• The Journal of Engineering Geology
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• v.22 no.2
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• pp.145-155
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• 2012

The matric suction and volumetric water content of Jumunin standard sand with a relative density of 60% were measured using an Automated Soil-Water Characteristic Curve (SWCC) apparatus during both drying and wetting processes. The test time for the drying process was longer than that for the wetting process, because the flow of water is likely to be protected by air trapped in voids within the soils during the drying process. Based on the matric suction and volumetric water content, the SWCC was estimated using the model proposed by van Genuchten (1980). For the drying process, the unsaturated fitting parameters ${\alpha}$, n, and m were 0.399, 8.586, and 0.884, respectively; for the wetting process, the values were 0.548, 5.625, and 8.220, respectively. The hysteresis phenomenon occurred in the SWCCs, which means the SWCC of the drying process is not matched with the SWCC of the wetting process. Using these unsaturated parameters, we estimated the Suction Stress Characteristic Curve (SSCC), based on the relationship between suction stress and the effective degree of saturation. The suction stress showed a rapid decrease when the matric suction exceeds the Air Entry Value (AEV). Therefore, the effective stress of unsaturated soils is different from that of saturated soils when the matric suction exceeds the AEV. The suction stress of the drying process exceeds that of the wetting process for a given effective degree of saturation. The hysteresis phenomenon was also recognized in SSCCs. The hysteresis phenomenon of SSCCs arises from that of SWCCs, which is induced by the ink bottle effect and the contact angle effect. In the case of a sandy slope, the suction stress is positive and acts to enhance the slope stability as the water infiltrates the ground, but is negative when the suction stress exceeds the AEV. The results obtained for the wetting process should be applied in analyses of slope stability, because the process of water infiltration into ground is similar to the wetting process.

• Restorative Dentistry and Endodontics
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• v.23 no.2
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• pp.561-574
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• 1998

The purposes of this study were to observe the difference in the root canal wall after hand instrumentation or engine-driven Ni-Ti instrumentation under the scanning electron microscope, and to evaluate the apical leakage provided by continuous wave of canal filling technique with or without root canal sealer and smear layer. Twenty recently extracted human maxillary anterior teeth were instrumented with K-type files or engine-driven Ni-Ti files, Quantec series 2000$^{TM}$ and irrigated with 5.25% NaOCl alone or 15% EDT A and final flush of 5.25% NaOCl. After the instrumentation and flushing, teeth were split in half with a knife and a mallet. They were then examined with a scanning electron microscope Forty-four recently extracted human maxillary anterior teeth were divided into four groups with and without smear layer and then warm vertical canal filling using System-B with or without sealer. The extent of leakage was scored after immersion in India ink for 1 week. The results were as follows: 1. No significant difference of smear layer was observed between K-type file-instrumented group and engine-driven Ni-Ti file-instrumented group. 2. A group without smear layer showed significantly less apical leakage than a group with smear layer when sealer was used for the canal filling (p<0.01). 3. There was no significant difference between a group without sealer and smear layer and a group without sealer and with smear layer (p<0.01). 4. In groups without smear layer, a group with sealer showed significantly less apical leakage than a group without sealer (p<0.01). 5. When root canals were irrigated with NaOCl alone, a group with sealer showed significantly less apical leakage than a group without sealer (p<0.01).

• Food Science and Preservation
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• v.18 no.5
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• pp.627-635
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• 2011

This study was conducted to assess the effects of the removal of pesticide residues and microorganisms from yuja (Citrus junos Sieb ex Tanaka) using a surface-washing system, under the following washing conditions: 0.11, 0.42, and 0.73 m/s spray rotation speeds; 0.6, 0.9, and 1.2 MPa water pressure and 0.046, 0.092, and 0.138 m/s conveying speeds. Tap-water treatment was used as the control. The washing efficiency when using squid ink was highly correlated with the conveying speed and the spray rotation speed. In addition, the highest washing efficiency was achieved when the water pressure was 0.9 MPa. The microorganisms were reduced to 0.40 log CFU/g for the tap-water treatment, and all the treatments, except those at the conveying speed of 0.138 m/s and the spray rotation speed of 0.11 rpm (6.07 log CFU/g), produced higher removal efficiencies compared with the tap-water treatment. Reductions of 2.20 and 2.05 log CFU/g were achieved at the spray rotation speeds of 0.42 and 0.73, respectively. The largest reductions were observed when the conveying speed was 0.046 m/s. Higher pesticide residue removal efficiency values were obtained at slower conveying speeds and higher spray rotation speeds. Higher than 50% removal efficiency was achieved when the spray rotation speed was 0.046 m/s for spirodichlofen, deltamethrin, benomyl, thiophanate-methyl, and acequinocyl. Especially, the removal efficiency for benomyl and thiophanate-methyl was more than 90%. It can thus be concluded that the pesticide residues in yuja can be effectively reduced by washing the latter with a less-than-0.092-m/s conveying speed and a higher-than-0.42-m/s spray rotation speed.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of Life Science
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• v.19 no.7
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• pp.949-955
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• 2009

Mucosal epithelia sense external stress signals and transmit them to the intracellular cascade responses. Ribotoxic stress-producing chemicals such as deoxynivalenol (DON) or other trichothecene mycotoxins have been linked with gastrointestinal inflammatory diseases by Fusarium-contamination. The purpose of this study was to test the hypothesis that DON evokes the epithelial sentinel signals of RNA-dependent protein kinase (PKR) and early growth response gene 1 (EGR-1), which together contribute to the pro-inflammatory cytokine interleukin 8 (IL-8) in human intestinal epithelial cells. PKR suppression by the dominant negative PKR expression attenuated DON-stimulated interleukin-8 production. Moreover, 1L-8 transcriptional activation by DON was also reduced by PKR inhibition in the human intestinal epithelial cells. Treatment with the PKR inhibitor also suppressed EGR-1 promoter activity, mRNA and protein induction, although mitogen-activated protein (MAP) kinases such as extracellular signal-regulated protein kinases (ERK) 1/2, p38, c-Jun N-terminal Kinase (INK) were little affected or even enhanced in presence of a PKR inhibitor. These patterns were also compared in the EGR-1-suppressed cells, which showed much more suppressed production of 1L-8. All things taken into consideration, DON-activated sentinel signals of EGR-1 via PKR mediated interleukin-8 production in human intestinal epithelial cells, which provide insight into the possible general mechanism associated with mucosal inflammation as an intestinal toxic insult by ribotoxic trichothecene mycotoxins.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.142-157
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• 2016

In 2008, the oldest wooden tablets, in the Baekje area, were uncovered from the Bogam-ri site in Naju. This paper defines wooden tablets to as objects with inking inscriptions. Of 65 wooden tablets contained in the excavation report of this site, this paper examines the meanings of 13 tablets with inscriptions written in ink by comparing them with other tablets found in the Baekje area. All tablets were unearthed from Pit Feature No. 1, a large-scale feature, at this site. Vertical stratigraphy of the feature is divided into 43 layers; but it seems that it does not reflect the chronological order, since unearthed artefacts, including wooden tablets, pottery, and roof tiles, turned out to be produced at the same age. Wooden tablets were not found in other features, and intentionally buried in this feature. Typological characteristics of wooden tablets indicate that the pit was the secondary refuse place. The inscription of the wooden tablets labeled 'gyeongonyeon(庚午年)' and the radiocarbon dates of them indicate that these tablets were created in the early 7th century AD, centered in 610 AD. On the basis of contents and typological characteristics, these are classified into six documents, six tags, and one tablet for other purpose. Total 89 pieces of wooden tablets have been unearthed in the Baekje area. Except tablets found in Naju and Geumsan, all have been collected in palaces, royal gardens, and temples inside and outside of the Sabi Capital. The significant wooden tablets of Baekje, which can be compared with tablets from Bogam-ri, were unearthed at from the Gwanbuk-ri site, the Gungnamji site, and the Ssangbuk-ri 280-5 site. Comparative studies on wooden tablets have revealed that the place name during the Wungjin Commandery Period, the status marking method standardized in the order of place name, official rank and person's name, the fact that Baekje operated the system of prefecture(郡), and Bogam-ri was one of the places where prefecture was established, and the evidence of family register system. Wooden tablets at Bogam-ri record the documented date (610 AD), the documented place (Duhilseong where the prefecture established), and the writers (advisors and staffs of the prefecture). The recorded contents of them are invaluable data showing the local administrative system of Baekje, such as the status marking method, the means of description, the family-register system, and the land surveying system.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.108-125
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• 2013

This study examined the actual reconstruction drawing, composite mineral, particle size and property test, fine organic matters, color differences and main ingredients of the earthen mold excavated in Dongcheon-dong, Gyungju. The cross-section of the inner mold and outer mold divides into inside (1st layer) and outside (2nd layer), with organic matters mixed outside. The cross-section has been altered due to heat and form removal agent. X-ray analysis revealed that the layer was made of minerals with high transmissivity and only quartz particles were observed through a polarizing microscope. The inside of cross-section in SEM observation identified enlarged air gap, with crack developed in the center, but no changes observed on the outside. The particle size of the composites is almost the same for the inner mold and outer mold and is silt clay loam. The ratio between silt clay and silt clay loam was about 2.7:1 and 2.9:1 respectively. In the property test, the density and absorption rate of inner mold and outer mold were similar, but porosity was different, with inner mold of 27.36% and outer mold of 31.09%. The color difference of cross-section seems to have been caused by the spread of soot on the 1st layer surface for removal of form or by the covering of ink to protect the 1st layer. Composite mineral analysis revealed the same composition for the inner mold and outer mold, except for the magnetite that was detected in the inner mold alone. As for the main ingredient analysis, the average content of $SiO_2$ was 71.64% and that of $Al_2O_3$ was 14.59%. As for the sub-ingredients, $Fe_2O_3$ was 4.51%, $K_2O$ 3.06%, $Na_2O$, MgO, CaO, $TiO_2$, $P_2O_5$ and MnO was less than 2%.

• 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.