• Korean Journal of Radiology
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• v.23 no.9
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• pp.889-900
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• 2022

Objective: To investigate the long-term outcomes of percutaneous treatment of benign biliary strictures using temporary placement of a retrievable expanded polytetrafluoroethylene (PTFE) covered stent. Materials and Methods: We retrospectively analyzed the outcomes of 148 patients (84 male and 64 female; age range, 11-92 years) who underwent percutaneous transhepatic placement and removal of a retrievable PTFE-covered stent for the treatment of benign biliary strictures between March 2007 and August 2019 through long-term follow-up. Ninety-two patients had treatment-naïve strictures and 56 had recurrent/refractory strictures. Results: Stent placement was technically successful in all 148 patients. The mean indwelling period of the stent was 2.4 months (median period, 2.3 months; range, 0.2-7.7 months). Stent migration, either early or late, occurred in 28 (18.9%) patients. Clinical success, defined as resolution of stricture after completing stent placement and removal, was achieved in 94.2% (131 of 139 patients). The overall complication rate was 15.5% (23 of 148 patients). During the mean follow-up of 60.2 months (median period, 52.7 months; range, 1.6-146.1 months), 37 patients had a recurrence of clinically significant strictures at 0.5-124.5 months after removal of biliary stent and catheter (median, 16.1 months). The primary patency rates at 1, 3, 5, 7, and 10 years after removal of biliary stent and catheter were 88.2%, 70.0%, 66.2%, 60.5%, and 54.5%, respectively. In the multivariable Cox proportional hazard regression analysis, sex, age, underlying disease, relation to surgery, stricture type, biliary stones, history of previous treatment, and stricture site were not significantly associated with the primary patency. Conclusion: Long-term outcomes suggest that percutaneous treatment of benign biliary strictures using temporary placement of retrievable PTFE-covered stents may be a clinically effective method.

• Sim-seong Yeon-gu
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• v.25 no.2
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• pp.123-162
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• 2010

The author tried to analyse a Korean fairy tale "the traveller and the fox". The essence of the story is as follows; A traveller who was wandering in mountains found a house with a light. There was a beautiful woman who was very kind to give food and shelter. But she was a fox that tried to kill him with a knife. He asked her to bring a basket of water and he broke the wall with it to run away. The fox chased and he fell down a cliff to ride on the back of a tiger. The tiger ran into a cave and give him to her babies as a prey. He killed them by throwing stones and climbed a tree out of the cave. There came foxes and the tiger and they killed each other. He came back to the village with the fur of the foxes and the tiger. The author tried to understand the contents of the story symbolically and interpret them from the perspective of analytical psychology. On conclusion, the traveller was on the individuation process and experienced the negative anima (the fox) and the negative mother archetype (the tiger) and its negative subsidiaries (the tiger's babies). He tried to be consciously alert and paid continuous attention so that he could get out of the status and get new insight. During this process, it was meaningful that he could actively get an appropriate aid of positive mother archetype and Self symbolized by the water and the tree respectively.

• Smart Media Journal
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• v.13 no.4
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• pp.114-123
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• 2024

This paper proposes AR stone tower content, an experiential content based on wearable augmented reality (AR). Although wearable augmented reality is gaining attention, the acceptance of the technology is still focused on specialized applications such as industrial sites. On the other hand, the proposed AR stone tower content is based on the material of 'stone tower' so that general users can relate to it and easily participate in it, and it is organized to utilize space in a moving environment and find and stack stones based on natural hand gestures. The proposed AR stone tower content was implemented in the HoloLens 2 environment and evaluated by general users through a pilot exhibition in a small art museum. The evaluation results showed that the overall satisfaction with the content averaged 3.85, and the content appropriateness for the stone tower material was very high at 4.15. In particular, users were highly satisfied with content comprehension and sound, but somewhat less satisfied with object recognition, body adaptation, and object control. The above user evaluations confirm the resonance and positive response to the material, but also highlight the difficulties of the average user in experiencing and interacting with the wearable AR environment.

• Journal of the Korean Society of Radiology
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• v.85 no.1
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• pp.147-160
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• 2024

Purpose To define an MRI scoring system for differentiating xanthogranulomatous cholecystitis (XGC) from wall-thickening type gallbladder cancer (GBC) and compare the diagnostic performance of the scoring system with the visual assessment of radiologists. Materials and Methods We retrospectively analyzed 23 and 35 patients who underwent abdominal MRI and were pathologically diagnosed with XGC and wall-thickening-type GBC after surgery, respectively. Three radiologists reviewed all MRI findings. We defined a scoring system using these MRI findings for differentiating XGC from wall-thickening type GBC and compared the area under the curve (AUC) of the scoring system with the visual assessment of radiologists. Results Nine MRI findings showed significant differences in differentiating the two diseases: diffuse gallbladder wall thickening (p < 0.001), mucosal uniformity (p = 0.002), intramural T2-high signal intensity (p < 0.001), mucosal retraction (p = 0.016), gallbladder stones (p < 0.001), T1-intermediate to high-signal intensity (p = 0.033), diffusion restriction (p = 0.005), enhancement pattern (p < 0.001), and phase of peak enhancement (p = 0.008). The MRI scoring system showed excellent diagnostic performance with an AUC of 0.972, which was significantly higher than the visual assessment of the reviewers. Conclusion The MRI scoring system showed better diagnostic performance than the visual assessment of radiologists to differentiate XGC from wall-thickening-type GBC.

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

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.61-74
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• 2013

This study examined and analyzed ancient writing and poetry regarding cases of appreciating plants by using pots in a garden of a palace or private houses by ancestors, and examined shape and planting method of plant species and potted plants, arrangement and preference of potted plants. As for the method of the study, description research method which examines and interprets poem and painting based on potted plants. The results of this study is summarized like the following. First, the plants which were favorably used for potted plants include 19 kinds such as Prunus mume, Pinus densiflora, Pinus pumila, Phyllostachys spp., Camellia japonica, Punica granatum, and Gardenia jasminoidesa, and as for herbs, 12 kinds such as Chrysanthemum monifolium and Nelumbo nusifera . Second, the species which were specially arranged into artificial shapes include Prunus mume and Pinus densiflora. The two plants made the shape of severe curves of stems such as Wangpi. Gyuban, and Bangan, and there are Pinus densiflora dwarfed potted plant whose roots are stretched on Prunus mume grafted into a strange stump and an oddly shaped stone. For the beauty of the dwarfed tree shape, pine cones are added to an old Pinus densiflora or Parthenocissus tricuspidata is planted to stems, and additional method of making moss on the soil, which is called 'Jongbunchuigyeong'. As for planting method, water culture, planting on a stone, planting on a charcoal, and assembled planting are expressed in poetry. Third, as for external space for potted plants, a place where a king stays, a bed room for a king, surrounding areas and gardens of private houses, and step stones were used as a space which adds artistic effects. Potted plants are placed on a table in a library, on a desk, on a drawer, and near a pillow as a small items in a room, and scholars enjoyed original characteristics and symbolism of the potted plants. Fourth, at the time of flowering of Prunus mume, poetry event was held to enjoy the tree and writing poetry begun. And at the time of flowering of Chrysanthemum monifolium, the flowers were floated in a liquor glass or shadow play was enjoyed. Fifth, potted plants played the role of garden ornaments in elegant events of a palace, the gentry, wedding ceremony, and sacrificial rites. Sixth, potted plants were used as tributes between countries, donation to a king, or a gift of a king. In addition, there were many cases where scholars exchanged potted plants and there is the first record of giving a potted plant in 'Mokeunsigo' by Mokeun Isaek, scholar in the late era of Goryeo. Seventh, at the time of flowering Prunus mume, Chrysanthemum monifolium, Gardenia jasminoides, Nelumbo nusifera, and Narcissustazetta var. chinensis, they enjoyed the particular fragrance and express it into poetry. Eighth, plant species from southern parts such as Camellia japonica, Daphne odora, Gardenia jasminoides, Citrus unshiu, Phyllostachys spp., Punica granatum, Rosa rugosa, and Musa basjoo, or foreign plant species, and species weak against the cold were utilized as pot plants for enjoying green trees indoors in northern central province in harshly cold winter.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.1-10
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• 2019

The purpose of this study is to examine the design ＆ construction methods of the traditional landscape space of the past and the repair and maintenance of cultural heritages to maintain it today. To this end, the method of narrative description, process extraction and construction related to traditional landscaping were compared to each other based on the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages'. The results are as follows; First, to analyze at the description methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages' and related processes in the field of traditional landscaping. 『Imwongyeongjeji』 「Seomyongji」 was an encyclopedia of the overall construction method of the living space, describing the location, effect, and advantages and disadvantages of each component and presenting quantitative figures to institutionalize the construction of traditional landscaping spaces. 'Standard Specification for Repairing Cultural Heritages' presented the entire process of repairing cultural heritages, and it is becoming a kind of guide for reference at the site. Among them, foundation construction, roof construction, landscape construction, and fence construction were drawn as items that could be applied to traditional landscaping areas. Second, the traditional landscape space construction method was divided into the processes of foundation construction, roof construction, landscaping construction, and fence construction. Foundation construction is a way of repeating the process of land-tramping. During the construction of the roof, the tile-roofed building was built on top of the rafters and roofed with tiles. And thatched roof was made to a number of rice straws bundles to cover the roof one after the other. Instead of tiles, the stone roof was made of thin and wide stones, and the wooden boards were used for the single roof and the bark roof were constructed with many layers of dried corrugations. Landscape construction mainly consists of the Paving technique through tramping rubble and the construction of terraced flower by planting stone, plants, and shrubs on the top. According to the building materials, the wall construction was derived from the earth-stacked earthen wall, stone walls using stone and clay, marble walls made of tile patterns, and the construction of a board wall using a wood board as a wall. Third, comparing the construction methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages', 『Imwongyeongjeji』 「Seomyongji」 focuses on standardizing the construction methods to create a new traditional space. There is a difference in the setting of the scope of the 『Imwongyeongjeji』 「Seomyongji」 and the construction because 'Standard Specification for Repairing Cultural Heritages' provides the overall construction procedure considering the diversity of the cultural heritages. In addition, the traditional landscape space used to be a residential space in the past, but today, the maintenance process of the already established facilities as designated cultural heritages has been carried out, and construction methods have been added to create viewing conditions. In terms of the succession of traditional knowledge, some similar methods were found in the repair of cultural assets today, and some cases were also confirmed in the reconstruction of traditional technologies such as application of some materials or mix, separation of added facilities and introduction of efficient construction methods.

• Korean Journal of Ichthyology
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• v.13 no.3
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• pp.181-189
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• 2001

Spawning behavior of the Takifugu pardarlis (Temminck et Schlegel) was observed on the Jook-do coast in Tongyong from March 1997 to June 1999. The spawning ground was locted in the intertidal zone between Tongyong and Koje-do. Its bottom was mainly gravels and stones, and its depth was 0.5~1.0 m. Spawning season was from the end of the March to the middle of May. During the spawning season, the mature fishes formed school a of 10~30 individuals, then moved to the spawning ground together. When a mature female spawned eggs, the attendant males fertilized them at the same time. The fertilized eggs obtained from the parent fishes caught at the spawning ground were adhesive, opaque and spherical, measuring 1.14~1.24 mm (mean 1.19 mm, n = 50) in diameter with numerous tiny oil globules. Hatching period was about 205 hours after fertilization at water temperature of $18.0{\pm}0.5^{\circ}C$. The newly hatched larvae were 2.92~3.10 mm (mean 3.01 mm, n = 20) in total length (TL), had a large yolk, and 11~13+14~15 = 25~28 myomeres. At 5 days, the larvae had attained 3.79~3.85 mm (mean 3.82 mm, n = 20) in TL and had transformed into the postlarval stage. At 15 days, the postlarvae had attained 7.78~7.90 mm (mean 7.84 mm, n = 20) in TL. At 21 days, had larvae attained 10.15~10.27 mm (mean 10.21 mm, n = 20) in TL and had reached the juvenile stage. All fins were formed with a complete set of fin rays having the following counts: dorsal fin rays 11~12; anal fin rays 9; pectoral fin rays 14~15; caudal fin rays 11~12.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.1-11
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• 2015

This study sheds light on a pond design process which is a core facility of Hwaseol-dang in Muan, the Jeonnam. The plasticity of the pond was analyzed and interpreted for the design process using methods such as "literature search, interview, site visits, aerial pictures, aerial photographing, drawing figures of configuration plane via measurements, internet search, etc.", to trace the developing process of the design and the implications therein. The study results being centered on the developing process of the pond design are summarized herein below. The position of the Hwaseol-dang, being formed on a low hill having low competence as a place for a pavilion, draws more attention regarding its implications from the aspect of inner design. The pond Hwaseol-dang is in a rectangular shape of 1 : 1.2 ratio, in which the depth is a bit higher on the pond edge of the Hwaseol-dang thus being slanted, and Crape Myrtle, which is not known whether introduced during the formation of the pond, is cultivated on the island in the center widespread toward the southeast region. The planar design of the pond is interpreted as "rectangular pond" but it has a smooth half-moon shape where a part is excluded to remove edge. In particular, the three islands in rectangular pond, due to the narrow area, put one island and two half-moon-shaped islands in juxtaposition, and thus, although only being one island, resultantly exhibits the existence effect of proliferated three islands. This is allegedly due to the intentional formation aiming at the effect of hybrid while minimizing the overlap due to merging and adding from the aspect of constituting a design. Furthermore, the pond Hwaseol-dang is extended northwest along with Hwaseol-dang, and also the island in the center is thought to additionally have one or two, but the widespread phenomenon of the island in the center appears to consider the effect of "sit view on the floor of the pavilion of Hwaseol-dang". Considering that even a few examples of ponds having the three islands among the private house gardens in the nation are all curved ponds, the characteristics of the rectangular Hwaseol-dang pond establishing the garden effect of the three islands by modifying the one island in rectangular pond is highly notable. Considering that the three islands of "Yeongju, Bangjang, and Bongrae" is the original shape of the pond garden gestating Taoist ideology, as a symbolic design of a pond, it is regarded as the characteristics of the pond shape in Jeonnam area, and the so-called three treasures "Hwaseol-dang, Camellia, and oddly shaped stones, etc." are concentrated as the symbolism of Hwaseol-dang pond.

• Journal of Conservation Science
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• v.33 no.6
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• pp.399-416
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• 2017

The 'Wat Phou and Associated Ancient Settlements within the Champasak Cultural Landscape' of Laos was designated as a UNESCO World Cultural Heritage in 2001. The uppermost structure of the Sanctuary in Wat Phou has been destroyed and being variably damaged, maintenance is required through scientific and systematic diagnosis. The Sanctuary of Wat Phou was constructed mainly using sandstones and bricks. There are physical damages including fracture, break out, exfoliation and interval as well as biological damages by lichen, mosses and weeds. According to the ultrasonic velocity measurement and property evaluation of the sandstones of the Sanctuary in Wat Phou, weathering index of the eastern side sandstones is 0.10 to 0.74 (mean 0.36), showing MW grade. Southern and northern side sandstones have relatively higher properties with average weathering indices of 0.30 and 0.32. The results of slope analysis of the Sanctuary, indicated that the 4th spot in the southern side has the largest slope of $5^{\circ}W$, seemingly due to the unstable ground around the Sanctuary. Based on the relative level measurement and past drawings, the Sanctuary is verified to have been located on ground with a certain slope rather than flatland. The ground of the southern side is inclined $1.51^{\circ}$ more than that of the northern side, which will affect the structural stability of the temple. The interval width of the selected southern spot is the largest with an average width of 159.5 mm, and the largest width is 328.3 mm at the top, since the width increases above rather than below, seemingly due to the unequal subsidence of the ground. Constant maintenance for conservation is required for the structural stability of the Sanctuary in Wat Phou, which was partly collapsed and has also suffered physical damage.