• Korean Journal of Soil Science and Fertilizer
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• v.44 no.5
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• pp.944-958
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• 2011

Soil hydraulic properties such as hydraulic conductivity or water retention which are costly to measure can be indirectly generated by soil pedotransfer function (PTF) using easily obtainable soil data. The field soil structure description which is routinely recorded could also be used in PTF as an input to reduce the uncertainty. The purposes of this study were to use qualitative morphological soil structure descriptions and soil structural index into PTF and to evaluate their contribution in the prediction of soil hydraulic properties. We transformed categorical morphological descriptions of soil structure into quantitative values using categorical principal component analysis (CATPCA). This approach was tested with a large data set from the US National Pedon Characterization database with the aid of a categorical regression tree analysis. Six different PTFs were used to predict the saturated hydraulic conductivity and those results were averaged to quantify the uncertainty. Quantified morphological description was successively used in multiple linear regression approach to predict the averaged ensemble saturated conductivity. The selected stepwise regression model with only the transformed morphological variables and structural index as predictors predicted the $K_{sat}$ with $r^2$ = 0.48 (p = 0.018), indicating the feasibility of CATPCA approach. In a regression tree analysis, soil structure index and soil texture turned out to be important factors in the prediction of the hydraulic properties. Among structural descriptions size class turned out to be an important grouping parameter in the regression tree. Bulk density, clay content, W33 and structural index explained clusters selected by a two step clustering technique, implying the morphologically described soil structural features are closely related to soil physical as well as hydraulic properties. Although this study provided relatively new method which related soil structure description to soil structure index, the same approach should be tested using a datasets containing the actual measurement of hydraulic properties. More insight on the predictive power of soil structure index to estimate hydraulic properties would be achieved by considering measured the saturated hydraulic conductivity and the soil water retention.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.195-212
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• 2022

Based on the kinetic typography principle and the structure features of Chinese characters, this study took the Chinese'24 solar terms' theme dynamic poster as the research object, explored the visual expression of dynamic Chinese characters, and tried to summarize the visual expression law of Chinese characters in dynamic poster design. It can be found that, there could be 6 different types of Chinese character expressions in the 24 solar terms poster design. Among them, 'Drawing' design method has the meaning of text structure and form expression, and 'Assembling' design method has the meaning of text stroke and texture association, also, 'Forming' design method bring its meaning through stroke deformation, 'Transforming' design method conveys the content through text disintegration, 'Replacing' design method mainly bring the meaning through simulation, while 'Rotation' design method always express through visual three-dimensional and space. Finally, the findings could not only provide analytical logic and methods for the expression of Chinese characters in dynamic poster design, but also fill the lack of formative research on dynamic Chinese characters, which hopefully provide basic information for the research related to dynamic Chinese character structure, as well as the dynamic poster designers.

• Economic and Environmental Geology
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• v.55 no.3
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• pp.295-307
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• 2022

We studied the Cretaceous Jeonggaksan Formation to determine depositional processes of pyroclastic density currents entering into the lacustrine environments. This formation is composed largely of sandstone-mudstone couplets and (tuffaceous) normally graded sandstones deposited in lacustrine environments, interbedded with two pyroclastic beds: welded massive lapilli tuff and normally graded lapilli tuff. The welded massive lapilli tuff (10 m thick) is composed of poorly sorted, structureless lapilli supported by a welded ash matrix. The normally graded lapilli tuff (4 m thick) is characterized by moderately to well sorted natures and multiple normally graded divisions in the lower part of the bed with internal boundaries. The contrasting depositional features between these lapilli tuff are suggestive of different physical characteristics and depositional processes of pyroclastic density currents in the lake. Overall poorly sorted and massive natures of the thick, welded massive lapilli tuff are interpreted to have been formed by rapid settling of pyroclastic sediments from highly concentrated and sustained pyroclastic density currents. In this case, the pyroclastic density currents were able to displace lake water from shoreline and the pyrolclastic density currents preserved their own heat except for frontal parts of the currents. As a result, welded textures can be formed despite entrance of pyroclastic density currents into the lake. The internal boundaries of the normally graded lapilli tuff reflect unsteady natures of the pyroclastic density currents at the time of the deposition and the pyroclastic density currents can not provide sufficient pressure to displace lake water. As a consequence, the pyroclastic density currents transformed into water-saturated turbidity currents, forming relatively well sorted, normally graded lapilli tuff.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.195-218
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• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• Journal of the Korean earth science society
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• v.39 no.3
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• pp.250-259
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• 2018

We investigated the petrological features of the stone materials used in the Jeolla Usuyeong rampart and estimated their provenance through the geological survey. The Jeolla Usuyeong was designated as a historic site (No. 535) on 2016. Since the remaining rampart is less than 15%, it is necessary to make conservation on it. In this study, we discriminated the stone materials used for the rampart according to their petrographic characteristics and estimated the volume proportion of each stone by the rock type. Also, we measured the whole-rock magnetic susceptibility. The petrographic features of the stones in the rampart were compared with those in the vicinity by their mineral composition and texture. The stone materials of the rampart mainly consist of the tuff, lapilli tuff, and lapilli stone. Among these three kinds of rocks, lapilli tuff is quantitatively the most abundant (60.3%), the next is tuff (34.7%), and lapilli stone (2.5%) shows the least amount. The whole-rock magnetic susceptibility of the tuffaceous rocks can be divided by the value of $1.0{\times}10^{-3}$ SI unit. Also, the compressive strength of tuff exhibits about 156 MPa, which is adequate to reuse for the repairing work. Petrological comparisons between stone materials and outcrop rocks distributed around the Hwawon peninsula leads to a conclusion that the stone materials of the rampart are likely to have been delivered from the Dongoeri and Sindeok-ri. Judging from the results of the comparison on the frequency of use and physical properties among the tuffaceous rocks, tuff is considered to suitable for restoring the rampart.

• The Korean Journal of Mycology
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• v.37 no.1
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• pp.33-40
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• 2009

From 2006 to 2008, natural habitat of Sparassis crispa were surveyed for investigating ecological conditions at sixteen different sites in Korea. The investigated sites showed very wide altitudinal distribution ranged from 240 meters to 1,100 meters above the sea level. In general, S. crispa showed distinct feature of heart-rot fungi as it occurs on soils around the stems of larch (Larix kaempferi) and Korean white pine (Pinus koraiensis). But it also could be found on stems or on the stumps of dead trees, which indicated that the fungus might have several invasion routes and capabilities to grow on various ecological conditions. All of the sixteen sites were pure stands consisted with conifers such as larch or Korean white pine. The dominant tree layer showed $15.3{\sim}38.0$ meters for tree heights, thicker than twenty centimeters for the diameter at breast height (DBH), and all of them were older than thirty years. Since the stands were pure stand, species diversity of trees in the sites was extremely low. While the dominant tree layer showed only pure coniferous stand, the co-dominant tree layer, shrub layer and herbaceous layer showed more diverse features with higher Shannon-Wiener (H') indices. Soil texture of thirteen sites among sixteen investigated sites were loamy soils, and the contents of organic matter in soil were more or less higher than general forest soils in Korea with $3.79{\sim}14.32%$. The cation exchange capacity (CEC) was also relatively higher than general forest soils with $16.1{\sim}27.2$ cmol+/kg. The data indicated that the cauliflower mushroom occurring sites were relatively fertile than general forest soils. The soils were acidic with pH ranged from 4.2 to 5.2, which were typical features for conifer stands in Korea.

• Journal of the Korean Society of Radiology
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• v.84 no.1
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• pp.185-196
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• 2023

Purpose This study aimed to investigate radiomics analysis of ultrasonographic images to develop a potential biomarker for predicting lymph node metastasis in papillary thyroid carcinoma (PTC) patients. Materials and Methods This study included 431 PTC patients from August 2013 to May 2014 and classified them into the training and validation sets. A total of 730 radiomics features, including texture matrices of gray-level co-occurrence matrix and gray-level run-length matrix and single-level discrete two-dimensional wavelet transform and other functions, were obtained. The least absolute shrinkage and selection operator method was used for selecting the most predictive features in the training data set. Results Lymph node metastasis was associated with the radiomics score (p < 0.001). It was also associated with other clinical variables such as young age (p = 0.007) and large tumor size (p = 0.007). The area under the receiver operating characteristic curve was 0.687 (95% confidence interval: 0.616-0.759) for the training set and 0.650 (95% confidence interval: 0.575-0.726) for the validation set. Conclusion This study showed the potential of ultrasonography-based radiomics to predict cervical lymph node metastasis in patients with PTC; thus, ultrasonography-based radiomics can act as a biomarker for PTC.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.12-26
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• 2014

This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.

• The Journal of the Petrological Society of Korea
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• v.16 no.3
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• pp.116-128
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• 2007

Detailed geological mapping, petrographic study, analyses of geochemistry and magnetic susceptibility, and K-Ar dating were carried out in order to determine the origin, age, and stratigraphic implications of granitic rock fragments in the pyroclastic rocks, SE Jinhae city, southern part of the Gyeongsang Basin. As a result, it was found that the area is composed of volcanics and tuffaceous sediments of the Yucheon Group, Bulguksa granites, pyroclastics bearing granitic rock fragments, $basalt{\sim}basaltic$ andesite, and rhyolite in ascending stratigraphic order. The granitic rock fragments in the pyroclastic rocks are divided into granodiorite and biotite granite, which have approximately the same characteristics as the granodiorite and the biotite granite of the Bulguksa granites, respectively, in and around the study area including color, grain size, mineral composition, texture (perthitic and micrographic textures), intensity of magnetic susceptibility (magnetite series), and geochemical features (calc-alkaline series and REE pattern). This leads to the conclusion that the rock fragments originated from the late Cretaceous Bulguksa granites abundantly distributed in and around the study area, but not from the basement rocks of the Yeongnam massif or the Jurassic granites. Based on relative and absolute ages of various rocks in the study area, the pyroclastics bearing granitic rock fragments are interpreted to have erupted between 52 and 16 Ma, i.e. during the Eocene and early Miocene. These results indicate that the various volcanisms, acidic to basic in composition, occurred after the intrusion of the Bulguksa granites, contrary to the general stratigraphy of the Gyeongsang Basin. Very detailed and cautious mapping together with relative and absolute age determinations are, thus, necessary in order to establish reliable stratigraphy of the Yucheon Group in other areas of the Gyeongsang Basin.