• Title/Summary/Keyword: 서결

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Characteristics of $\textrm{Al}_2\textrm{O}_3$-CaO Refractory Prepared from Oyster Shells (굴패각으로부터 제조된 $\textrm{Al}_2\textrm{O}_3$-CaO내화물의 특성)

  • Ryu, Su-Chak;Park, Hong-Chae
    • Korean Journal of Materials Research
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    • v.8 no.1
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    • pp.23-26
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    • 1998
  • 알루미나와 하소된 귤껍질의 소결반응에 의해 A $I_{2}$ $O_{3}$-CaO내화물이 제조되었다. 치밀화과정에서의 CaO의 영향과 A $I_{2}$ $O_{3}$-CaO 소결체의 특성을 고찰하였다. 소결체의 미세구조와 EDS 결과로 A $I_{2}$ $O_{3}$-CaO화합물을 확인하였다. 145$0^{\circ}C$에서 열처리한 소결체는 2.87/㎤의 부피비중과 12.03%의 겉보기 기공율을 가지며 압축강도는 312kg/$\textrm{cm}^2$이였다. 140$0^{\circ}C$에서 서결체의 열팽창 계수는 6.55Kx10$_{-6}$ $K_{-1}$이였다.

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The Calligraphy theory and the aesthetic of Calligraphy on Wongyo Lee KwangSa (원교(圓嶠) 이광사(李匡師)의 서예론(書藝論)과 서예심미(書藝審美))

  • Kim, Doyoung
    • The Journal of the Convergence on Culture Technology
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    • v.6 no.4
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    • pp.179-186
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    • 2020
  • Wongyo Lee KwangSa (1705~1777) is a scholar and artist who represented an era in the period of change and revival of Korean culture and art in the 18th century. In 1755 (31st Yeongjo), he was transferred to Sinjido due to the Naju Byeokseo Incident, and died in exile for a total of 23 years. He tried to correct the problems of the flow of calligraphy in common writing and the flow of calligraphy in the Joseon Dynasty, and wrote 『Wonkyo Seogyeol』. By realizing an original artistic state that is evaluated as having completed the 'Dongguk Jinche', which is a unique and subjective and self-conscious calligraphic flow of the Korean people who wants to reestablish the essence of calligraphy, it has had an absolute influence on the Honam area. Wonkyo's calligraphy aesthetics are developed into the beauty of ChanggyeongBalsog based on Shimjin of Yangminghak, Yanggangmi of Power of controlling all the stands of brush hair, and Vitality of Push out the brush with all your might. He recognized free sculpting and energetic, muscular strokes as the key to calligraphy, and suggested honing the old tombstones written in JeonYe. Vibrant stroke means that Cheongi naturally permeates in the midst of Samgwa and Gilgok, and the brush is operated with Push out the brush with all your might of Power of controlling all the stands of brush hair. These calligraphy aesthetics radiated sinchae with geungol and singi, and were expressed in Wongyo font, full of vitality as a living creature, pursuing the unique pilgrimage and pilgrimage unique to our nation, revealing the true nature of nature.