• KSCE Journal of Civil and Environmental Engineering Research
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• v.28 no.2A
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• pp.281-288
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• 2008

The Prestressed Concrete (hereinafter PSC) box girder bridges with corrugated steel webs have been drawing an attention as a new structure type of PSC bridge fully utilizing the feature of concrete and steel. However, the previous study focused on the shear buckling of the corrugated steel web and development of connection between concrete flange and steel web. Therefore, it needs to perform a study on the torsional behavior and develop the rational torsional analysis model for PSC box girder with corrugated steel web. In this study, torsional analysis model is developed using Rausch's equation based on space truss model, equilibrium equation considering softening effect of reinforced concrete element and compatibility equation. Validation studies are performed on developed model through the comparison with the experimental results of loading test for PSC box girder with corrugated steel webs. Parametric studies are also performed to investigate the effect of prestressing force and concrete strength in torsional behavior of PSC box girder with corrugated steel web. The modified correction factor is also derived for the torsional coefficient of PSC box girder with corrugated steel web through the parametric study using the proposed anlaytical model.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Korean Journal of Weed Science
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• v.14 no.3
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• pp.212-222
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• 1994

Thiobencarb retarded the growth of new leaves in only barnyardgrass under dry condition while under water condition the shoot growth of broadcast rice, and both shoot and root growth of barnyardgrass was considerably inhibited. Root elongation of rice and barnyardgrass was severely inhibited only under water condition, while that of transplanted rice was slightly inhibited. Inhibition of shoot and root growth in broadcast, drilled rice and barnyardgrass under water condition was much higher than that under dry condition, whereas the inhibition was less in transplanted rice than direct seeded rice. Microscopically, thiobencarb severely inhibited shoot growth and development of barnyardgrass by inducing tubular-like leaves. The cells of the shoot apices of treated barnyardgrass seedling under dry condition was vacuolated and irregularly arranged. Under water condition, leaf primordia of broadcast rice was constricted, barnyardgrass showed tubular-like leaves, inhibited apices elongation and vacuolated cells(visually lack cytoplasm).

• The Journal of Korean Academy of Prosthodontics
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• v.48 no.4
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• pp.294-300
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• 2010

Purpose: The template-guided implant surgery offers several advantages over the traditional approach. The purpose of this study was to evaluate the accuracy of coordinate synchronization procedure with 5-axis milling machine for surgical template fabrication by means of reverse engineering through universal CAD software. Materials and methods: The study was performed on ten edentulous models with imbedded gutta percha stoppings which were hidden under silicon gingival form. The platform for synchordination was formed on the bottom side of models and these casts were imaged in Cone beam CT. Vectors of stoppings were extracted and transferred to those of planned implant on virtual planning software. Depth of milling process was set to the level of one half of stoppings and the coordinate of the data was synchronized to the model image. Synchronization of milling coordinate was done by the conversion process for the platform for the synchordination located on the bottom of the model. The models were fixed on the synchordination plate of 5-axis milling machine and drilling was done as the planned vector and depth based on the synchronized data with twist drill of the same diameter as GP stopping. For the 3D rendering and image merging, the impression tray was set on the conbeam CT and pre- and post- CT acquiring was done with the model fixed on the impression body. The accuracy analysis was done with Solidworks (Dassault systems, Concord, USA) by measuring vector of stopping’s top and bottom centers of experimental model through merging and reverse engineering the planned and post-drilling CT image. Correlations among the parameters were tested by means of Pearson correlation coefficient and calculated with SPSS (release 14.0, SPSS Inc. Chicago, USA) ($\alpha$ = 0.05). Results: Due to the declination, GP remnant on upper half of stoppings was observed for every drilled bores. The deviation between planned image and drilled bore that was reverse engineered was 0.31 (0.15 - 0.42) mm at the entrance, 0.36 (0.24 - 0.51) mm at the apex, and angular deviation was 1.62 (0.54 - 2.27)$^{\circ}$. There was positive correlation between the deviation at the entrance and that at the apex (Pearson Correlation Coefficient = 0.904, P = .013). Conclusion: The coordinate synchronization 5-axis milling procedure has adequate accuracy for the production of the guided surgical template.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.104-114
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• 2024

Sheet Music of the National Anthem of Korea with Lyrics in Korean, Chinese, and English is a four-sided sheet of paper folded in half. It was first introduced to Korea on November 12, 1945, by Kim Ku, the president of the Provisional Government. The sheet music was published in three languages and is a valuable document for researching the evolution of the anthem and its history. Although it was published in large quantities at the time, it is currently known as the only in Korea and has been designated and managed as a national registered heritage. The sheet music was not significantly damaged, but discoloration and physical damage suggested raised the need for conservation treatment. A pre-treatment examination of the conservation condition revealed that the artifact was received on archival film and had been folded in half for many years, leaving it vulnerable to tears at the top and bottom of the folds and partial wear and tear at the edges. In addition, the pigments used on both sides of the sheet had discolored and transferred to the opposite side. Portable X-ray fluorescence (XRF) analysis was conducted to investigate the pigments used in the sheet music cover, specifically focusing on red, black, and light blue pigments. Titanium (Ti) was detected in the light blue pigment, characterized by a powdery coloring layer. The remaining colors in the printed form were difficult to sample and could not be analyzed further. The light blue sample underwent additional analysis using X-ray diffraction (XRD), scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS), and Raman spectroscopy. Cross-validation of the results with the artifact's historical context suggested that the bright blue color observed in the 1945 sheet music is likely due to the use of anatase white pigment, rather than rutile. Furthermore, the bright blue pigment is believed to be a blend of phthalocyanine blue, a synthetic pigment introduced in 1936. Fiber analysis revealed longitudinal striations in the hemp fibers and twists in the cotton fibers, suggesting that the paper was made from a mixture of cotton and hemp fibers. Based on the findings of the condition survey, the conservation treatment for the artifact focused on minimizing moisture to avoid stressing the paper and reinforcing the physically vulnerable areas. The reinforcement paper was dyed to match the base of the artifacts, pre-coated repair paper was used for conservation, and appropriate folders and boxes were made for storage after treatment. This study is expected to serve as an important foundational resource on the materials used in modern and contemporary records.

• Sim-seong Yeon-gu
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• v.38 no.1
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• pp.112-160
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• 2023

This study examined the Korean folklore "Borrowed Fortune from Heaven" from the perspective of Analytical Psychology, considering it a manifestation of the human psyche, and tried to gain a deeper understanding of what happens in our mind. Through the exploration, the researcher was able to re-identify the ongoing psychological process operating in the depths of our mind, pertaining to the emergence of a new dimension of consciousness. Particularly the researcher was able to gain some insights into how the potential psychic elements for the new consciousness are prepared in the unconscious, how they get integrated into the conscious life, and what is essential for the accomplishment of the process. The tale begins with a poor woodcutter who, in order to escape from poverty, starts gathering twice as much firewood. However, the newly acquired amount disappears overnight, so the woodcutter gets perplexed and curious about where it goes and who is taking it. He seeks to find out the truth, which leads him to an unexpected journey to Heaven. There he learns the truth concerning his very tiny amount of fortune, and discovers another big fortune for an unborn person. By pleading with the ruler of Heaven, the woodcutter borrows that grand fortune, on the condition that he must return it to the owner when the time comes. After that, the woodcutter's life undergoes a series of changes, in which he finally becomes a wealthy farmer, but gradually is reminded more and more that the destined time is approaching. In the end, the fortune is completely transferred to the original owner, resulting in a dramatic twist and the creation of a new life circumstances. The overall plot can be understood as a reflection of the psychological process aiming at the evolution of consciousness through renewal. In this context, the woodcutter can be considered a psychic element that undergoes a continuous transformation in preparation for participating in the upcoming new consciousness. In other words, the changes brought about by this figure can be interpreted as a gradual and increasingly detailed foreshadowing of what the forthcoming new consciousness would be like. Interestingly, as the destined time approaches, the protagonist's anguish in conflict reaches its climax, despite his good performance in his role until then. This effectively portrays the difficulty of achieving a new dimension of consciousness, which requires moving past the last step. All the events in the story ultimately converge at this point. After all, the resolution occurs when the protagonist lets go of everything he has and follows the will of Heaven. This implies what is essential for the renewal of consciousness. Only by completely complying with the entire mind, the potential constituents of the new consciousness that should play important roles in a renewal and evolution of consciousness through experiencing, can participate in the ultimate outcome. As long as they remain trapped in any intermediate stage, the totality of the psyche would develop another detour aiming at the final destination, which means the beginning of another period of suffering carrying a purposeful meaning. The tale suggests that this truth will be applied everywhere that renewal of consciousness is directed, whether for an individual or a society.