• 보존과학회지
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• 제36권4호
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• pp.284-295
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• 2020

This study focuses on reinforcement agents for wall damage, such as cracks, breakage, or delamination, for mural paintings from the Payathonzu temple. Experiments were conducted with filling and grouting agents based on the reinforcing method. In the filling reinforcement experiment, different mixing ratios of lime to sand, and additives (jaggery, seaweed glue, and Primal SF-016) were used. In the grouting reinforcement experiment, the mixing ratio of lime and pozzolan was the same, and the additive types were identical to the filling reinforcement experiment. The filling reinforcement experiment showed that there were fewer physical changes such as contraction, with a greater mixing ratio of lime to sand, however, the compressive strength decreased as the mixing ratio increased. With additives, the change in volume of agent decreased and the compressive strength increased, which was especially prominent for jaggery and Primal SF-016. The grouting reinforcement experiment showed that there was a remarkable contraction with an increased amount of moisture that originates from the characteristic of grouting agents that requires flowability. With additives, the water content of the agent decreased, whereas the compressive strength and adhesion increased. Among the additives, Primal SF-016 exhibited the highest compressive strength, and seaweed glue exhibited the most considerable viscosity and adhesion. The study results showed that the characteristics of reinforcement agents vary according to the mixing ratio and additives of the filling and grouting agents. Therefore, it is necessary to selectively apply the mixing ratio and additives for different reinforcement agents considering the wall damage for conservation treatments.

• 패션비즈니스
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• 제10권3호
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• 복식
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• 제55권1호
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• pp.113-128
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• 2005

To find our own individuality, there must be an active study on jeogori which is an unexplored field. Therefore, the purpose of this study is to consider artistic beauty and predominance of jeogori and recognize it as a precious culture, and also encourage interest about traditions. The range of this study is ancient times to Chosun dynasty, and in this study which will be the first part, the range is till the era of the Three Kingdoms. The study about jeogori is based on mural paintings of Goguryeo burial mounds, clay dolls and remains during Shilla, Beakjae, and United-shilla era. The contents of this study is 1. research the origin of jeogori's detail structures and changes of the form, 2. analyze the form and structure of the jeogori in each era, and therefore 3. find the predominance of Goguryeo costume by considering functional and design aspects. Therefore the conclusion of this study about the era of the Three Kingdoms are First, jeogori of the three kingdom era were developed from ancient times caftan style which Korea, China and Japan wore all together. Second, the structure of the jeogori during the Three Kingdom are ryeongeum, gil, somae and seon. Third, there is a special line that starts from the neckline and ends at the hem line which should be called ryeongeum in my opinion. Forth, while researching Goguryeo murals there were both left and right sided open jeogori. therefore, I would like to set up a new theory that during the ancient times to Three Kingdom era, not did China's clothing effected the Korean costume but the costume in east asia shared their forms all together.

• Pediatric Gastroenterology, Hepatology & Nutrition
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• 제5권2호
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• pp.186-191
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• 2002

구토, 심한 보챔, 고열, 복수를 동반한 복부 팽만 등 급성 복막염의 양상을 보인 10개월 된 여아에서 복부 천자 후 담즙성 복막염 의심하에 $^{99m}Tc$ DISIDA 간담도 스캔을 시행하여 진단된 총 담관낭의 자연 천공에 의한 담즙성 복막염 1례를 경험하였기에 문헌 고찰과 함께 보고하는 바이다.

• 한국콘텐츠학회논문지
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• 제20권12호
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• pp.460-470
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• 2020

현대 생활에서 실내를 구성하는 벽면의 장식은 인테리어 장식에 의해 공간의 심리적인 상승효과로 전환되어 인간의 감성에 큰 영향을 미쳐왔다. 이번 논문에서 주요 관점은 일상생활에 밀접한 관계를 가지고 있는 실내 공간의 벽면에 60% 이상을 차지하고 있는 수입 타일을 일부 대체할 수 있는 새로운 장식 효과의 발견과 제품의 가능성을 연구하려고 한다. 이러한 해결 방법으로 2018년도에 개발된 색유리 플래스터 기법을 이용하여 포인트 타일을 제작하고 시뮬레이션을 이용하여 소비자의 구매 욕구를 충족시켜줄 수 있는 아트월 벽장식의 가능성을 모색한다. 타일에 적용된 문양들은 총 4가지의 패턴으로 귀얄, 방염, 면치기, 상감 문양을 활용하여 수입 타일의 천편일률적인 문양에서 벗어나고 우리의 감성에 맞는 전통적인 중간색의 발색 효과를 연구하였다. 그리고 벽장식의 공간 활용 방안 부분은 시뮬레이션을 통해서 욕실 주방, 거실과 나머지 빈 공간에 색유리 타일을 사용한 아트월과 아크릴 액자도 사용하였다. 이 연구를 바탕으로 새로운 시각의 도자기 포인트 타일이 모색되고 나아가 벽을 이용한 인테리어가 활성화되기를 바란다.

• 수완나부미
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• 제6권1호
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• pp.27-65
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• 2014

Flourishing in the Central Dry Zone of Burma during a period from the mid-eleventh to the late-thirteenth century A.D., the historical kingdom of Pagan was one of the major Buddhist centers in Southeast Asia. The significance of Pagan as an important pilgrimage site of the region, where numerous relics of the Buddha were enshrined, had been maintained until long after the fall of its civilization. It is evident that the artistic influences of Pagan, particularly in the architectural and decorative domains, had been transmitted to various other Buddhist civilizations in the area. This study provides a detailed analysis on the relationships between the mural tradition of Pagan and those of its neighboring civilizations in Thailand-of the Ayutthayā, Lānnā and Sukhothai schools-dating from after the Pagan Period in the fourteenth century to the sixteenth century. Surprisingly, as the analysis of this study has suggested, such relationships seemed to be trivial, more on a minor stylistic basis than on substantial ideological and iconographic grounds. They suggest that transmission of the complex idea and superb craftsmanship of the mural tradition would not have been maintained adequately at Pagan after its civilization, probably due to the lack of royal patronage. It would have been extremely difficult for foreign pilgrims who visited Pagan after its dynastic period to appreciate the surviving murals of this lost tradition in terms of their complex programs and associated symbolism. Also, there had been a new center of the Sinhalese Buddhism firmly established in the Martaban area of lower Burma since the mid-fourteenth century that outcompeted Pagan in terms of supplying the new Buddhist ideas and tradition. Its fame spread wide and far among the Buddhist communities of Southeast Asia. Later, these Buddhist communities also established direct contact with Sri Lanka. The Sukhothai murals and the Ayutthayā murals in the crypt of Wat Rātchaburana, dating from the fourteenth/fifteenth century, show obvious Sri Lankan influence in terms of artistic style and Buddhist iconography. They could be a product of these new religious movements, truly active in Southeast Asia during that time.

• 헤리티지:역사와 과학
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• 제49권2호
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• pp.20-55
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• 2016

본 연구는 우리나라 공포양식(?包樣式)의 초시적인 모습이라 할 수 있는 고구려 고분벽화에 묘사된 공포도(?包圖)를 북방 주변 국가와의 문화적 교류와 천도(遷都)에 따른 지역 시기 형상별로 고찰하고 유형별로 체계화 정립을 주 내용으로 한다. 고구려 고분벽화에 묘사된 공포는 지상에서의 묘주가 통치자로서 군사 행정 정치 사회적으로 누렸던 지위나 신분에 따른 옥사(屋舍)의 제한과도 밀접한 관련이 있으므로 묘주 생전 지상가옥의 공포형태에 직접적인 관련이 있다고 보이며, 지상에서의 실제 공포 출현시기는 고분 축조 편년보다 최소한 1세기 이상 앞선 것으로 추정이 가능하다. 이는, 고구려 지상에서의 공포출현시기와 관련하여, 공포가 묘사된 중국 동한기(東漢期) 고분(古墳) 내 가형명기(家形明器)와 화상석(?像石) 화상전(畵像塼)의 제작시기와도 대체로 일치한다는 점에서도 추정을 이해할 수 있다. 본 연구 결과, 고분벽화에 묘사된 공포도는 비포작계, 준포작계, 포작계로 대별되고, 포작계는 비출목형과 출목형으로 세분하였다. 또한 고구려 공포는 한(漢) 이후 같은 동이족인 북위(北魏)로부터 유입되었으며, 고구려 풍토와 정서에 맞도록 토착화되어 고유한 고구려 형식의 공포체계로 발전 확립되었다. 고구려 멸망(668) 이후 이러한 기법은 문화적 교류 및 망명인들에 의해 주변국에서 그 맥을 이어갔다.

• Journal of Chest Surgery
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• 제37권3호
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• pp.275-278
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• 2004

9개월 된 남환이 우연히 발견된 심장 종괴 때문에 내원하였다. 환자는 특별한 증상은 없었으며, 혈역학적 이상 증상도 없었다. 심초음파 검사상 상당히 커다란 좌심실 자유벽의 종괴가 보였으며, 그 종괴는 좌심실 유출로를 막고 있지는 않았다. 좌심실 자유벽 종괴를 최대한 절제하였고, 병리학적 진단은 심장 섬유종이었다. 수술 후 7개월 간의 추적 관찰 기간 동안 부정맥이나 종양의 재발은 보이지 않고 있다.

• Journal of Chest Surgery
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• 제21권5호
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• pp.899-904
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• 1988

In Behcet syndrome, cardiac involvements are rare and have been reported pericarditis, myocarditis, right heart endocardial fibrosis, right ventricle mural thrombus with pulmonary embolism, active endocarditis, granulomatous endocarditis, conduction disturbance, acute aortic insufficiency, mitral valve prolapse. Our three patients underwent AVR because of aortic insufficiency and ascending aorta enlargement combined with Behcet syndrome. Two patients had mitral regurgitation too. So one underwent MAP and the other underwent MVR concomitantly. One who underwent AVR have been well for 50 months. Another who underwent AVR+MAP and redo AVR due to aortic paravalvular leakage was died of congestive heart failure. The other who underwent AVR+MVR and repeated AVR three times because of aortic paravalvular leakage is in condition of aortic paravalvular leakage. Paravalvular leakage is considered to recur due to progressive dilatation and fragility of aortic root that is the result of pathologic change of Behcet syndrome in it. If Open heart surgery is needed in Behcet`s syndrome during inflammatory reaction is active, postoperative complications such as paravalvular leakage or suture line rupture may be prevented with pre- and postoperative anti-inflammatory management.

• Journal of Chest Surgery
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• 제17권3호
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• pp.488-491
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• 1984

Vascular injuries from gun shot wound is rare in these days, in Korea. A Case of false aneurysm of the right common carotid artery due to penetrating injury to the neck by carbine. The confirmatory diagnosis was made by right carotid angiogram which revealed bean-sized aneurysmal sac at the mid-portion of the right common carotid artery. Despite of no symptoms, emergency false aneurysmectomy and reconstruction with on-lay vein patch graft using left greater saphenous vein for threat of rupture and embolization from mural thrombi. During repair of common carotid artery, cerebral circulation was maintained with internal shunt. The postoperative course was uneventful except limit of motion of right upper extremity due to initial injury.