• (The)Study of the Eastern Classic
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• no.63
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• pp.9-41
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• 2016

This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.5
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• pp.63-72
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• 2012

In contemporary times, "environmental designers" need to consider both exterior and interior aspects because of the growing trend in dissolution between exterior and interior spaces. To quantify "spatial sense" which serves as the standard for environmental design, this study has asked 63 subjects to evaluate 15 interior and 14 exterior spaces. The "spaciousness (small-large)", "openness(closed-open)", "warmness(warm-cold)", "brightness(bright-dark)", "softness(soft-hard)", "spatial intimacy" and "frequency of visit" were adopted as variables of spatial sense. Through the analysis of these variables, this study could gain the difference between spatial sense for exterior and interior environments, quantify the spatial sense that physically and psychologically appropriates to human beings. The result of this study can be summarized as follows: Twice the amount of spaciousness was observed between the interior and exterior spaces. And the standard on intimate space is established with W/H ratio of 5.71 and high Window/Wall Area ratio in the interior and an area of 3,800m2 and a W/H ratio of 5.57 in exterior. The difference between the spatial sense in the interior and exterior space is mostly dependent on the psychological sense. The increase of physical size caused by the interior space to be perceived as cold, dark and hard psychologically, but exterior space to be perceived as warm, bright and soft. Psychological senses, especially softness, affect spatial intimacy to the greatest extent among the given variables. As the psychological senses for interior spaces were largely independent from the given space's size and perceptive senses, the size of the interior space, which exhibited spatial intimacy, could not be deduced. In comparison to this, due to the high dependency between the psychological senses for exterior spaces and the given space's size and perceptive senses. The study also showed that interior and exterior spaces have relatively different spatial sense and physical standards. Such research results are predicted to provide applicable standards for environmental designers for exterior and interior spaces in the future.

• Journal of the korean academy of Pediatric Dentistry
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• v.30 no.2
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• pp.272-285
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• 2003

This study was conducted to observe the microscopic structures of cavities formed after ablation of primary teeth, permanent teeth, enamel and dentin in using a bur and cavities formed after ablation using laser and the following results were obtained after comparing the effects of ablation. Using a #330 bur and Er:YAG laser irradiated at 150 mJ, 200 mJ, 250 mJ and 300 mJ all at the frequency of 5 Hz, 1 mm enamel and dentin samples were ablated and the ablation time was measured. In order to measure the surfaces ablated, 5 each of primary teeth and permanent teeth were ablated using a #330 bur and Er:YAG laser at 150 mJ, 200 mJ, 250 mJ and 300 mJ for 1 sec and the cross section and vertical section were observed. The following results were obtained : 1. Cutting time of Er:YAG laser was longer than that of conventinal high-speed bur regardless of teeth type. 2. Cutting on enamel, Cutting time of conventional high-speed bur in deciduous teeth was longer than in permanent teeth(P<0.05). But Er:YAG laser was not showed any difference between the deciduous and permanent teeth(P>0.05). 3. Cutting on dentin, Cutting time of conventional high-speed bur in permanent teeth was longer than deciduous teeth. Er:YAG laser of 150 mJ, 5 Hz in permanent teeth was longer than in deciduous teeth(p<0.05). But laser of other power did not showed mean difference. 4. The cavity surface treated with the convetional high-speed bur revealed a relatively flat appearance, almost covered with a debris-like smear layer. Cavity wall showed striped appearance because of blade of bur. 5. The cavity surface treated by the Er:YAG laser system was irregular or rough surface with the absence charring, carbonization, or cracking of the dentin. In addition, there was an absence of a smear layer. Cavity floor was round and relatively smooth. According to these results, cutting time of Er:YAG laser was almostly same in permanent and deciduous teeth, but more effective in dentin than enamel. Cutting the sample, Er:YAG laser was needed more time than conventional bur. But SEM findings suggested that laser device produced favorable surface characteristic(i.e, no smear layer, irregular surface, cracking).

• Journal of Technologic Dentistry
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• v.21 no.1
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• pp.27-41
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• 1999

The Ag-Pd-Cu alloys containing a small amount of Au is commonly used for dental purposes, because this alloy cheaper than Au-base alloys for clinical use. However, the most important characteristic of this alloy is age-hardenability, which is not exhibited by other Ag-base dental alloys. The specimens used were Ag-30Pd-10Cu ternary alloy and Au addition alloy. These alloys were melted and casted by induction electric furnace and centrifugal casting machine in Ar atmosphere. These specimens were solution treated for 2hr at $800^{\circ}C$ and were then quenched into iced water, and aged at 350-$550^{\circ}C$ Age-hardening characteristic of the small Au-containing Ag-Pd-Cu dental alloys were investigated by means of hardness testing, X-ray diffraction and electron microscope observations, electrical resistance, differential scanning calorimetric, energy dispersed spectra and electron probe microanalysis. Principal results are as follows ; Maximum hardening occured in two co-phases of ${\alpha}_2$ + PdCu In stage II, decomposition of the $\alpha$ solid solution to a PdCu ordered phase($L1_o$ type) and an Ag-rich ${\alpha}_2$ phase occurred and a discontinuous precipitation occurred at the grain boundary. From the electron microscope study, it was concluded that the cause of age-hardening in this alloy is the precipitation of the PdCu redered phase, which has AuCu I type face-centered tetragonal structure. Precipitation procedure was ${\alpha}{\to}{\alpha}_1+PdCu{\to}{\alpha}_2+PdCu$ at Pd/Cu = 3 Pd element of Ag-Pd-Cu alloy is more effective dental alloy on anti-corrosion and is suitable to isothermal ageing at $450^{\circ}C$.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.