• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2008.11a
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• pp.414-414
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• 2008

Vertically well-aligned Ga-doped ZnO nanorods with different Ga contents were grown by thermal evaporation on a ZnO template. The Ga-doped ZnO nanorods synthesized with 50 wt % Ga with respect to the Zn content showed maximum compressive stress relative to the ZnO template, which led to a rapid growth rate along the c-axis due to the rapid release of stored strain energy. A further increase in the Ga content improved the conductivity of the nanorods due to the substitutional incorporation of Ga atoms in the Zn sites based on a decrease in lattice spacing. The p-n diode structure with Ga-doped ZnO nanorods, as a n-type, displayed a distinct white light luminescence from the side-view of the device, showing weak ultraviolet and various deep-level emissions.

• Journal of Microbiology and Biotechnology
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• v.28 no.6
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• pp.1007-1021
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• 2018

Cancer represents one of the most significant threats to human health on a global scale. Hence, the development of effective cancer prevention strategies, as well as the discovery of novel therapeutic agents against cancer, is urgently required. In light of this challenge, this research aimed to evaluate the effects of several potent bioactive peptides and proteins contained in crocodile white blood cell extract (cWBC) against LU-1, LNCaP, PC-3, MCF-7, and CaCo-2 cancer cell lines. The results demonstrate that 25, 50, 100, and $200{\mu}g/ml$ cWBC exhibits a strong cytotoxic effect against all investigated cell lines ($IC_{50}$ $70.34-101.0{\mu}g/ml$), while showing no signs of cytotoxicity towards noncancerous Vero and HaCaT cells. Specifically, cWBC treatment caused a significant reduction in the cancerous cells' colony forming ability. A remarkable suppression of cancerous cell migration was observed after treatment with cWBC, indicating potent antimetastatic properties. The mechanism involved in the cancer cell cytotoxicity of cWBC may be related to apoptosis induction, as evidenced by typical apoptotic morphology features. Moreover, certain cWBC concentrations induced significant overproduction of ROS and significantly inhibited the $S-G_2/M$ transition in the cancer cell. The molecular mechanisms of cWBC in apoptosis induction were to decrease Bcl-2 and XIAP expression levels and increase the expression levels of caspase-3, caspase-8, and p53. These led to a decrease in the expression level of the cell cycle-associated gene cyclin-B1 and the arrest of cell population growth. Consequently, these findings demonstrate the prospect of the use of cWBC for cancer therapy.

• Korean Journal of Optics and Photonics
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• v.26 no.2
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• pp.73-82
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• 2015

This work demonstrates the indoor SI-traceable calibration of a transmissometer with a 75-m baseline for the measurement of visibility in MOR (Meteorological Optical Range). The calibration is performed using a set of neutral density (ND) filters (OD 0.1-2.5) and a set of high-transmission quartz glass plates (a bare quartz glass plate and antireflective-coated quartz glass plates), the collection consisting of 20 artifacts in total. The luminous transmittance values of the reference artifacts had been calibrated traceable to the KRISS spectral transmittance scale, which ranges from 0.2 % to 99.5 %. The transmissometer to be calibrated typically consists of a loosely collimated light source based on a white LED (CCT ~5000 K) and a luminous intensity detector with a CIE 1924 V(${\lambda}$) spectral response. As a result of calibration, we obtained the MOR error and its uncertainty for the transmissometer in 20 m - 40 km of MOR. Based on the results, we investigated the applicability of the calibration method and the conformity of the transmissometer to the ICAO's (International Civil Aviation Organization) accuracy requirement for meteorological visibility measurement. We expect that this work will establish the standard procedure for the SI-traceable calibration of a transmissometer.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2009.06a
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• pp.327-327
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• 2009

ZnO with a large band gap (~3.37 eV) and exciton binding energy (~60 meV), is suitable for optoelectronic applications such as ultraviolet (UV) light emitting diodes (LEDs) and detectors. However, the ZnO-based p-n homojunction is not readily available because it is difficult to fabricate reproducible p-type ZnO with high hall concentration and mobility. In order to solve this problem, there have been numerous attempts to develop p-n heterojunction LEDs with ZnO as the n-type layer. The n-ZnO/p-GaN heterostructure is a good candidate for ZnO-based heterojunction LEDs because of their similar physical properties and the reproducible availability of p-type GaN. Especially, the reduced lattice mismatch (~1.8 %) and similar crystal structure result in the advantage of acquiring high performance LED devices. In particular, a number of ZnO films show UV band-edge emission with visible deep-level emission, which is originated from point defects such as oxygen vacancy, oxygen interstitial, zinc interstitial[1]. Thus, defect-related peak positions can be controlled by variation of growth or annealing conditions. In this work, the undoped ZnO film was grown on the p-GaN:Mg film using RF magnetron sputtering method. The undoped ZnO/p-GaN:Mg heterojunctions were annealed in a horizontal tube furnace. The annealing process was performed at $800^{\circ}C$ during 30 to 90 min in air ambient to observe the variation of the defect states in the ZnO film. Photoluminescence measurements were performed in order to confirm the deep-level position of the ZnO film. As a result, the deep-level emission showed orange-red color in the as-deposited film, while the defect-related peak positions of annealed films were shifted to greenish side as increasing annealing time. Furthermore, the electrical resistivity of the ZnO film was decreased after annealing process. The I-V characteristic of the LEDs showed nonlinear and rectifying behavior. The room-temperature electroluminescence (EL) was observed under forward bias. The EL showed a weak white and strong yellowish emission colors (~575 nm) in the undoped ZnO/p-GaN:Mg heterojunctions before and after annealing process, respectively.

• Asian Pacific Journal of Cancer Prevention
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• v.16 no.6
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• pp.2297-2301
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• 2015

Background: Despite widely adopted standard methods for follow-up including cystoscopy plus cytology, recurrence rates of non muscle-invasive bladder cancer (NMIBC) have not improved over the past decades, still ranging from 60% through 70%. Hence, widely acceptable surveillance strategies with excellent sensitivity are needed. Early recurrence has led to the development of a novel cystoscopy technique utilizing photodynamic diagnosis (PDD). Although, no studies have evaluated the efficacy of PDD for patients of MIBC, BCG failure or 2nd-transurethelial resection (TUR). Materials and Methods: The present study was performed from October 2012 through May 2013. IRB approved 25 patients initially underwent a cystoscopy examination of white light and blue light followed by the resection of tumors identified. Resections were performed from bladder mucosa areas considered suspicious at PDD, along with PDD negative normal bladder mucosa area resected by random biopsy. Specimens were divided into two groups, PDD positive and negative. Primary endpoints were sensitivity and specificity. Results: A total of 147 specimens extracted from 25 patients were included in the analysis. Some 45 out of 92 PDD-positive specimens were confirmed to have bladder cancer, and 51 out of PDD-negative 55 specimens were confirmed to be cancer negative. The sensitivity of PDD was 91.8% (45/49) and specificity was 52.0% (51/98). The sensitivity:specificity was 89.5% (17/19) : 47.6% (30/63) in 12 2nd-TUR patients, 90.5% (19/21) : 61.1% (11/18) in seven MIBC patients, and 95.0% (19/20) : 48.5% (16/33) in eight failed BCG cases. Conclusions: PDD-TURBT has high sensitivity to diagnose BC even for 2nd-TUR, MIBC or BCG failure cases.

• Journal of Ginseng Culture
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• v.6
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• pp.51-79
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• 2024

In the 1970s and 1980s, during the nascent phase of ginseng disease research, efforts concentrated on isolating and identifying pathogens. Subsequently, their physiological ecology and pathogenesis characteristics were scrutinized. This led to the establishment of a comprehensive control approach for safeguarding major aerial part diseases like Alternaria blight, anthracnose, and Phytophthora blight, along with underground part diseases such as Rhizoctonia seedling damping-off, Pythium seedling damping-off, and Sclerotinia white rot. In the 1980s, the sunshade was changed from traditional rice straw to polyethylene (PE) net. From 1987 to 1989, focused research aimed at enhancing disease control methods. Notably, the introduction of a four-layer woven P.E. light-shading net minimized rainwater leakage, curbing Alternaria blight occurrence. Since 1990, identification of the bacterial soft stem rot pathogen facilitated the establishment of a flower stem removal method to mitigate outbreaks. Concurrently, efforts were directed towards identifying root rot pathogens causing continuous crop failure, employing soil fumigation and filling methods for sustainable crop land use. In 2000, adapting to rapid climate changes became imperative, prompting modifications and supplements to control methods. New approaches were devised, including a crop protection agent method for Alternaria stem blight triggered by excessive rainfall during sprouting and a control method for gray mold disease. A comprehensive plan to enhance control methods for Rhizoctonia seedling damping-off and Rhizoctonia damping-off was also devised. Over the past 50 years, the initial emphasis was on understanding the causes and control of ginseng diseases, followed by refining established control methods. Drawing on these findings, future ginseng cultivation and disease control methods should be innovatively developed to proactively address evolving factors such as climate fluctuations, diminishing cultivation areas, escalating labor costs, and heightened consumer safety awareness.

• Journal of the Korean Society of Costume
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• v.18
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• pp.111-131
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• 1992

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.

• Journal of Bio-Environment Control
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• v.23 no.2
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• pp.144-147
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• 2014

It was intended to closely examine an effect that a change in the concentration of culture medium had on the potato(Solanum tuberosum L.) plantlet growth in the microponic system so as to mass-produce the virus-free plant of new variety 'Saebong' for potato processing. The adjusted concentration of potato culture medium was 0.2, 0.6, 1.0, 1.4, 1.8, and $14.0dS{\cdot}m^{-1}$. And potato seedling was cut into pieces of 1.5 cm in length, which included 2 growth points and leaves. And each was explanted in glass vial of 50 mL. And experiments were carried out twice for 18 days or 21days. Culture medium of 2ml was put in the container respectively. And 1 mL was added after 10 days. And in terms of cultivation environment, the experiment was carried out at the day length of 16 hours at the temperature of $23{\pm}1^{\circ}C$ under the white LED light of $40{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$. The concentration of culture medium in the experiment I was EC 0.2, 1.0, $14dS{\cdot}m^{-1}$ and was adjusted to 0.6, 1.0, 1.4, $1.8dS{\cdot}m^{-1}$ in the experiment II. The results showed that the survival rate of plantlet was 90% at $0.2dS^2m^{-1}$, 100% at $0.6dS^2m^{-1}$, 100% at $1.0dS^2m^{-1}$. 0% at $1.4dS{\cdot}m^{-1}$, 0% at $1.8dS{\cdot}m^{-1}$. and 0% at $14.0dS{\cdot}m^{-1}$ after 7 days. With regard to the explanted potato seedling, in case of the treatment where the electrical conductivity of culture medium was adjusted to $1.0dS{\cdot}m^{-1}$, root developed 2 days after transplantation. And the plantlet vigorously grew into strong plant that had 7 leaves, length of 5cm, and fresh weight of 0.5 g after 18 days. In case of the treatment where the concentration of culture medium was adjusted to $0.6dS{\cdot}m^{-1}$, the root plantlets developed 4 days after transplantation. And those grew into plant that had 7 leaves and fresh weight of 0.2 g after 21 days. Therefore, we found that it is effective to control potato culture medium by adjusting its electrical conductivity to $0.6{\sim}1.0dS{\cdot}m^{-1}$ for the mass production of virus-free potato seedling in the microponic system.

• Journal of Bio-Environment Control
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• v.28 no.2
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• pp.178-184
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• 2019

Strawberry ($Fragaria{\times}ananassa$) is one of the most important and popular fruit crops in the world, and 'Sulhyang' is one of the principal cultivars cultivated in the Republic of Korea for the domestic market. The growth and flower induction in strawberry is the process which influences directly on fruit bearing and yield of this crop. In this study, effect of benzyladenine (BA), gibberellic acid ($GA_3$), and salicylic acid (SA) on growth and flower bud induction in strawberry 'Sulhyang' was investigated. The 3-week-old runner plants, grown in 21-cell propagation trays, were potted and cultivated in growth chambers with $25^{\circ}C/15^{\circ}C$ (day/night) temperatures, 70% relative humidity (RH), and light intensity of $300{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ photosynthetic photon flux density (PPFD) provided by white light emitting diodes (LEDs). The runner plants were treated with one of three concentrations, 0 (control), 100, and $200mg{\cdot}L^{-1}$ of BA, $GA_3$, or SA solution. The chemicals were sprayed two times on leaves of runner plants at an interval of two weeks. After 9 weeks the results showed that the application of all chemicals caused reduction of root length and chlorophyll (SPAD) content as compared to the control. The lowest chlorophyll (SPAD) content was recorded in plants treated with $GA_3$. However, the treatment of $200mg{\cdot}L^{-1}$ $GA_3$ promoted leaf area, leaf fresh weight, and plant fresh weight. The greatest flower induction (85%) and number of inflorescences (4.3 inflorescences per plant) were observed in the treatment of $200mg{\cdot}L^{-1}\;SA$, followed by $100mg{\cdot}L^{-1}\;SA$. Overall, results suggest that foliar application of $GA_3$ solution could accelerate plant growth, while foliar application of SA solution could induce hastened flowering. Further studies may be needed to find out the relationship between $GA_3$ and SA solutions treated in a combination, and the molecular mechanism involved in those responses observed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.