• Restorative Dentistry and Endodontics
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• v.33 no.1
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• pp.66-75
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• 2008

This study examined the influence of the apical sizes on the sealing ability of a root canal filling. Thirty-six single rooted teeth with a single canal were divided into 3 groups (n = 12) and instrumented with either the $Profile^{(R)}$ or $LightSpeed^{(R)}$ system to achieve three different apical sizes (master apical file [MAF] of #25, #40, or #60). The teeth were filled with gutta perch a using a modified continuous wave technique. The level of microleakage was determined by immersing ten teeth from each group into India ink for 1 week followed by clearing with nitric acid, ethyl-alcohol, and methylsalicylate. The microleakage was measured using vernier calipers. The data was analyzed statistically using Kruskal-Wallis one-way ANOVA and a Student-Newman-Keuls Method. Two teeth from each group were sectioned horizontally at 1, 2, 3 and 4 mm from the apex in order to observe a cross section. The apical size was significantly (p < .05) influenced the level of microleakage. In the Student-Newman-Deuls Method, MAF sizes of #25 and #40; and MAF sizes of #25 and #60, respectively showed a statistically significant difference. There was no significant difference between #40 and #60. In most cross sections, oval-shaped canals were observed, and the irregularity of the internal surface increased with decreasing apical size. There was also an increase in the area of recess, which is the area where the canal space is not filled with either gutta-percha or sealer. When the root canals are filled using a modified continuous wave technique, canal filling with more consistent and predictable outcome may be expected as the apical preparation size is increased.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Maxillofacial Plastic and Reconstructive Surgery
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• v.22 no.2
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• pp.164-173
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• 2000

The p16 protein is a cyclin dependent kinase inhibitor that inhibits cell cycle progression from $G_1$ phase to S phase in cell cycle. Many p16 gene mutations have been noted in many cancer-cell lines and in some primary cancers, and alterations of p16 gene function by DNA methylation have been noticed in various kinds of cancer tissues and cell-lines. There have been a large body of literature has accumulated indicating that abnormal patterns of DNA methylation (both hypomethylation and hypermethylation) occur in a wide variety of human neoplasma and that these aberrations of DNA methylation may play an important epigenetic role in the development and progression of neoplasia. DNA methylation is a part of the inheritable epigenetic system that influences expression or silencing of genes necessary for normal differentiation and proliferation. Gene activity may be silenced by methylation of up steream regulatory regions. Reactivation is associated with demethylation. Although evidence or a high incidence of p16 alterations in a variety of cell lines and primary tumors has been reported, that has been contested by other investigators. The precise mechanisms by which abnormal methylation might contribute to carcinogenesis are still not fully elucidated, but conceivably could involve the modulation of oncogene and other important regulatory gene expression, in addition to creating areas of genetic instability, thus predisposing to mutational events causing neoplasia. There have been many variable results of studies of head and neck squamous cell carcinoma(HNSCC). This investigation was studied on 13 primary HNSCC for p16 gene status by protein expression in immunohistochemistry, and DNA genetic/epigenetic analyzed to determine the incidence, the mechanisms, and the potential biological significance of its Inactivation. As methylation detection method of p16 gene, the methylation specific PCR(MSP) is sensitive and specific for methylation of any block of CpG sites in a CpG islands using bisulfite-modified DNA. The genomic DNA is modified by treatment with sodium bisulfate, which converts all unmethylated cytosines to uracil(thymidine). The primers designed for MSP were chosen for regions containing frequent cytosines (to distinguish unmodified from modified DNA), and CpG pairs near the 5' end of the primers (to provide maximal discrimination in the PCR between methylated and unmethylated DNA). The two strands of DNA are no longer complementary after bisulfite treatment, primers can be designed for either modified strand. In this study, 13 paraffin embedded block tissues were used, so the fragment of DNA to be amplified was intentionally small, to allow the assessment of methylation pattern in a limited region and to facilitate the application of this technique to samlples. In this 13 primary HNSCC tissues, there was no methylation of p16 promoter gene (detected by MSP and automatic sequencing). The p16 protein-specific immunohistochemical staining was performed on 13 paraffin embedded primary HNSCC tissue samples. Twelve cases among the 13 showed altered expression of p16 proteins (negative expression). In this study, The author suggested that low expression of p16 protein may play an important role in human HNSCC, and this study suggested that many kinds of genetic mechanisms including DNA methylation may play the role in carcinogenesis.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.56-77
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• 2019

Bi-Seok is a treasure trove of funeral rites and an important cultural asset that can shed light on the historical and social history of calligraphy, but research of the topic is still insignificant. In particular, research on the production method of Bi-Seok remains an unproven field. The production of Bi-Seok can be roughly divided into ma-jeong (refining stone), sculpture, and the Buk-chil (process of engraving letters) process. This article reveals some facts: First, performing ma-jeong to the Sang-Seok, Honyu-Seok, Bi-seok, which are known to be God's things. This process is needed because of the change in the perception of the Honyu-Seok due to the settlement and propagation of Confucian ceremonial rituals in the times of hardship in 1592 and 1636. As the crafting process of ma-jeong did not remain concrete, it was only possible to examine the manufacturing process of Bi-Seok through its materials and tools. Second, the rapid proliferation of Oh-Seok and Sa-jeo-chwi-yong (purchase of things made by private citizens) in the Yeongjo era has great importance in social and cultural history. When the Gang-Hwa-Seok of the commodity were exhausted, the Oh-Seok that was used by Sadebu (upper civil class) were used in the tomb of Jangneung, which made Oh-Seok popular among people. In particular, the use of Oh-Seok and the Ma-Jeong process could minimize chemical and physical damage. Third, the writing method of the Bi-seok is Buk-chil. After Buk-Chil of Song Si-Yeol was used on King Hyojong's tomb, the Buk-Chil process ( printing the letters on the back of the stone and rubbing them to make letters) became the most popular method in Korea and among other East Asian countries, and the fact that it was institutionalized to this scale was quite impressive. Buk-Chil became more sophisticated by using red ink rather than black ink due to the black color that results from Oh-Seok. Fourth, the writing method changes in the late Joseon Dynasty. Until the time of Yeongjo's regime, when inscribing, the depth of the angle was based on the thickness of the stroke, thus representing the shade. This technique, of course, did not occur at every Pyo-Seok or Shindobi, but was maintained by outstanding artisans belonging to government agencies. Therefore, in order to manufacture Bi-Seok, Suk-seok, YeonJeong, Ma-jeong, Jeong-Gan, ChodoSeoIp, Jung-Cho, Ip-gak, Gyo-Jeong, and Jang-Hwang, a process was needed to make one final product. Although all of these methods serve the same purpose of paying respects and propagandizing the great work of deceased persons, through this analysis, it was possible to see the whole process of Pyo-Seok based upon the division of techniques and the collaboration of the craftsmen.

• Tuberculosis and Respiratory Diseases
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• v.50 no.1
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• pp.67-75
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• 2001

Background : Two tumor suppressor genes, p53 and p16, which have different roles in controlling the cell cycle and inducing apoptosis, are frequently inactivated during carcinogenesis including lung cancer. Single tumor suppressor gene therapies using either with p53 or p16 have been studied extensively. However, there is a paucity of reports regarding a combined gene therapy using these two genes. Methods : The combined effect of p53 and p16 gene transfer by the adenoviral vector on the growth of lung cancer cell lines and its interactive mechanism was investigated. Results : An isobologram showed that the co-transduction of p53 and p16 exhibited a synergistic growth in hibitory effect on NCI H358 and an additive effect on NCI H23. Cell cycle analysis demonstrated the induction of a synergistic G1/S arrest by a combined p53 and p16 transfer. This synergistic interaction was again confirmed in a soft agar confirmed in a soft agar clonogenic assay. Conclusion : These observations suggest the potential of a p53 and p16 combination gene therapy as another potent strategy in cancer gene therapy.

• Restorative Dentistry and Endodontics
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• v.24 no.2
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• pp.408-415
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• 1999

When a zinc-oxide eugenol type sealer was placed in root canals treated previously with calcium hydroxide, acceleration of its setting and the yellowish discoloration were observed clinically. The purpose of this study was to evaluate the properties of calcium hydroxide-eugenol compound. Some physical properties of calcium hydroxide-eugenol compound were compared with a manufactured zinc-oxide eugenol based root canal sealer, Tubli-seal$^{(R)}$ in terms of water solubility, water sorption, film thickness and microleakage. Solubility and water sorption were determined by the use of the method described in American Dental Association Specification(ADAS) no. 57. Ten samples of each material were prepared into disks 20mm in diameter and 1.5mm in thickness. The samples were immersed in 50ml of distilled water at $37{\pm}1^{\circ}C$ for 7 days. The samples were then removed and placed in a desiccator. The values for solubility and water sorption were calculated using differences between the weights of same sample. Film thickness was determined by the use of the method described in ADAS no. 57 too. A small quantity of mixed cement was placed between two glass plates of which thickness was measured previously. 15Kg loading was applied and total thickness of the glass plates and the cement film was measured. The thickness difference was recorded as the material's film thickness. Microleakage was determined with a dye penetration method. Experimental materials were placed between the dentin surface of bovine tooth and the acrylic rod. These units were immersed in Pelican ink (W-Germany) for three days. Dye-penetrated dentin surfaces of bovine tooth were measured using the NIB Image 1.60 Macintosh program. The results are as follows: 1. Water solubility value of calcium hydroxide-eugenol compound (20.98${\pm}$2.94%) was statistically higher than those of Tubli-seal$^{(R)}$(2.52${\pm}$0.49%)(p<0.05). 2. Water sorption value of calcium hydroxide-eugenol compound (59.72${\pm}$17.75%) was statistically higher than those of Tubli-seal$^{(R)}$(3.15${\pm}$0.76%)(p<0.05). 3. Film thickness value of calcium hydroxide-eugenol compound (0.36${\pm}$0.03mm) was statistically higher than those of Tubli-seal$^{(R)}$(0.12${\pm}$0.1mm)(p<0.05). 4. Dye penetration value after 3 days-immersion of calcium hydroxide-eugenol compound(57.63${\pm}$25.85%) was statistically higher than those of Tubli-seal$^{(R)}$(28.05${\pm}$23.46%)(p<0.05).

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.445-469
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• 2004

The Avatamsaka Sutra copied in ink on the white paper of Shilla Period is the oldest manuscript in korea. This Avatamsaka Sutra is volume 1-10 and 44-50 of the 80 volume's transcription. According to the postscript, written with 528 letters at the end of the volume 10 and 50, this sutra is made during A.D. 754-755, for six months by the order Master Yon-gi(綠起 法師) who founded Hwaumsa Temple(華嚴寺.) It explains the procedure of the ritual and production method of the sutra-copying, and also shows the 19 participants with their name, address, official title, and etc. When the sutra was founded, volume 1-10 were so congealed that we could not open the volumes. And volume 44-50 was prohibited to take photograph for preservation. According to the recent examination, it proved that this sutra is the treasure for the study of the characters made by Empress Wu Zetian(則天武后.) The characters made by Empress Wu Zetian(A.D. 625-705) are new shape of chinese characters which is different from the traditional characters. After the demise of the Queen, the characters were not used any more officially, but privately some people used the characters for personal tastes and interest. The characters in the sutra includes 512 characters of 13 kinds of Empress We Zetians'. Compared to the Tun-huang version of the sutra, this is far better treasure for the study of Empress We Zetians' characters in terms of the number of the character and the their use of frequency. The Avatamsaka Sutra of Shoso-in(正倉院) in japan copied in A.D. 768 does not use the Empress We Zetians' characters. In this respect, this Shilla Avatamsaka-Sutra is a unique one preserves the original forms of Chinese translation at that time.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.29 no.3
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• pp.115-122
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• 2019

Electric arc furnace dust (EAFD), which is a dust waste generated in the steel manufacturing process, contains heavy metals. Recently, researches of recycling a large amount of valuable metals such as zinc and iron in EAFD are being actively carried out. In this study, EAFD is used as a substitute for cobalt in blue ceramic pigments without any pretreatment. Then, the synthesized blue ceramic pigment using EAFD was micronized and formulated as a ceramic ink for inkjet printer. The particle size distribution, crystal structure and color characteristics during the micronization process were investigated for the development of ceramic ink. $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments showed excellent blue coloric properties and monomodal distribution through micronization process. The average particle size of $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments after 3 hours of milling was $0.271{\mu}m$, which is smaller than $0.303{\mu}m$, which is the average particle size of $CoAl_2O_4$ ceramic pigments without EAFD after 5 hours of milling. Especially, it was confirmed that $Co_{0.75}Zn(EAFD)_{0.25}Al_2O_4$ ceramic pigments showed a color difference (${\Delta}E{^*}_{ab}$) value of 5.67, which smaller than ${\Delta}E{^*}_{ab}$ value of $CoAl_2O_4$ during micronization. These results show that EAFD can be used as a raw material for a blue ceramic pigment by replacing expensive cobalt without any pretreatment.

• Applied Chemistry for Engineering
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• v.32 no.3
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• pp.268-276
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• 2021

As wireless communication devices become more common, interests in how to control the electromagnetic waves generated from the devices are increasing. One of the most commonly used electromagnetic wave control materials is magnetic one, but due to the features that make the product heavy and thick when applied to the product, it is difficult to use them in curved electronic devices. Therefore, a polymer flexible meta electronic device has been presented to sort out the problem, which is thin and can have various curvatures. However, it requires an additional evaluation of curvature reliability. In this study, we developed a method to predict electromagnetic wave control characteristics through the resistance/length of the conductive ink line patterns of polymer flexible meta electronic devices, which is inversely proportional to the electromagnetic wave control characteristics. As the radius of curvature decreased, the resistance/length increased, and there was little variations with the duration times of curvature. We also found that both permanent and recoverable changes along with the removal of curvature were occurred when the curvature was applied, and that the cause of these changes was newly created vertical cracks in the conductive ink line pattern due to the tensile stress applied by applying curvature.

• Journal of Conservation Science
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• v.37 no.6
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• pp.723-737
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• 2021

This study analyzed the composition and structure of materials with Buddhist paper scriptures excavated from architectural sites in 'Sum Tolgoi' of the 17^th century and carried out conservation treatment base on the result of the analysis. The scriptures were covered in dust and foreign sub stances, and were so crumpled that it was impossible to identify the form. The damage, loss, and discoloration have been identified. Buddhist scriptures written in Tibetan used indigo and ink sticks on paper as a result of UV-Vis analysis, and ink sticks as black character materials from scriptures written ancient Mongolian. SEM-EDS and Micro-XRF analyses revealed that the outlines were drawn with red lines using a mix of Minium (Pb₃O₄) and Cinnabar (HgS), or Cinnabar (HgS) alone, and the contents of the scriptures were written with silver paint. Silver chloride (AgCl) and Calcium (Ca) were identified in the silver paint component of the characters, while Calcium and Orpiment (As₂S₃) were identified in the yellow lines. Concerning the paper ground, Buddhist scriptures written in ancient Mongolian were characterized by herbal plant fiber and bast fiber, and those written in Tibetan, by bast fiber. Radiocarbon dating indicates that the paper for the scriptures was produced between the 15^th and 17^th centuries. Conservation treatment of the scriptures was carried out based on the experiment on the production of pre-coated paper and how to coat that to prevent the second damage due to the deformation and fragility of the excavated paper. The scriptures were preserved and mounted, and a neutral box was made to identify the contents of the scriptures recorded on both sides after the treatment. This conservation treatment is the result of a study that applied new conservation treatment materials and methods according to the principle of conservation treatment reversibility.