• 한국수자원학회논문집
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• 제49권7호
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• pp.625-634
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• 2016

기상청, 국토교통부 및 국방부는 각 기관의 특성에 맞게 기상, 수문 및 항공 관측용 레이더를 운영하고 있다. 2015년까지 국내에는 총 8대의 이중편파레이더(백령도, 용인테스트베드, 진도, 면봉산, 비슬산, 소백산, 모후산, 서대산 레이더)가 도입되어 운영되고 있다. 레이더를 운영 중인 세개 부처는 관측목적이 달라 레이더에 대한 운영방식, 자료 처리 방식 및 활용 방안 등에서 서로 많은 차이를 보여 왔으며 이러한 차이는 각 부처에서 운영하는 레이더 자료의 정확도가 달라지게 하는 원인이 되고 있다. 이에, 세 부처는 2010년 "기상-강우 레이더 자료 공동 활용에 관한 합의서"를 체결하고, 서로 다른 부처에서 생산된 모든 레이더 자료를 공동 활용하는 체계를 마련하였다. 범부처 이중편파레이더 자료의 합성을 위해서는 부처별 레이더 간의 정확도가 서로 유사해야한다. 서로간의 정확도가 다른 상태에서 레이더 강우 자료를 합성하게 된다면 공간적으로 품질이 다른 합성 강우장이 생산될 수밖에 없다. 이에 본 연구에서는 범부처 이중편파레이더 강우량의 정확도 향상과 통합을 위해 2015년도에 용인테스트베드 레이더에서 시행되었던 경험적 방법을 이용하였다. 그 결과 2015년 5월부터 10월까지의 백령도, 비슬산 및 소백산 레이더 자료에 대한 강우량 정확도(1-NE)가 70% 수준으로 향상되었다. 또한 레이더 편파변수 조절 전에는 정확도가 30~60%까지 넓은 범위를 보이고 있으나 조절 후 65~70%로 그 범위가 줄어들었다.

• 한국의류학회지
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• 제3권1호
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• 한국결정성장학회지
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• 제33권2호
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• pp.83-90
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• 2023

최근 전력반도체 소재로 관심을 가지는 Ga₂O₃의 β-상은 열역학적으로 가장 안정한 상을 가지며 4.8~4.9 eV의 넓은 밴드갭과 8 MV/cm의 높은 절연파괴전압을 갖는다. 이러한 우수한 물리적 특성으로 인해 전력반도체 소재로 많은 주목을 받고 있다. β-Ga₂O₃는 SiC 및 GaN의 소재와는 다르게 액상이 존재하기 때문에 액상 성장법으로 단결정 성장이 가능하다. 하지만 성장한 순수 β-Ga₂O₃ 단결정은 전력 소자에 적용하기에는 낮은 전도성으로 인해 의도적으로 제어된 도핑 기술이 필요하며 도핑 특성에 관한 연구가 매우 중요하다. 이 연구에서는 Ga₂O₃ 분말과 SnO₂ 분말의 몰 비율을 다르게 첨가하여 Un-doped, Sn 0.05 mol%, Sn 0.1mol%, Sn 1.5 mol%, Sn 2 mol%, Sn 3 mol%의 혼합분말을 제조하여 EFG(Edge-defined Film-fed Growth) 방법으로 β-Ga₂O₃ 단결정을 성장시켰다. 성장된 β-Ga₂O₃ 단결정의 Sn dopant 함량에 따른 결정 품질 및 광학적, 전기적 특성 변화를 분석하였으며 Sn 도핑에 따른 특성 변화를 광범위하게 연구하였다.