• 보존과학회지
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• 제18권
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• pp.51-62
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• 2006

강진 무위사의 벽화보존각내에 보존된 벽화를 비파괴진단하기 위해 초음파탐사와 열적외선 조사를 실시하였다. 벽체의 진흙은 gravel 1.78 g, sand 5.39 g, silt 4.91 g, clay 6.26 g 이다. 조사된 8개 벽화의 초음파 속도 평균은 보살도(No.5)<관음보살도(No.5)<보살도(No.14)<주악비천도(No.20)<주악비천도(No.17)<오불도(No.3)<삼존도(No.1)<아미타내영도(No.2)로 순서이고 범위는 $71.63\sim3610.11m/s$, 평균 417.44m/s이며 일축압축강도 $70.34\sim533.28kg/cm^2$, 평균 $84.23kg/cm^2$이다. 신선한 진흙벽체의 초음파 속도는 약 850m/s를 내외하고 800 m/s이하의 속도가 나타나는 곳은 최초 발생한 미세균열이 확장되어 물성이 저하된 것으로 예상된다. 600 m/s내외에서는 한 화면에서 물성저하 또는 물성편차가 현저해 질 수 있다. 400m/s 내외의 속도는 진흙벽체가 서서히 압축되어 견고하게 느껴지나 물성은 취약하며 진흙벽체에 입상분해가 발생하기 쉬운 상태는 200 m/s이하의 속도를 나타내었다.

• 만화애니메이션 연구
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• 통권47호
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• pp.171-191
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• 2017

최근 노년기의 정신적, 신체적 특징과 변화를 고려해서 노년층과 함께하는 예술과정을 포함한 프로그램이 증가하고 있으며 일방적인 강의 형태가 아니라 함께 참여하며 체험할 수 있는 문화예술사업이 그림, 연극, 노래, 사진, 회화, 무용, 만화 등 다양한 분야에서 이루어지고 있다. 다양한 문화예술 활동은 인간을 사회적, 정서적으로 성장하도록 돕는다. 노인의 문화예술교육은 노년의 삶을 좌우할 수 있는 중요한 활동임에도 불구하고 아직 교수법 및 프로그램의 다양성에서 한계를 보이고 있다. 이러한 상황에서 만화콘텐츠는 노인 문화예술교육을 위한 적절한 교구로서 충분한 기능과 가능성을 가지고 있다고 사료된다. 본 연구에서는 노인만화 창작을 중심으로 창작자 질적 연구를 실시하여 노인 문화예술교육에 있어서의 만화 수업 활성화 방안에 대해 고찰하였다. 분석결과, 노인만화는 일상을 역동적으로 만들어 주는 재미있는 노년의 여가활동이면서 동시에 주변의 사람들과 연계되는 사회적 통로가 되기도 하였다. 만화를 통해 자신의 인생을 드러내 보이기도 했고, 떠나간 추억의 존재들을 재조명하는 성찰의 시간, 그리움의 시간이기도 하였다. 그러면서 외로움을 덜 수 있는 나만의 독특한 시간이었고 신체적 장애가 치료되는 효과를 보이기도 하였다. 그러나 그리는 과정에서 애로점도 경험하였는데 특히, 내가 그리고자 하는 것이 생각대로 잘 그려지지 않을 때 힘들었다고 기술하고 있다. 이러한 분석 결과를 바탕으로 노인 만화가 갖는 다양한 유용성을 분석하고, 노인들에게 어떻게 적용될 수 있을지 논의해 보았다.

• 미술이론과 현장
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• 제10호
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• Molecular & Cellular Toxicology
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• 제2권2호
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• pp.134-140
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• 2006

Because shipyard workers are involved with various manufacturing process in shipyard industry, and they are exposed to many kinds of hazardous materials. Especially, painting workers were exposed polycyclic aromatic hydrocarbons (PAH). This study was conducted to assess the exposure status of PAH based on job-exposure matrix. We investigated the effect of genetic polymorphism of xenobiotic metabolism enzymes involved in PAH metabolism on levels of urinary metabolite. A total of 93 shipbuilding workers were recruited in this study. Questionnaire variables were age, sex, use of personal protective equipment, smoking, drinking, and work duration. The urinary metabolite was collected in the afternoon and corrected by urinary creatinine concentration. The genotypes of CYP1A1, CYP2E1, GSTM1, GSTT1 and UGT1A6 were investigated by using polymerase chain reaction-restriction fragment length polymorphism (PCR-RFLP) methods with DNA extracted from venous blood. Urinary 1-OHP levels were significantly higher in direct exposured group (spray and touch-up) than indirect exposed group. Urinary 1-OHP, concentration of the high exposure with wild type of UGT1A6 was significantlyhigher than that of the high exposure with other UGT1A6 genotype. In multiple regression analysis of urinary 1-OHP, the regression coefficient of job grade was statistically significant (p<0.05) and UGT1A6 was not significant but a trend (p<0.1). The grade of exposure affected urinary PAH concentration was statistically significant. But genetic polymorphism of xenobiotics metabolism enzymes was not statistically significant. Further investigation of genetic polymorphism with large sample size is needed.

• 건축역사연구
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• 제9권1호
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• pp.7-25
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• 2000

The purpose of this study is focused to the historic changes of Yungnam-Ru(嶺南樓), which are based on the site layout, and architectural forms in architectural building history and historic periods analyzed with the historic reference, paintings, and photos. This study is to search the alteration of the types of axis and the formation of spaces in Yungnam-Ru which is the Ru-Gak(樓閣) The conclusion of the architectural changes from the historic period and architectural form which is the belows. The first Yungnam-Ru by name had been used to be called, before it was re-called Yungnam-Ru by Kim Ju in 1365. Therefore, the hypothesis in naming Yungnam-Ru form assumption that the building under the name of Yungnam-Ru was re-named by Kim Ju from the Old Budist Temple called Yungnam-Sa, should re-considered in history. The second, it is considered that Milyang-Sibyi-Kyungdo(密陽十二景圖) as the painting can only be seen the site layout in 1542. It could be compared the differences of the site layouts from in 1542 to the present time. At that time Nyungpadang(凌派堂) was connected the main buildings called Yungnam-Ru Chimrudang(沈流堂),building was seperated with the Yungnam-Ru at that period. In 1542, the main Building(Yungnam-Ru) was consist of 5 spans of columns(from the front) and 2 spans of columns(from the side). Now, the main Building(Yungnam-Ru) has the 5 spans of columns from the front, and two spans of columns short from the side, compared to the present facade. At the past, Chimrudang(building) has the two spans of columns and one span of columns short, compared to the present facade. The third, It supposed that main building, Nyungpadang and Chimrudang in the composite of facade was connected with Wolrang(月廊) and Hunrang(軒廊) after invatioin from japan in 1592. 1844, (Chosun dynasty, Hunjong 10) the Yungnam-Ru was re-builted by maintaining the same concept in site layout of the past, and finally the three buildings was put together with Wolrang and Hunrang. As a result, the plan of the Yungnam-Ru was expanded with many aspects. From 1542 to 1844, the present site-layout gradually completed with three buildings which was spatially connected. The forth, in the middle age of Chosun dynasty, after added Gaeksa(客舍), the building is for the government officer staying temporally from outside province) in the site, the site layout was greatly changed with volume of building. In 1844, the Yungnam-Ru as the Nugak belongs to Miljukwan(密州館) was expanded spacially and formally. After that time, the burned buildings could not have been re-built because of aspects in government ability and economical ability.

• 건축역사연구
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• 제21권1호
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• pp.7-26
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• 2012

Nakseonjae in Changdeokgung Palace was established at The King Hunjong's 13rd year (1847), the mid-19th century. It was constructed for own rests of King Hunjong and the residence of Kyungbin (king's concubines), and is showing features of upper-class houses from several points such as rustic architectural types by getting out of authoritative aspects as king's shelter space within the palace, block and floor distribution that separated spaces for men and women, simplicity in structures and styles, and non-colorful painting etc. This study aims at tracing on which architectural types did the upper-class houses within Hanyang (modern Seoul) at late Joseon Dynasty have and what was characteristics of Nakseonjae. The resemblance between Nakseonjae and the upper-class houses was very little differences from scale aspects, and floor plan shapes of Anchae (women's quarters) and Sarangchae (men's quarters) were followed basic common styles. Also, resemblance could be confirmed in the structural styles too. Characteristics of Nakseonjae are showing apparent differences from clearance compositions such as hall configuration etc. Nakseonjae was king's dwelling place, and spaces for house's collateral functions such as kitchen, stable, and warehouse etc together with shrine were unnecessary, and such places were substituted into servants' quarters for assisting the Royal family. In detailed structural styles, column's size was larger 3cm or more than the upper-class houses, and its height was higher to the degree of 30~60cm. Besides, formality as king's shelter space was raised more in decorating aspects, and Nakseonjae was implemented by getting architectural influences from Qing Dynasty of China. This study induced features of Hanyang's upper-class houses at the 19th century by supplementing distribution and space configurations at existing cases of Seoul and Gyeonggi area together with house diagrams having been collected by Gaokdohyung (site and floor plan) of Jangseogak Library, and confirmed resemblances and differences with Nakseonjae, that is, features of Nakseonjae. Through the result, this study judges a fact that architecture of Nakseonjae seemed to be affected from conveniences of upper-class houses within Hanseong, and also architectural styles and distribution types of Nakseonje would give influences to the upper-class houses.

• 미술이론과 현장
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• 제7호
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• pp.165-188
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• 2009

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

• 한국재료학회지
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• 제23권4호
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• pp.233-239
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• 2013

We collected Seokganju minerals (regions in Gyeryong Mountain, Sangsin-ri, Banpo-myeon, Gongju Chungcheongnam-province), which were used as natural color pigments for grayish-blue during the 15th~16th centuries of the Joseon era, and investigated their crystallographic features to develop a black pigment having a spinel structure. By a Raman analysis, the color of Seokganju under transparent glaze as a pigment for painting was black because hematite ($Fe_2O_3$) in Seokganju was converted to magnetite ($Fe_3O_4$) However, Seokganju into the transparent glaze as a pigment was brown because of hematite ($Fe_2O_3$) and small amounts of maghemite (${\gamma}-Fe_2O_3$) in Seokganju minerals. Only Seokganju mineral is used, it is not suitable for black pigment into the transparent glaze. This study tried to develop a spinel crystal black pigment stabilized by Seokganju with CoO, $Cr_2O_3$, NiO, and $MnO_2$ at $1280^{\circ}C$. A Raman spectroscopy analysis was performed to verify the presence of Mn The results showed that it existed as spinel, and two crystal phases $CoFe_2O_4$ and $MnFe_2O_4$ were mixed. $CoFe_2O_4$ spinel has a dark grayish black color and $MnFe_2O_4$ spinel has a greenish black color, and these two appeared as black. The color of a specimen calcined by adding 6 wt% of pigment mixed with 5 wt% of $MnO_2$ added to lime glaze was analyzed with a UV spectrophotometer. When applying the color pigment, it appeared black stabilized with $L^*$24.23, $a^*$ 0.12, $b^*$ -2.29 at $1260^{\circ}C$ oxidative calcination, With $1240^{\circ}C$ reduction firing, it is appeared black stabilized with low brightness of $L^*$ 23.13, $a^*$ -1.12, $b^*$ 0.54.

• 보존과학회지
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• 제28권2호
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• pp.165-173
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• 2012

본 연구에서는 고대 먹의 과학적이고 체계적인 분석을 통해 선조들의 조묵방법 및 기술을 파악하는 것이 연구의 목적이다. 고목재와 고문서의 묵서부의 먹을 분석한 결과 다음과 같은 결론을 얻었다. 고목재(창덕궁 신선원전 적심)를 연륜연대분석한 결과 1899년에 벌채된 것으로 나타났으며, 따라서 고목재에 씌어진 먹의 연대를 추정할 수가 있었다. 고대 먹 원료인 그을음의 단일입자크기는 고목재의 경우 평균 107nm로 가장 크게 분석되었고, 12개의 고문서의 경우 38~86nm범위를 나타냈다. 응집체입자크기 분석 결과 고목재의 경우 평균 370nm로 단일입자크기와 같이 가장 크게 분석되었으며, 고문서의 경우 평균 206~318nm로 분석되었고, 단일입자크기와 응집체입자크기 간에는 같은 경향의 분포를 나타내었다. 단일입자크기와 응집체입자크기로 그을음의 원료를 분석할 수가 있을 것으로 생각되었다. 고목재와 고문서 묵서부분의 박편상먹의 적외선 및 라만 분광분석에서는 목재나 종이의 간섭으로 먹 입자의 스펙트럼을 얻을 수 없었다. 고목재에서 분리한 분말먹의 라만 분광분석에서는 현대 송연 그을음과 유사한 라만 스펙트럼패턴을 보여, 송연먹으로 추정할 수 있었다.

• 보존과학회지
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• 제33권3호
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• pp.189-201
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• 2017

본 연구는 가야시대 고분인 고령 고아리 벽화고분을 대상으로 하였다. 고분의 보존환경 연구를 위해 고분의 환경(온습도, 표면온도, 결로)과 생물(미생물 분포) 모니터링을 1년간 실시하였다. 그 결과, 고분 내외부의 연평균 온도차는 $11.7^{\circ}C$로 확인되었고 고분 내부의 온도는 외부 온도와 1~2개월 격차로 변화되고 있었다. 고분 내 최고 온도는 9월, 최저 온도는 3월이었고 상대습도는 약 100%로 유지되었다. 결로의 경우 벽화가 그려진 고분 현실의 천장에는 4월부터 12월까지 결로가 발생하였고, 연도 천장에는 1년 내내 결로가 발생하였다. 고분 내부와 벽체 표면에서는 미생물이 분리 배양되어 미생물 생장에 적합한 환경이 조성되면 생장가능 할 것으로 판단된다. 따라서 미생물 생장 온도 조건을 기준으로 미생물 발생 위험 예측도를 작성하였고 8월부터 10월이 위험 기간으로 확인되었다.