• Korean Journal of Materials Research
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• v.8 no.9
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• pp.813-818
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• 1998

Ultrafine powders of $\textrm{In}_{2}\textrm{O}_{3}$-doped $\textrm{SnO}_{2}$ were synthesized by a coprecipitation method and the effects of pH value and the amount of In2Q addition on particle size were investigated. The influence of pH value on particle size could be negligible, whereas the amount of $\textrm{In}_{2}\textrm{O}_{3}$ has influenced on particle size and specific surface area. The gas sensitivity to hydrocarbOn($\textrm{C}_{3}\textrm{H}_{8}$, $\textrm{C}_{4}\textrm{H}_{10}$) increased with $\textrm{In}_{2}\textrm{O}_{3}$ addition and reached a maximum at 3wt.% addition. From the results of impedance analysis and I-V characteristics. it was showed that the agglomeration structure of particles and the boundaries between agglomerates were the important factors to determine the gas sensing mechanism.

• Korean Journal of Ichthyology
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• v.31 no.3
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• pp.123-130
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• 2019

The olfactory organ of the Korean endemic fish, Rhodeus uyekii, a mussel-spawning species, was researched anatomically, histologically and histochemically, for looking into a relation to the physical and chemical condition of its habitat and ecological habit, using stereo microscopy, light microscopy and scanning electron microscopy. The external structure of the olfactory organ consists of the semicircular-shaped anterior nostril with arched shape at its forward position, posterior nostrils and the nasal flap. Within the olfactory chamber, it has the rosette structure with 14 to 15 lamellae which is largely divided into the sensory and non-sensory regions. The sensory region has the olfactory receptor neurons, the supporting cells, the basal cells, the lymphatic cells, and the plasma cells, while the non-sensory region has the stratified epithelial cells, the mucous cells with sulfomucin and 1 type of unidentified cell. In particular, the arched feature in the anterior nostril and the mucous cell of sulfomucin were unique.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.