• Journal of Nutrition and Health
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• v.52 no.2
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• pp.185-193
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• 2019

Purpose: This study was conducted to develop standards for the salinity and sodium content in representative Korean foods high in sodium. Methods: A total of 600 foods from four seasonings (soy sauce, soybean paste, red pepper paste, and ssamjang) and 16 representative Korean foods high in sodium were collected from 10 households, 10 industry foodservice establishments, and 10 Korean restaurants in 10 cities nationwide and analyzed for their salinity and sodium content. Based on the findings, the standards with a 20% ~ 30% reduced sodium content and salinity from the current level were presented. Results: The suggested standards of salinity (and sodium content per 100 g) were less than 12% (4,500 mg) for soy sauce, 9% (3,500 mg) for soybean paste, 5% (2,000 mg) for red pepper paste, and 6% (2,500 mg) for ssamjang. The reduced standards of salinity for soups were suggested to less than 0.5% for clear soup and 0.7% for soybean paste soup, while for broths, it was 0.6% for clear broth and 0.7% for other broths. The standards of salinity for stews were suggested to less than 0.8% for soybean paste stew, 0.6% for other stews, 0.9% for steamed and stir-fried fish dishes, 1.0% for braised dishes, 4.0% for stir-fried dried fishes, 1.3% for other braised dishes including vegetables, and 1.5% for pickled vegetables and kimchi. Conclusion: Standards for the sodium content and salinity were suggested to reduce the sodium level in fermented soybean sauces and representative Korean high sodium dishes by 20% from the current levels. Nevertheless, it will be necessary to adjust the standards properly to reduce the sodium content and salinity further by considering the future status of sodium intake.

• Journal of the Korean Society of Radiology
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• v.13 no.2
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• pp.175-183
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• 2019

Cerebral nervous system intervention has been reported frequently due to radiation exposure such as blistering of the skin, hair loss, and erythema due to prolonged procedures. By applying ergonomically manufactured Bismuth (atomic number 83; Bi) shield to endovascular treatment of cerebral aneurysms, we aimed to minimize radiation exposure of scalp and lens from medical radiation exposure. The measurement site was the posterior part of the head, bilateral temporal part, bilateral quadriceps part, nose part, and the measuring part was attached to the optically stimulated Luminescence dosimeter (OSLD) Before and after the use, the entrance surface dose was compared and analyzed. The average entrance surface dose of group A (unshield) was 92.44 mGy, and group B was measured at 67.55 mGy. The average decrease in Group B was 26.92% compared to Group A. The entrance surface dose mean of the occipital region was measured at 146.08 mGy B group at 103.23 mGy and decreased by an average of 29.32% in group B compared to group A. The average entrance surface dose of the bilateral temporal part was measured in group A at 101.90 mGy group B at 72.69 mGy and decreased by an average of 28.67% in group B compared to group A. The average entrance surface dose for bilateral quadriceps part was measured at 27.51 mGy group B at 21.39 mGy and averaged 22.26% less in group B than group A. It is believed that the use of bismuth shields will be an alternative to reducing radiation disturbance due to temporary hair loss and other stochastic effects that may occur after the endovascular treatment of cerebral aneurysms procedure.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.74-91
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• 2014

The stone statues in the site of Mireuksaji Temple(Iksan, South Korea) were created after the stone pagoda was built in 639. They, transitional statues between animal sculptures and human shaped statues made from the late Goryeo dynasty until the early Joseon dynasty, were set up at the four corners of the stone pagoda by way of guardians. In the case of three statues, their surfaces were denudated and their iconographies have been indiscernible. However, the one in the southwest clearly shows its iconography. It is inferior in properties to the other three statues in the northwest, the northeast and the southeast respectively, but on the other hand its iconography has been well maintained. The reason is related to exposure to harmful environments; specifically, the retaining wall, built around the stone pagoda in the 17th century, had the southwest statue inside and could naturally worked as a buffer against harmful environments. As a result, for about 400 years there has been difference in weathering conditions between the three stone statues and the southwest statue, which brought denudation, the consequent indiscernibleness of iconography and biological invasion to the three statues, notwithstanding superior properties(northwest statue:$176kgf/cm^2$, northeast statue:$109kgf/cm^2$, southeast statue:$273kgf/cm^2$). In contrast, the southwest statue significantly shows its iconography with black contaminants and granule decomposition, despite inferior properties($133kgf/cm^2$). Defenseless exposure to external environment is not recommended for the stone statues, because it is hard to preserve the extant iconography. Herein lies the application of the data on microclimate around Mireuksaji Temple. As regards the weathering zone in which the stone statues are located, Conservation increases in acidity and frequency as years go by, Hereat, in the approach to the Conservation of stone statues, the first consideration needs to be morphological historicity rather than geographical location.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.82-103
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• 2017

Systems operating construction expenses for preservation and repair of the architectural heritage may be divided into two in the Japanese colonial era. They are preservation cost nd preservation cost-aided constructions, according to the ownership of a building. Preservation cost construction refers to preservation and repair of government-owned buildings that Japanese Government General of Korea had the ownership and the right of management, and preservation cost-aided construction means preservation and repair of private buildings such as Buddhist temples. In the case of preservation and repair of buildings owned by the government, it was done by the Japanese Government General of Korea, so the same agent executed the budget and managed the properties. They included royal tombs and relics, old government offices, Hyanggyo and some Seowon. On the other hand, in the case of preservation and repair of private buildings, they were private properties, so Japanese Government General of Korea had rights only for permission of preservation and repair. If there was a request for .preservation and repair by an owner, the Japanese Government General of Korea decided on whether it would support its expenses or not and played a role of management and supervision. It applied to Buddhist shrines and pagodas owned by Buddhist temples and shrines and temples owned by individuals and families. Hence, in the case of government-owned buildings, because the preservation cost was spent from the Japanese Government General of Korea's budget for investigation expenses of historical remains or repair expenses of Jeolleung and ruins, they were classified into preservation cost constructions. As for private buildings, the cost was spent from their budget for aiding preservation expenses, so they were classified into preservation cost-aided constructions. Because preservation cost construction and preservation cost-aided construction were conducted by two different agents, there were a little difference in procedures for executing a construction. There was no big difference in the general progress of constructions but was an administrative difference in the kinds of documents submitted and the roles of field supervisors. Such dual systems remained unimproved throughout the Japanese colonial era. The Japanese Government General of Korea was the colonial government so much influenced by the Japanese Government. Most Japanese architectural heritage was owned by Buddhist temples and Shinto shrines and there was almost no building owned by the government, resulting in a unitary system unlike Korea. Heritage system by the Japanese Government General of Korea was established under the influence of Japan regardless of the situation in Korea. Accordingly, Japanese Government General of Korea could not present a definite solution in the bisected system of preservation and repair expenses for the heritage. It shows the limits of the Japanese Government General of Korea in the colonial era.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.8
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• pp.618-626
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• 2019

Stem cell therapy is not expected to bestow any therapeutic benefit because of the low engraftment rates after transplantation.Various cell-carrying scaffolds have been developed in order to overcome this problem. When the scaffold is formed by 3-dimensional (3D) printing, it is possible to create various shapes of scaffolds for specific regions of injury. At the same time, scaffolds provide stem cells as therapeutic-agents and mechanically support an injured region. PCL is not only cost effective, but it is also a widely used material for 3D printing. Therefore, rapid and economical technology development can be achieved when PCL is printed and used as a cell carrier. Yet PCL materials do not perform well as cell carriers, and only a few cells survive on the PCL surface. In this study, we tried to determine the conditions that maximize the cell-loading capacity on the PCL surface to overcome this issue. By applying a plasma treated condition and then collagen coating known to improve the cell loading capacity, it was confirmed that the 3% collagen coating after plasma treatment showed the best cell engraftment capacity during 72 hours after cell loading. By applying the spheroid cell culture method and scaffold structure change, which can affect the cell loading ability, the spheroid cell culture methods vastly improved cell engraftment, and the scaffold structure did not affect the cell engraftment properties. We will conduct further experiments using PCL material as a cell carrier and as based the excellent results of this study.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.104-121
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• 2017

The present study attempted to produce the floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace of the Late Joseon Period through the use of rubber sheeting transformation based on the drawing principles of "Donggwoldo(東闕圖)". First, the study compared the actual sizes of the major buildings that have existed since the production of "Donggwoldo(東闕圖)" with the sizes depicted in the picture to reveal that the front elevation of the buildings was produced by reducing it by approximately 1/200. However, the study could not confirm the same production proportions for the side elevation. Only the lengths of the side elevation were depicted at around half of the actual proportions, and as the diagonal line angles were found to be at an average of $39^{\circ}$, the study confirmed they were drawn in a manner similar to cabinet projection. Second, the study created an obliquely projected floor plan by inversely shadowing the drawing principles of "Donggwoldo(東闕圖)" and produced a floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace through the use of rubber sheeting transformation. Projective transformation was confirmed as most suitable during the transformation, and with standard error of 2.1208m, the relatively high accuracy of the transformation shows that the production of a floor plan for "Donggwoldo(東闕圖)" is significant. Furthermore, it implies the possibility of producing floor plans for various documentary paintings produced using the paralleled oblique drawing method in addition to "Donggwoldo(東闕圖)". Third, the study evaluated the accuracy of the spatial information provided by the produced floor plan by comparing the three items of Geumcheongyo Bridge location, Geumcheongyo Bridge and Jinseonmun Gate arrangement, and Geumcheon stone embankment location. The results confirmed the possibility of utilizing the floor plan as a useful tool which helps understand the appearance of the surroundings at the time of "Donggwoldo(東闕圖)" production because it is parallel to the excavation results of the Geumcheongyo Bridge and its context. Therefore, the present study is significant in that it seeks the possibility of producing spatial information recorded in "Donggwoldo(東闕圖)" by applying rubber sheeting transformation and consequently in that it presents a new methodology for understanding the appearance of the East Palace of the Late Joseon Period.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.8
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• pp.303-312
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• 2019

Oxidative stress in kidneys can precede the development of chronic renal injury. We investigated the antioxidative effect of membrane-free stem cell extract (MFSCE) from adipose tissue in LLC-$PK_1$ renal proximal tubule cells. Treatment of LLC-$PK_1$ cells with MFSCE showed the up-regulation of heme-oxygenase-1, thioredoxin reductase 1, and NADPH quinine oxidoreductase-1 protein expressions, which are proteins related with antioxidative activities. When oxidative stress was induced by 3-morpholinosydnonimine (SIN-1), cell viability was decreased, indicating that LLC-$PK_1$ cells were damaged by SIN-1. However, MFSCE significantly elevated cell viability from 58.84% to 64.43% at the concentration of $2.5{\mu}g/mL$ in oxidative stress-induced LLC-$PK_1$ cells. Furthermore, MFSCE ameliorated inflammation and apoptosis in SIN-1-treated LLC-$PK_1$ cells by modulating protein expressions. Inducible nitric oxide synthase and cyclooxygenase-2 protein expressions were down-regulated when LLC-$PK_1$ cells were treated with MFSCE. Apoptosis-related proteins, including B-cell lymphoma-2-associated X protein/B-cell lymphoma-2 ratio, cleaved caspase-3, and cleaved-poly (ADP-ribose) polymerase, were also down-regulated. It indicated that MFSCE protected apoptosis against oxidative stress in LLC-$PK_1$ cells. Taken together, these results suggested that MFSCE had a protective effect against SIN-1-induced oxidative stress in LLC-$PK_1$ cells. Therefore, MFSCE could be a promising therapeutic agent for oxidative stress-induced renal injury.