• The Journal of Korean Academy of Prosthodontics
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• v.47 no.2
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• pp.156-163
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• 2009

Statement of problem: Recently, there have been increased esthetic needs for posterior dental restorations. The failure of posterior dental ceramic restoration are possible not only by the characters of the component materials but also by the type of food. Purpose: The research aim was to compare the in vitro fracture resistance of simulated first molar crowns fabricated using 4 dental ceramic systems, full-porcelain-occlusal-surfaced PFG, half-porcelain-occlusal-surfaced PFG, Empress 2, Ice Zirkon and selected Korean foods. Material and methods: Eighty axisymmetric crowns of each system were fabricated to fit a preparation with 1.5- to 2.0-mm occlusal reduction. The center of the occlusal surface on each of 15 specimens per ceramic system was axially loaded to fracture in a Instron 4465, and the maximum load(N) was recorded. Afterwards, selected Korean foods specimens(boiled crab, boiled chicken with bone, boiled beef rib, dried squid, dried anchovy, round candy, walnut shell) were prepared. 15 specimens per each food were placed under the Instron and the maximum fracture loads for them were recorded. The 95% confidence intervals of the characteristic failure load were compared between dental ceramic systems and Korean foods. Afterwards, on the basis of previous results, 14Hz cyclic load was applied on the 4 systems of dental ceramic restorations in MTS. The reults were analyzed by analysis of variance and Post Hoc tests. Results: 95% confidence intervals for mean of fracture load 1. full porcelain occlusal surfaced PFG Crown: 2599.3 to 2809.1 N 2. half porcelain occlusal surfaced PFG Crown: 3689.4 to 3819.8 N 3. Ice Zirkon Crown: 1501.2 to 1867.9 N 4. Empress 2 Crown: 803.2 to 1188.5 N 5. boiled crab: 294.1 to 367.9 N 6. boiled chicken with bone: 357.1 to 408.6 N 7. boiled beef rib: 4077.7 to 4356.0 N 8. dried squid: 147.5 to 190.5 N 9. dried anchovy: 35.6 to 46.5 N 10. round candy: 1900.5 to 2615.8 N 11. walnut shell: 85.7 to 373.1 N under cyclic load(14Hz) in MTS, fracture load and masticatory cycles are: 1. full porcelain occlusal surfaced PFG Crown fractured at 95% confidence intervals of 4796.8-9321.2 cycles under 2224.8 N(round candy)load, no fracture under smaller loads. 2. half porcelain occlusal surfaced PFG Crown fractured at 95% confidence intervals of 881705.1-1143565.7 cycles under 2224.8 N(round candy). no fracture under smaller loads. 3. Ice Zirkon Crown fractured at 95% confidence intervlas of 979993.0-1145773.4 cycles under 382.9 N(boiled chicken with bone). no fracture under smaller loads. 4. Empress 2 Crown fractured at 95% confidence intervals of 564.1-954.7 cycles under 382.9 N(boiled chicken with bone). no fracture under smaller loads. Conclusion: There was a significant difference in fracture resistance between experimental groups. Under single load, Korean foods than can cause fracture to the dental ceramic restorations are boiled beef rib and round candy. Even if there is no fracture under single load, cyclic dynamic load can fracture dental posterior ceramic crowns. Experimental data with 14 Hz dynamic cyclic load are obtained as follows. 1. PFG crown(full porcelain occlusion) was failed after mean 0.03 years under fracture load for round candy(2224.8 N). 2. PFG crown(half porcelain occlusion) was failed after mean 4.1 years under fracture load for round candy(2224.8 N). 3. Ice Zirkon crown was failed after mean 4.3 years under fracture load for boiled chicken with bone(382.9 N). 4. Empress 2 crown was failed after mean 0.003 years under fracture load for boiled chicken with bone(382.9 N).

• Journal of Korean Philosophical Society
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• no.117
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• pp.139-167
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• 2017

This essay attempts to reveal how taste spontaneously cultivates and why it is necessary for cultivating taste to edify our personality and to develop culture. It is a key of the solution of the problems that taste always reflects its judgment through pleasure. Because the grounds of the universal validity of the judgment of taste are found, whenever taste tests the validity of its own judgment, the so-called 'delight of discovery' makes taste cultivate itself. For having the moral personality, we need to practice spontaneously the morality of our own behaviour and for judging whether an artwork to represent the period is succeeded or not, we need to have a high insight to select the cultural heritage. But the autonomous thinking can delightfully be made a habit, judging the beauty of artworks. In the main body of this essay, it is determined from the three examples of the negative judgment of taste which Kant suggested in deduction. According to Kant, the negative judgment of taste means that the beautiful work is displeased, but what it asserts is that taste is cultivated. I formalize the methods of reflection of taste revealed in three negative judgments of taste into'resisting', 'indicating of error', 'self-retracting'.(Chapter 2) And from this, I emphasize the necessity to cultivate taste in the way that these methods of the cultivation of taste can affect building our personality by stimulating our reason to have interest in moral(Chapter 3) and in the way that taste directly judges the product of cultural succession.(Chapter 4) In the end of last chapter, I examine further essentially the method of the reflection of taste, to inquire into how to enable it.(Chapter 5) Especially, I try to illuminate its grounds through Schiller's concept of the "impulse of amusement(Spieltrib)", because his explanation helps us to understand the dynamics of taste's delight of discovery. Although the abilities of mind conflict with each other, taste has the characters that it reflects to encourage them for each other and that it is vitalized by its own activity. We, as it were, can pleasantly handle two tasks, because taste makes the impulse of amusement from conflictive impulses in mind. In conclusion, I state that we have to experience directly the impulse of amusement like creative artist, because it is maximized from creation.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.