• Clean Technology
• /
• v.22 no.1
• /
• pp.16-28
• /
• 2016

Textile industry is considered as one of the most polluting sectors in terms of effluent composition and volume of discharge. It is well known that the effluents from textile dying industry contain not only chromatic substances but also large amounts of organic compounds and insolubles. The azo dyes generate huge amount of pollutions among many types of pigments. In general, the electrochemical treatments, separating colors and organic materials by oxidation and reduction on electrode surfaces, are regarded as simpler and faster processes for removal of pollutants compared to other wastewater treatments. In this paper the electrochemical degradation characteristics of dye wastewater containing CI Direct Blue 15 were analyzed. The experiments were performed with various anode materials, such as RuO₂/Ti, PtO₂/Ti, IrO₂/Ti and graphite, with stainless steel for cathode. The optimal anode material was located by changing operating conditions like electrolyte concentration, current density, reaction temperature and initial pH. The degradation efficiency of dye wastewater increased in proportion to the electrolyte concentration and the current density for all anode materials, while the temperature effect was dependent on the kind. The performance orders of anode materials were RuO₂/Ti > PtO₂/Ti > IrO₂/Ti > graphite in acid condition and RuO₂/Ti > IrO₂/Ti > PtO₂/Ti > graphite in neutral and basic conditions. As a result, RuO₂/Ti demonstrated the best performance as an anode material for the electrochemical treatment of dye wastewater.

• Journal of Korean Ophthalmic Optics Society
• /
• v.17 no.1
• /
• pp.91-97
• /
• 2012

Purpose: This purpose of study is to investigate the effect of UV-A-blocking or brown-tinted ophthalmic lens against A2E photooxidation which known as one of the etiologies of AMD(Age-related macular degenaration). Methods: The photooxidation of A2E, synthetic product of two molecules of all-trans-retinal and ethanolamine, was induced by the exposure to blue light (420~470 nm, $94mW/cm^2$) for 3 minutes. The inhibitory effect of UVblocking or brown-tinted ophthalmic lens against A2E photooxidation was evaluated by UV absorbance and HPLC analysis of remained A2E after the exposure to blue light. Results: UV-blocking ophthalmic lens could not inhibit A2E photooxidation induced by blue light irradiation. There was no difference in A2E photooxidation in the presence of brown-tinted ophthalmic lens to block 15% of visible ray, however, those lenses blocking 55% or 86% of visible ray showed the inhibitory effect of A2E photooxidation as 9.98% and 16.55%, respectively. By HPLC analysis, the amount of residual A2E which was not blocked by any lens was $199.29{\pm}26.53{\mu}M$, however, the inhibitory effect against A2E photooxidation was shown in the presence of brown-tinted lens. The remained A2Es were $264.58{\pm}31.91{\mu}M$ and $402.93{\pm}28.68{\mu}M$ in brown-tinted lenses of 55% and 86% blocking visible ray, respectively. However, there was no inhibitory effect against A2E photooxidation in the case of UV-blocking lens by HPLC analysis. Conclusions: In this study, brown-tinted ophthalmic lens was confirmed to have the inhibitory effect against the photooxidation of A2E, a causing substance of AMD onset.

• Journal of Environmental Science International
• /
• v.10 no.6
• /
• pp.431-436
• /
• 2001

Variations in phytoplankton concentrations result from changes of the ocean color caused by phytoplankton pigments. Thus, ocean spectral reflectance for low chlorophyll waters are blue and high chlorophyll waters tend to have green reflectance. In the Korea region, clear waters and the open sea in the Kuroshio regions of the East China Sea have low chlorophyll. As one moves even closer In the northwestern part of the East China Sea, the situation becomes much more optically complicated, with contributions not only from higher concentration of phytoplankton, but also from sediments and dissolved materials from terrestrial and sea bottom sources. The color often approaches yellow-brown in the turbidity waters (Case Ⅱ waters). To verify satellite ocean color retrievals, or to develop new algorithms for complex case Ⅱ regions requires ship-based studies. In this study, we compared the chlorophyll retrievals from NASA's SeaWiFS sensor with chlorophyll values determined with standard fluorometric methods during two cruises on Korean NFRDI ships. For the SeaWiFS data, we used the standard NASA SeaWiFS algorithm to estimate the chlorophyll_a distribution around the Korean waters using Orbview/ SeaWiFS satellite data acquired by our HPRT station at NFRDl. We studied In find out the relationship between the measured chlorophyll_a from the ship and the estimated chlorophyll_a from the SeaWiFs satellite data around the northern part of the East China Sea, in February, and May, 2000. The relationship between the measured chlorophyll_a and the SeaWiFS chlorophyll_a shows following the equations (1) In the northern part of the East China Sea. Chlorophyll_a =0.121Ln(X) + 0.504, R²= 0.73 (1) We also determined total suspended sediment mass (55) and compared it with SeaWiFS spectral band ratio. A suspended solid algorithm was composed of in-.situ data and the ratio (L/sub WN/(490 ㎚)L/sub WN/(555 ㎚) of the SeaWiFS wavelength bands. The relationship between the measured suspended solid and the SeaWiFS band ratio shows following the equation (2) in the northern part of the East China Sea. SS = -0.703 Ln(X) + 2.237, R²= 0.62 (2) In the near future, NFRDI will develop algorithms for quantifying the ocean color properties around the Korean waters, with the data from regular ocean observations using its own research vessels and from three satellites, KOMPSAT/OSMl, Terra/MODIS and Orbview/SeaWiFS.

• Korean Journal of Materials Research
• /
• v.23 no.4
• /
• pp.233-239
• /
• 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.

• Journal of Conservation Science
• /
• v.30 no.2
• /
• pp.219-234
• /
• 2014

Fabrics, natural dyed fabrics, papers, natural dyed papers and paints were examined effects of colors and mechanical properties for materials of museum collections under anoxic treatment. Anoxic conditions using nitrogen and argon were oxygen concentration 0.01%, temperature($20^{\circ}C$, $25^{\circ}C$, $30^{\circ}C$), 50% RH and exposure time 30 days. Examined fabrics were raw silk fabric, UV irradiated raw silk fabric, degummed silk fabric, UV irradiated degummed silk fabric, cotton fabric, and UV irradiated cotton fabric. Natural dyed silk and cotton fabrics were dyed with fresh indigo, indigo, safflower, gromwell, madder sappanwood, amur cork tree, turmeric, gardenia, barberry root, pagoda tree flower, cochineal, lac, alnus japonica, gallnut, chestnut shell, and combination(indigo and safflower, indigo and amur cork tree, indigo and pagoda tree flower, indigo and sappanwood). Papers were Korean papers(mulberry paper, mulberry(70%) and rice straw(30%) mixed paper), Japanese paper(gampi paper), cotton paper, refined linen paper, cotton, linen & manila mixed fibre furnish, copy paper, news print, and alum sized mulberry paper. Natural dyed papers were dyed with indigo, sappanwood, madder, safflower, gardenia, amur cork tree, and pagoda tree flower. Paints were painted on alum-sized papers and silk fabrics using glue and pigments(azurite, malachite, cinnabar, vermilion, orpiment, gamboge, red lead, haematite, iron oxide red, indigo(lake), lac, cochineal, safflower, madder root lake, celadonite, smalt, ultramarine blue, lapis lazuli, prussian blue, kaolin, lead white, oyster-shell white, and clam-shell white). The color differences(${\Delta}E^*$) of all examined materials were below 1.5 or lowered than control samples after anoxic treatment. The variations of tenacity of yarns of fabrics and natural dyed fabrics after anoxic treatment were within that of standard silk and cotton fabrics. Gases(nitrogen and argon) and temperatures of anoxic treatment did not also affected color differences and variations of tenacity of materials.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.54-88
• /
• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.