• The Journal of Korean Academy of Prosthodontics
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• v.46 no.5
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• pp.443-454
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• 2008

Statement of problem: A clinically successful color match is one of the important factor to get an esthetic dental restoration. Dental shade guides are commonly used to evaluate tooth color in restorative procedure. But numerous reports have indicated that common shade guides do not provide sufficient spectral coverage of the natural tooth colors. To address issues associated with the shade guide, distinct avenues have been pursued objective spectrophotometric / colorimetric assessment. Purpose: This study compared the accuracy of tooth color selection of spectrophotometer with that of human visual determination. Three main factors were investigated, namely, the effect of light, the individual variation and the experience of the observer. Material and methods: At the first experiment, on ten patients, one operator independently selected the best matching shade to the unrestored maxillary central incisor, using a Vita Classical Shade Guide in the morning, at noon and in the afternoon. The same teeth were measured by means of a reflectance spectrophotometer. At the second experiment, on ten patients, ten operators (5 experts, 5 novices) selected and measured by the same method above at noon. At the third experiment, the results of the second experiment were divided into two groups, expert and novice, and analyzed. Results: 1. There was significant difference between visual and spectrophotometric assessment (mean ${\Delta}E$ values) in experiment 1, 2, 3 (P < .05). 2. There was no significant difference between experts and novices group, when comparing with each visual and spectrophotometric assessment (mean ${\Delta}E$ values). Conclusion: Spectrophotometer could be used to analyze the shade of natural tooth objectively. Thereby, this method offers the potential tominimize considerably the need for corrections or even remakesafter intraoral try-in of restoration. Furthermore, to achieve its advantage, both the shade-matching environment and communication between dentist and technician should be optimized with use of visual and instrumental shade-matching systems.

• Journal of the Korean Society of Food Science and Nutrition
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• v.43 no.2
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• pp.281-286
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• 2014

This study was carried out to develop Yakju, a new kind of Korean traditional rice wine added with bamboo ethanol extract and characterized by containing various health benefits. The wine with bamboo ethanol extract was fermented by adding ginger and pear to improve flavor and quality. Several quality characteristics and physiological functionalities of Yakju were investigated. When bamboo ethanol extract was added to Yakju, the pH level decreased compared to that of the control. However, total acidity and soluble solid levels were higher than those of the control. The alcohol content of Yakju added with bamboo ethanol extract was slightly higher than that of the control. In examining the colors of Yakju containing bamboo ethanol extract, L value was lower than that of the control, whereas b value and brownness were higher. Various organic acids such as citric acid, malic acid, succinic acid, lactic acid, and acetic acid were determined, and the main organic acid among them was lactic acid. Various free sugars such as sorbitol, glucose, and fructose were detected and glucose was the most abundant. Total polyphenol content of Yakju added with bamboo ethanol extract was lower than that of the control. Further, electron-donating ability ranged from 23.8~40.0%, which was higher than that of the control. Nitrite scavenging ability of Yakju added with bamboo ethanol extract ranged from 15.2~36.4%, which was higher than that of the control at pH 6.0. Sensory evaluation of Yakju showed that bamboo ethanol extract+ginger as well as bamboo ethanol extract+ginger+pear treatment significantly increased flavor, taste, and overall acceptance compared to the others.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• The Journal of the Petrological Society of Korea
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• v.11 no.1
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• pp.1-16
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• 2002

The study area is mostly composed of Precambrian Gyeonggi gneiss complex, Jurassic Daebo granites, Cretaceous tonalite and dykes, and so on. On the basis of field survey and mineral assemblage, the granites can be divided into three types; biotite granite (Gb), garnet biotite granite (Ggb) and two mica granite (Gtm). They predominantly belong to monzo-granites from the modes. Field relationship and K-Ar mica age data in the surrounding area suggest that intrusive sequences are older in order of Gtm, Ggb and Gb. Gb and Ggb, major study targets, occur as medium-coarse grained rocks, and show light grey and light grey-light pink colors, respectively. Mineral constituents are almost similar except for opaque in Gb and garmet in Ggb. Gb and Ggb have felsic, peraluminous, subalkaline and calc alkaline natures. In Harker diagram, both rocks show moderately negative trends of $TiO_2$, MgO, CaO, $Al_2O_3$, $Fe_2O_3$(t), $K_2O$ and $P_2O_5$ as $SiO_2$ contents increase. Among them, $TiO_2$, MgO and CaO show two linear trends. From the trends and the linear patterns in AFM, Sr-Ba and Rb-Ba-Sr relations, it is likely that they were originated from the same granitic magma and Ggb was differentiated later than Gb. REE concentrations normalized to chondrite value have trends of parallel LREE enrichment and HREE depletion. One data of Ggb showing a gradually enriched HREE trend may be caused by garnet accompaniment. Ggb have more negative Eu anomalies than Gb, suggesting that plagioclase fractionation in Ggb have occurred much stronger than that in Gb. In modal (Qz+Af) vs. Op, Gb and Ggb belong to magnetite-series and ilmenite-series, respectively. From the EPMA results, opaques of Gb are magnetite and ilmenite, and those of Ggb are magnetite-free ilmenite or not observed. Bimodal distribution of magnetic susceptibility reveals two different granites of Gb (332.6 ${mu}SI$) and Ggb (2.3 ${mu}SI$). Based on the paleomagnetic analysis as well as modal analysis, the main susceptibilities of Gb and Ggb reside in magnetite and mafic minerals, respectively. They belong to S-type granite of non-magnetic granite by susceptibility value. In addition, $SiO_2$ contents, $K_2O/Na_2O$, A/CNK molar ratio and ACF diagram support that they all belong to S-type granites.

• Journal of Bio-Environment Control
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• v.29 no.2
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• pp.120-129
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• 2020

In Yesan-gun, Korea's main apple-producing region, the area of apple cultivation and yield are declining. In particular, the worsening quality of fruits due to unusually high temperatures amid recent climate change has also become a major challenge for apple orchards located on flatlands. The objective of this research is to investigate quality changes of apples according to different growing environments, depending on the shade of the sun, by covering the trees with different colors of wind nets. A white and blue wind nets with a hole size of 2 × 2 mm is installed on two experimental trees, 17-year-old 'Fuji' and 'Hongro', which are planted 1.5 m × 3.5 m in the north-south direction. Treatment of wind nets effectively lowered fruit surface temperature regardless of apple variety. When measuring the temperature of the fruit surface at 2 pm, the temperature of the air was 34.8℃, but the 'Fuji' of the untreated blocks was the highest at 40.0℃, while the blue wind net and the white wind net were significantly lower at 34.9℃ and 36.6℃, respectively. In 'Hongro', the results showed that the surface temperature was effectively lowered by recording 38.3℃ for the blue wind net and 38.5℃ for the white wind net treatment when the untreated one was 44.2℃. According to the color difference in 'Fuji', the skin redness (a^⁎) was the lowest with untreated control at 16.5, but the blue and white wind net treatment higher at 18.0 and 19.3, respectively. In 'Hongro', the white wind net treated fruit also showed a much higher skin redness than the untreated control of 28.1, showing much higher a^⁎ of 34.9. Sunburn damage in 'Fuji' apples amounted to 9.4% in untreated control. However, the blue and white wind net treatment revealed to 3.8% and 4.2%, respectively. In 'Hongro', those damage in the fruits treated with blue or white wind net, accounted for only 8.8% and 12.4%, respectively, significantly lower than 28.8% occurrence of untreated one. And, these results were understood to be the result of low UV radiation being blocked by the treatment of wind nets.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.35 no.6
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• pp.702-708
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• 2002

Although Umboniunm thomasi is one of marine mollusc (Archaeogastropoda: Trochidae) inhabiting the sands in the intertidal zone of the west coast of Korea, aspects of its reproductive biology are still not too well known. Reproductive cycle, gametogenesis, and first sexual maturity of U. thomasi collected at the west coast of Buan-gun, Jeollabuk-do, Korea were investigated monthly from January to December 1999. U. thomasi was dioecious, and an oviparous. The gonad was placed in the rear of the flesh part in the spiral shell. The external colors of the ripe ovary and testis appeared to be green and milk-white or yellowish white, respectively. Meat weigh rate peaked in July ($37.5\%$). And then the value sharply decreased in September ($28.3\%$), thereafter, gradually increased in November ($31.7\%$). Fully ripe oocytes were approximately 100$\~$110 $/mu$m in diameter, and their cytoplasm contained a great number of yolk Branules. Based on the monthly changes of the Bonadal development, gametogenesis, and meat weight rate, the reproductive cycle of U. thomasi could be devided into five successive stages: early active (November to April), late active (February to May), ripe (April to August), spawning (July to October), and recovery (September to February). Gonadal development and spawning were closely related to the seawater temperature, the main spawning occurred in September when the temperature reached above 24.2$^{\circ}C$. Individuals of 4.4 mm and less in shell height could not take part in reproduction in both sexes. Percentages of first sexual maturity of female and male shells ranging from 5.5 to 6.4 mm were $55.0\%$ and $61.9\%$, respectively, and $100\%$ of those over 7.5 mm in shell heights in both sexes participated in the reproduction.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.