OMEKA is an open source software program for digital collection and contents management. It has an affinity with users unlike traditional archives service programs. It also has been variously used by libraries, museums and schools because of exceptional exhibit functions. In this article, we introduce to the installation of a practical use about OMEKA. Regarding to OMEKA features, we consider it to raise exhibit effects. OMEKA would reduce the cost related to plans of exhibitions because it could display various contents and programs which reflecting characteristics of institutions. In addition, the availability of installation and widespread technological environment would lessen burden of public institutions. Using OMEKA, they would improve service level of public institutions and, make users satisfy. Therefore, they can change the social recognition of public institutions. OMEKA can contribute to various exercises of public records. It is not just the stereotypical system but, serves exhibition and collections with the strategy which each public institution would like to display. After all, it not only to connect to users with producers but also to improve the public image of institutions positively. Then, OMEKA would bring the great result through this interaction between public institutions and users.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Journal of The Korean Association For Science Education
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• v.43 no.3
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• pp.253-263
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• 2023

This study explored the discrepancy between the text of a teacher's guide about straight and reflective light and the content knowledge of pre-service elementary teachers. A total of 455 questions and 543 answers generated by 279 pre-service elementary teachers after reading a 'Shadow and Mirror' unit in the teacher's guide were analyzed. The questions were classified according to the types of concepts and discrepancies, and the answers were analyzed for accuracy. The results of analyzing the concepts of questions revealed that the pre-service elementary teachers were most curious about the shadow in the straight concept, the mirror image in the reflection concept, and the light source in other concepts. The questions with a low correct answer rate due to incorrect- or non-answers, such as those concerning the superposition principle of light by reflection, the principle of experimental tools, and images by lenses, were only partially or not included in the teacher's guide. When the questions were classified according to the type of discrepancy, the frequency of questions due to knowledge deficit was higher than that due to knowledge clash. This demonstrates that the concepts that teachers need to know must be supplemented with the contents of the teacher's guide. Discrepancies due to knowledge clashes are often caused by conflicts between what is experienced in everyday life and what is presented in textbooks. Therefore, it is necessary to reduce the discrepancy between the texts of the teacher's guide and the knowledge of pre-service elementary teachers by including the differences between the actual context of everyday life and the context of the textbook in the teacher's guide.