• Korean Journal of Plant Resources
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• v.22 no.5
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• pp.467-472
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• 2009

This study was conducted to break down the self-incompatibility of Astragalus membranaceus Bunge by old-flower pollination, NaCl and $CO_2$ treatment. The old-flower pollination in green house produced fertilization during the 1st and 2nd day after flowering from early September to early October, but almost no fertilization in late August. The most successful pollination occurred in late September at the 1st day after flowering when pod setting was 33.3% and that of seed set was about 86.2%. The old-flower pollination in field showed pod setting for the control group from late August to early October, but no seed set except the days of mid-September and late September. The most successful pollination occurred in late September during the 2nd day of flowering when the percentage of pod setting was 39% and that of seed set was 94.9%. The wrapping in field set pods from late August to early October, but did not set seeds except in mid and end of September. The percentage of pods was 39% and percentage of seeds was 94.9% about flowering after first day in end of September. by field culture. The best result from NaCl treatment was achieved when 1% NaCl treatment in green house produced 21.3% of pod setting in early October and 66.7% of seed set in late September. In field, NaCl 5% treatment produced best result with 7.3% of pod setting and 90.9% of seed set in mid-September. No differences were observed between the $CO_2$ 700ppm treatment and the control group.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• Proceedings of the KIEE Conference
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• 2002.07b
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• pp.915-916
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• 2002

최근 산업체 및 국가교정검사기관에서 교정용 표준기급으로 많이 사용하고 있는 Digital Multimeter(HP 3458A)의 수동교정과 불확도 평가후 성적서 발급까지 5시간 정도가 소요된다. 이러한 교정시간을 단축시키고 객관적인 양질의 교정data를 얻을수 있는 교정자동화 프로그램을 개발하였다. 이 프로그램은 Labview를 이용하여 작성하였고 교정부터 불확도평가후 성적서 발급까지 자동적으로 1시간내에 수행이 된다. 또한 기존의 수동교정에 의한 결과와 비교했을 때 불화도 범위 내에서 동일한 결과를 얻었다.

• Nuclear Engineering and Technology
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• v.16 no.2
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• pp.97-105
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• 1984

A method and computer code for the uncertainty analysis in the top event unavailability are developed and tested by combining Monte Carlo Method and Moments method with fault tree reduction technique. Using system fault trees and unavailability data selected in WASH-1400, the efficiency of the proposed method is tested and these results are compared with those obtained by Monte Carlo method. It is shown that the results are sufficiently good in accuracy and computation time is considerably reduced compared with those by Monte Carlo method.

• Proceedings of the Materials Research Society of Korea Conference
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• 1994.11a
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• pp.81-82
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• 1994

히토류 불화물인 SmF$_3$, PrF$_3$, 및 TbF$_3$를 ZnS 모체에 첨가한 박막 EL소자를 Fig.1과 같이 제작하고 발광중심의 농도변화, 열철, 증착시의 기판온도, 증착되는 막의 두께 등의 조건을 변화시켜서 각 조건에 의존하는 소자의 특성을 X-선회절분석과 분광 스펙트럼 분석으르 바탕으로 해석했다. 광학적 스펙트럼은 발광중심과 모체에 의존하며 기판온도의 변화는 발광층의 결정성 향상에 기여한다는 것을 알았다. 기판 온도의 변화에 의한 막의 결정성 향상과 열처리에 의한 발광중신의 모체내 열확산에 따른 재결정화나 비 방사성이완(non-radiative relaxation)을 일으키는 격자결함의 감소는 EL소자의 발광층내 전도전자에 영향을 미쳐 휘도와 효율의 개선이 이루어짐을 알았다. 소자의 발광층에 흐르는 전도전류와 이동전하량을 각각 Chen-Krupka회로와 Sawyer-Tower회로로 측정했다

• 한국신재생에너지학회:학술대회논문집
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• 2010.06a
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• pp.128.1-128.1
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• 2010

본 연구는 세라믹 연결재로 사용되는 Perovskite 구조의 LYSMO조성의 실제 SOFC stack적용을 위한 소결온도 제어방법에 관해 연구하였다. SOFC 단전지에서 IC소재는 $1300{\sim}{\cdot}1400^{\circ}C$의 온도에서 소결이 이루어져만 하나 현재 연구발표된 IC는 대부분이 $1500^{\circ}C$ 이상에서 소결이 되므로 실제 stack적용에 문제가 있다. 이러한 문제를 해결하기위해 IC소재에 소결조제를 첨가하여 소결온도를 제어코자 하였다. 실험결과 $MgB_6$와 $LaB_6$등의 불화물계의 첨가가 세라믹 연결재의 소결온도 감소에 효과적인 것으로 나타났다. 소결조제의 첨가는 소결온도의 감소를 이끌었지만 열팽창 계수에는 큰 영향을 끼치지는 않았다. 하지만 전기적 특성은 큰 폭으로 감소하여 전기전도도 개선을 위한 다른 방안이 필요함을 확인할 수 있었다.

• Journal of architectural history
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• v.25 no.5
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• pp.15-25
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• 2016

The color that painted on the ground of Dancheong becomes Gachil(basecoat)-Dancheong and underpainting of Moro-Dancheong or Geum-Dancheong. So, the color of underpainting is the most important element that determines impression of the building. Thus, the architecture after using "Sangrokhadan" has different characters from what it had been. In the existing perception toward the background color of Dancheong, it was considered the characters of Korean Dancheong so-called "Sangrokhadan" that paint vertical elements like columns red and upper part of the columns green. But this study examined the color of Dancheong according to the era and region before and after Goryeo Dynasty era, then it reveals that Sangrokhadan technique was applied from the 14th century in the late Goryeo Dynasty. One of the Goryeo architecture, Geungnakjeon Hall of Bongjeongsa Temple is thought to be a previous style that is not applied "Sangrokhadan" technique because old elements are painted red pigment.

• Proceedings of the Optical Society of Korea Conference
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• 2002.07a
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• pp.134-135
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• 2002

Sm$^{2＋}$가 도핑된 불화물 결정은 실온에서 영구적 스펙트럼 홀 생성이 나타나며, 이러한 실온에서의 영구적 스펙트럼 홀 생성은 새로운 광 메모리의 개발에 매우 중요하므로 많은 관심을 받고 있다. 본 연구에서는 Sm$^{2＋}$가 도핑된 10Al$_2$O$_3$.90SiO$_2$ 박막을 제조하여 SEM 및 발광 스펙트럼(Photo-Luminescence; PL)을 측정함으로서 제조된 박막의 구조적, 광학적 특성을 조사하였다. (중략)