• Korean Journal of Optics and Photonics
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• v.18 no.6
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• pp.452-460
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• 2007

Ultra-low loss ZERODUR and fused silica mirrors were manufactured and their light scattering characteristics were investigated. For this purpose, ZERODUR and fused silica substrates were super-polished by the bowl feed method. The surface roughness were 0.292 ${\AA}$ and 0.326 ${\AA}$ in rms for ZERODUR and fused silica, respectively. To obtain the high reflectivity, 22 thin film layers of $SiO_2$ and $Ta_2O_5$ were deposited by Ion Beam Sputtering. The measured light scattering of ZERODUR and fused silica mirror were 30.9 ppm and 4.6 ppm, respectively. This shows that the substrate surface roughness is not the only parameter which determines the light scattering of the mirror. In order to investigate the mechanism for additional light scattering of the ZERODUR mirror, the surface roughness of the mirror was measured by AFM and was found to be 2.3 times higher than that of the fused silica mirror. It is believed that there is some mismatch at the interface between the substrate and the first thin film layer which leads to the increased mirror surface roughness. To clarify this, the contact angle measurements were performed by SEO 300A, based on the Giriflaco-Good-Fowkes-Young method. The fused silica substrates with 0.46 ${\AA}$ in its physical surface roughness shows lower contact angle than that of the ZERODUR substrate with 0.31 ${\AA}$. This indicates that the thin film surface roughness is determined by not only its surface roughness but also the surface energy of the substrate, which depends on the chemical composition or crystalline orientation of the materials. The surface energy of each substrate was calculated from a contact angle measurement, and it shows that the higher the surface energy of the substrate, the better the surface roughness of the thin film.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.

• Korean Journal of Optics and Photonics
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• v.28 no.3
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• pp.108-115
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• 2017

We report the assembly procedure and performance evaluation of a visible and near-infrared spectrometer in the wavelength region of 400-900 nm, which is later to be combined with fore-optics (a telescope) to form a f/2.5 imaging spectrometer with a field of view of ${\pm}7.68^{\circ}$. The detector at the final image plane is a $640{\times}480$ charge-coupled device with a $24{\mu}m$ pixel size. The spectrometer is in an Offner relay configuration consisting of two concentric, spherical mirrors, the secondary of which is replaced by a convex grating mirror. A double-pass test method with an interferometer is often applied in the assembly process of precision optics, but was excluded from our study due to a large residual wavefront error (WFE) in optical design of 210 nm ($0.35{\lambda}$ at 600 nm) root-mean-square (RMS). This results in a single-path test method with a Shack-Hartmann sensor. The final assembly was tested to have a RMS WFE increase of less than 90 nm over the entire field of view, a keystone of 0.08 pixels, a smile of 1.13 pixels and a spectral resolution of 4.32 nm. During the procedure, we confirmed the validity of using a Shack-Hartmann wavefront sensor to monitor alignment in the assembly of an Offner-like spectrometer.

• Korea Science and Art Forum
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• v.20
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• pp.315-326
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• 2015

This study has started from a curiosity about how the concept and characteristics of mise en abyme, which is one of meta-discourse in the contemporary aesthetics and has affected every aspect of modern philosophy, art, and culture, are expressed in modern architecture. 'Mise en abyme' is a technique mainly used by writers of the nouveau roman after it was introduced first in the work of novelist Andre Gide; this technique of artistic expression has been extended across the whole contemporary art and has become the meta-discourse which essentially makes its appearance in the art after postmodernism. 'Mise en abyme', meaning endless formation of image between two mirrors, got involved with discourse of the various philosophers of the time such as Deleuze and Derrida, and was also expressed in the language of architecture by modern architects who have been influenced by their philosophy. In this context, the technique of mise en abyme which is mostly used in art has a relation to methods of space expression of architects. This research studied the characteristics of mise en abyme which show in the expressional method of the modern architecture based on the relationship between the technique of mise en abyme and the modern method of architectural expression. Moreover, on the basis of this an analysis was carried out on architectural works of Jean Nouvel, who uses de-materialization and singularity as the architectural language. Through the research it was confirmed that the characteristics of expression of mise en abyme in architecture are embodied in material of the surface which forms buildings' exterior, or expressed by using reflection and graphical factors. Through analysis this study allows the chance to see that even though the means and field for expressing mise en abyme are different, the characteristics of the fundamental concept are shared among them, and to think about the meaning in the technique of mise en abyme as one yardstick to understand modern architecture in modern times with no specific mainstream.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.54-73
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• 2012

In this article, we examined the patterns of activities of the Sarmathians though in a humble measure, with a focus on the regions where the Sarmathian sheaths spreaded. One of the main weapons the mounted nomads like the Scythias, the Sarmathians, and the Alans used at war was a spear. Though complementary, a sword was the most convenient and appropriate weapon when fighting at a near distance, fallen from the horse to the ground. The Sarmathian swords continued the tradition of the Akinakes which the Scythias or the Persians used, but those of the Sarmathians showed some advances in terms of the easiness with which a sword was drawn out from a sheath, and the way the sheaths were worn to parts of a human body. It turns out that the Sarmathian sheaths, which were designed for the people to draw swords easily, having the sheaths attached to thighs through 4 bumps, spread extensively from Pazyryk, Altai, to South Siberia, Bactria, Parthia and Rome. The most noteworthy out of all the Sarmathian sheaths were the ones that were excavated from the 4th tomb in Tillatepe, Afghanistan which belonged to the region of Bactria. The owner of the fourth tomb of Tilla-tepe whose region was under the control of Kushan Dynasty at that time, was buried wearing Sarmathian swords, and regarded as a big shot in the region of Bactria which was also under the governance of Kushan Dynasty. The fact that the owner of the tomb wore two swords suggests that there had been active exchange between Bactria and Sarmathia. It seemed that the reason why the Sarmathians could play an important role in the exchange between the East and the West might have something to do with their role of supplying Chinese goods to Silk Road. That's why we are interested in how the copper mirrors of Han Dynasty, decoration beads like melon-type beads, crystal beads and goldring articulated beads, and the artifacts of South China which produced silks were excavated in the northern steppe route where the Sarmathians actively worked. Our study have established that the eye beads discovered in Sarmathian tomb estimated to have been built around the 1st century B.C. were reprocessed in China, and then imported to Sarmathia again. We should note the Huns as a medium between the Sarmathians and the South China which were far apart from each other. Thus gold-ring articulated beads which were spread out mainly across the South China has been discovered in the Huns' remains. On the other hand, between 2nd century B.C. and 2nd century A.D. which were main periods of the Sarmathians, it was considered that the traffic route connecting the steppe route and the South China might be West-South silk road which started from Yunnan, passed through Myanmar, Pakistan, and Afghanistan, and then went into the east of India. The West-south Silk road is presumed to have been used by nomadic tribes who wanted to get the goods from South China before the Oasis route was activated by the Han Dynasty's policy of managing the countries bordering on Western China.