• Explosives and Blasting
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• v.36 no.1
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• pp.1-11
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• 2018

In this study, several underwater steel cutting tests and AUTODYN numerical analyses were conducted to evaluate the penetration performance of a shaped charge device. Parameter analyses for the contribution rate were conducted by using the robust design method. The parameters adopted in this study were chamber type, stand-off, and wire setting, each of which had three levels in the analysis. Analysis results showed that the contribution rate was most affected by the stand-off, followed by the chamber type and wire setting. Experiments of underwater steel cutting were conducted at water depth of 25m. As expected, the experiments and numerical simulation showed similar results for underwater steel cutting performance, and thus the feasibility of the shaped charge device for underwater steel cutting at deep water depth was verified.

• Journal of computational fluids engineering
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• v.18 no.3
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• pp.1-7
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• 2013

A pure oxygen combustion technology is crucial in Carbon Capture and Storage (CCS) technology especially in capturing of $CO_2$, where CCS will reduce 9 $GtCO_2$ by 2050, which is 19% of the total $CO_2$ reduction amount. To make pure oxygen combustion feasible, a regenerative system is required to enhance the efficiency of pure oxygen combustion system. However, an existing air combustion technology is not directly applicable due to the absence of nitrogen that occupies the 78% of air. This study, therefore, investigates the heat and fluid flow in a regenerative system for pure oxygen combustion by using commercial CFD software, FLUENT. Our regenerative system is composed of aluminium packed spheres. The effect of the amount of packed spheres in regenerator and the effect of presence or absence of a bypass of exhaust gas are investigated. The more thermal mass in regenerator makes the steady-state time longer and temperature variation between heating and regenerating cycle smaller. In the case of absence of bypass, the regenerator saturates because of enthalpy imbalance between exhaust gas and oxygen. We find that 40% of exhaust gas is to be bypassed to prevent the saturation of regenerator.

• Journal of Korean Society of Environmental Engineers
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• v.34 no.7
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• pp.473-479
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• 2012

Water reuse has been highlighted as a representative alternative to solve the lacking water resource. This study carried out a study on the pipe corrosion and water quality change which can occur through the supply of reclaimed water, using a simulated reclaimed water distribution pipeline. Galvanized steel pipe (GSP), cast iron pipe (CIP), stainless steel pipe (STSP) and PVC pipe (PVCP) were used for the pipe materials. Reclaimed water(RW) and tap water(TW) were respectively supplied into simulated reclaimed water distribution pipelines. As a result of performing a loop test to supply reclaimed water to simulated reclaimed water distribution pipelines, the weight reduction of pipe coupons showed the sequence of CIP > GSP > STSP ${\approx}$ PVCP. In addition, reclaimed water showed a high corrosion rate comparing to that of tap water. In case of CIP, the initial corrosion rate showed 3.511 mdd(milligrams per square decimeter per day) for reclaimed water and 2.064 mdd for tap water and the corrosion rate for 90 days showed 0.833 mdd for reclaimed water and 0.294 mdd for tap water. Also in case of GSP, the initial corrosion rate showed 2.703 mdd for reclaimed water and 2.499 mdd for tap water and the corrosion rate for 90 days showed 0.349 mdd for reclaimed water and 0.248 mdd for tap water, which was a tendency similar to that appeared in CIP with a tendency to reduce the corrosion rate. As a result of water quality changes of reclaimed water at pipe materials to carry out the loop test, there was higher conversion ratio of ammonia into nitrate in CIP and GSP with higher corrosion rate than that in STSP and PVCP where no corrosion has occurred. The highest denitrification rate of nitrate could be observed from CIP with the most particles generated from corrosion. In CIP, it could be confirmed that there was MIC (Microbiologically Induced Corrosion) as a result of EDS (Energy Dispersive X-ray spectrometer System) analysis results.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.