• KOREAN JOURNAL OF CROP SCIENCE
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• v.65 no.4
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• pp.377-385
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• 2020

Recently, wheat consumption has been increasing in Korea, requiring increased production. Nitrogen fertilization is a critical determinant in crop yield; therefore, it is necessary to optimize the nitrogen fertilization regime with current trends that emphasize the minimum impact of nitrogen fertilizer on the environment. In this study, both nondestructive spectral analysis using a hyperspectral camera and growth analysis were performed to determine the optimal N top-dressing rates after heading. The nitrogen application regimes consisted of three conditions according to the secondary top-dressing rate: N_4:3:0 (0 kg 10 a^-1), N_4:3:3 (2.73 kg 10 a^-1), and N_4:3:6 (5.46 kg 10 a^-1). Subsequently, growth and physiological investigations were performed at the jointing, heading, and ripening stages of wheat, and spectral investigations were conducted. On April 29, as the nitrogen fertilization rate was increased to N_4:3:3 and N_4:3:6, plant height and grain yield increased by 4% and 8%, and 8% and 52%, respectively, compared to those under N_4:3:0. Leaf area index and SPAD value also increased by 13% and 24%, and 32% and 43%, respectively. The R (red), G (green), and B (blue) of leaf color were lowered by 15, 11, and 4 in N_4:3:3 and 44, 34, and 18 in N_4:3:6, respectively, as compared to the control. Grain yield was the highest at high top-dressing (N_4:3:6), however, there was no difference between no top-dressing (N_4:3:0) and intermediat top-dressing (N_4:3:3). The reflectance analyzed using a hyperspectral camera showed a difference in the near-infrared (NIR) region on March 19, and on April 29, there was a difference both in the visible light region greater than 550 nm and the NIR region. Vegetation indices differed according to fertilization regime, except for the greenness index (GI). The results of this study showed that not only growth and physiological analysis but also spectral indices can be used to optimize the nitrogen top-dressing rate.

• Journal of Korean Ophthalmic Optics Society
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• v.8 no.2
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• pp.111-117
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• 2003

We collected the domestic and foreign half-mirror coating lens for sunglasses. Their reflectance is measured using Spectrophotometer in order to analysis their optical property and the result which is calculated using Macleod program was compared with measured reflectance. In addition, we designed the new half-mirror coating lens with gold color using TiN material and investigated the optical property of the new half-mirror coating lens. The results obtained from analysis of half-mirror coating lenses are as follow : Two-tone half-mirror coating with silver color is fabricated with [air|$SiO_2$(or $Al_2O_3$)|Cr|glass]. The role of $SiO_2$(or $Al_2O_3$) on Cr improve the hardness of the lens and the thickness of the $Al_2O_3$ with 10 nm is good to show the lens silver color. Incase of color half-mirror coating lens. Blue system is designed by [air|$SiO_2$(66.3)|$TiO_2$(129.0)|$SiO_2$(62.9)|$SiO_2$(26.0)|$TiO_2$(120.3)|$SiO_2$(9.1)|glass], gold system [air|$SiO_2$(60.6)|$TiO_2$(86.2)|$SiO_2$(13.5)|$TiO_2$(86.8)|$SiO_2$(214.38)|glass], green system[air|$SiO_2$(74.3)|$TiO_2$(75.8)|$SiO_2$(44.3)|$TiO_2$(11.6)|$SiO_2$(160.8)|$TiO_2$(12.9)|$SiO_2$(183.3)|$TiO_2$(143.8)|glass], silver system[air|$SiO_2$(21.2)|$TiO_2$(49.7)|$SiO_2$(149.3)|glass]. White half-mirror coating lens has [air|$SiO_2$(17 nm)|$TiO_2$(43 nm)(or $ZrO_2$)|$SiO_2$(87 nm)|polysiloxane($4.46{\mu}m$|glass or CR-19]. It has half-mirror coaling lens which has about 19% reflectance and about 80% transmittance in the range of visible light(400~700nm). we designed the new half-mirror coating lens with gold color, the (x, y) value of the CIE is almost similar to the CIE value of [air|$SiO_2$(170 nm)|TiN(15 nm)|glass].

• Journal of the Society of Cosmetic Scientists of Korea
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• v.43 no.1
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• pp.79-86
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• 2017

This study is related to a lamellar liquid crystal make-up cleansing formulation with a hologram-like unique appearance between two polarizing plates. Make-up cleansing formulations with a lamellar liquid crystal phase have been extensively studied for a long time, but there have been limitations in practical commercialization because of increasing turbidity and viscosity. In this study, to solve this problem, alkyl chains of surfactants were modified to increase the fluidity of the liquid crystal phase, and electrostatic repulsion force was increased by introducing anionic surfactant. The lamellar liquid crystal make-up cleansing formulation which introduced anionic surfactants can easily inhibit crystallization through electrostatic repulsion force, thereby showing excellent stability overtime, maintaining transparent appearance and viscosity. In addition, we have newly introduced an in vitro cleansing evaluation method using fluorescent material and in vivo imaging system (IVIS) for objective and quantitative cleansing ability evaluation. The excellent cleansing ability of lamellar liquid crystal cleansing formulation has been confirmed by newly developed evaluation method. On the other hand, when lamellar liquid crystal make-up cleansing formulation was placed between orthogonally arranged two polarizing plates, a specific pattern like a hologram can be observed. This phenomenon is presumably interpreted as the interference between the visible light passing through the liquid crystal formulation and the lamellar structure. The lamellar structure of cleansing formulation was confirmed by SAXS analysis, exhibiting Bragg spacing ratio of 1 : 2. The lamellar liquid crystal make-up cleansing formulation prepared in this study would be useful for future application in make-up cleansing due to its excellent stability, cleansing ability, and unique hologram-like pattern placed between two polarizing plates.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2010.06a
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• pp.31-31
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• 2010

The growth of the high-quality GaN epilayers is of significant technological importance because of their commercializedoptoelectronic applications as high-brightness light-emitting diodes (LEDs) and laser diodes (LDs) in the visible and ultraviolet spectral range. The GaN-based heterostructural epilayers have the polar c-axis of the hexagonal structure perpendicular to the interfaces of the active layers. The Ga and N atoms in the c-GaN are alternatively stacked along the polar [0001] crystallographic direction, which leads to spontaneous polarization. In addition, in the InGaN/GaN MQWs, the stress applied along the same axis contributes topiezoelectric polarization, and thus the total polarization is determined as the sum of spontaneous and piezoelectric polarizations. The total polarization in the c-GaN heterolayers, which can generate internal fields and spatial separation of the electron and hole wave functions and consequently a decrease of efficiency and peak shift. One of the possible solutions to eliminate these undesirable effects is to grow GaN-based epilayers in nonpolar orientations. The polarization effects in the GaN are eliminated by growing the films along the nonpolar [$11\bar{2}0$] ($\alpha$-GaN) or [$1\bar{1}00$] (m-GaN) orientation. Although the use of the nonpolar epilayers in wurtzite structure clearly removes the polarization matters, however, it induces another problem related to the formation of a high density of planar defects. The large lattice mismatch between sapphiresubstrates and GaN layers leads to a high density of defects (dislocations and stacking faults). The dominant defects observed in the GaN epilayers with wurtzite structure are one-dimensional (1D) dislocations and two-dimensional (2D) stacking faults. In particular, the 1D threading dislocations in the c-GaN are generated from the film/substrate interface due to their large lattice and thermal coefficient mismatch. However, because the c-GaN epilayers were grown along the normal direction to the basal slip planes, the generation of basal stacking faults (BSFs) is localized on the c-plane and the generated BSFs did not propagate into the surface during the growth. Thus, the primary defects in the c-GaN epilayers are 1D threading dislocations. Occasionally, the particular planar defects such as prismatic stacking faults (PSFs) and inversion domain boundaries are observed. However, since the basal slip planes in the $\alpha$-GaN are parallel to the growth direction unlike c-GaN, the BSFs with lower formation energy can be easily formed along the growth direction, where the BSFs propagate straightly into the surface. Consequently, the lattice mismatch between film and substrate in $\alpha$-GaN epilayers is mainly relaxed through the formation of BSFs. These 2D planar defects are placed along only one direction in the cross-sectional view. Thus, the nonpolar $\alpha$-GaN films have different atomic arrangements along the two orthogonal directions ($[0001]_{GaN}$ and $[\bar{1}100]_{GaN}$ axes) on the $\alpha$-plane, which are expected to induce anisotropic biaxial strain. In this study, the anisotropic strain relaxation behaviors in the nonpolar $\alpha$-GaN epilayers grown on ($1\bar{1}02$) r-plane sapphire substrates by metalorganic chemical vapor deposition (MOCVO) were investigated, and the formation mechanism of the abnormal zigzag shape PSFs was discussed using high-resolution transmission electron microscope (HRTEM).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.76-84
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• 2010

Darangyi paddy in Namhae Gachon village provides natural beauty with its distinct location. Darangyi is a traditional Korean landscape, shaping a circular form to serve continuous cultivation. Despite the paddy's landscape, it is difficult to preserve its natural scenery due to many factors such as inadequate visual analysis. Under the belief that there is a necessity to preserve Darangyi paddy, the research in visual features of the paddy began to illustrate the relevance between its viewpoint and landscape objects. First, we researched typical view structures. When considering the visual features, Darangyi paddy landscape objects has a viewpoint from the horizontality to its below, which its center area is about $-5^{\circ}{\sim}-30^{\circ}$. From the analyzed data, the scenary of Darangyi paddy, which most people agree its decency, is formed in a visually decent location. The above type of measure of visual structure in Darangyi paddy is expected to be applied in maintenance of foothold of views in the future. Second, the surrounding elements play important parts to form the whole landscape of Gachon Darangyi paddy. Although Darangyi paddy is the principal part of the scenary, the landscape analysis showed a high relevance with the paddy's identity, forest around the paddy, sky, ocean, settlements, and the roads in terms of visual perception. It was affirmed that those elements around the paddy play important parts in structuring and providing the beauty of the whole landscape. Various viewy objects are seen obvious especially in a long distance, and the splendid scenary proved that those viewy objects are in indispensable location. In order to preserve the paddy, it seems necessary to consider the surrounding envrionment of Darangyi paddy, not just the paddy's sole landscape form. Third, Darangyi paddy has a distinct seasonal characteristics. According to the survey analysis, the full heading time in spring and time when people can take a picture against the sun light proved magnificence of Darangyi paddy. Thus, it would be ideal to maintain Darangyi paddy by securing the sunlight condition with decent landscape view and the views from its surrounding environments or researching the ways to principally maintain the surrounding environments.

• Horticultural Science & Technology
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• v.29 no.1
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• pp.23-28
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• 2011

Experiments were conducted to investigate the optimum concentration of the nutrient solution in strawberry 'Sulhyang' with hydroponics in relationship between root activity and nutrient concentrations. Nutrient solutions for strawberry, made by Yamazaki, were supplied EC 0.5, 1.0, 2.0 $dS{\cdot}m^{-1}$ during experiment period. Growth of shoot and root of strawberries grown in visible plastic pot was observed during experiment. Petiole length was longest in plants grown in EC 1.0 $dS{\cdot}m^{-1}$, followed by 2.0 and 0.5 $dS{\cdot}m^{-1}$. Leaf width was longest in plants grown in EC 1.0 $dS{\cdot}m^{-1}$, followed by 0.5 and 2.0 $dS{\cdot}m^{-1}$. Fruit length, fruit diameter, fruit weight and yield were higher in EC 0.5 and 1.0 $dS{\cdot}m^{-1}$ than 2.0 $dS{\cdot}m^{-1}$ treatment but, soluble solids of the fruit did not show statistical differences among treatments. Shoot dry weight was heaviest in EC 1.0 $dS{\cdot}m^{-1}$, followed by 0.5 and 2.0 $dS{\cdot}m^{-1}$. Root dry weight was heavier in EC 0.5 and 1.0 $dS{\cdot}m^{-1}$ but significantly light in 2.0 $dS{\cdot}m^{-1}$. pH of the drainage solution was elevated in low nutrient concentration and lowered in high concentration. Also root activity was high in low nutrient concentration and low in high concentration. As a result, the optimum EC for strawberry 'Sulhyang' was EC 1.0 $dS{\cdot}m^{-1}$ in this experiment. It was confirmed that there was high relationship between root activity and pH of drainage solution. This result will be utilized as an indicator for strawberry hydroponics.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• Conservation Science in Museum
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• v.30
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• pp.71-88
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• 2023

This paper examined the visible characteristics and chemical composition of glass beads from the Joseon Dynasty as well as the associations thereof. It also explored the characteristics and uses of glass beads by region. This study covered a total of 1,819 pieces excavated from 25 locations in the Gyeonggi, Chungcheong, and Gyeongsang regions, of which 537 pieces were analyzed for their chemical composition. Glass beads of the Joseon Dynasty take a variety of shapes such as a Round, Coil, Floral, Segmented, Flat, Oval, and Calabash. Colors vary from shades of brown (brown, lemon yellow) and shades of blue (Bluish-Green, greenish-Blue, Purple-Blue) to shades of white (colorless, white) and shades of green (Green, Greenish-Blue, Greenish-Brown). Brown accounts for the largest percentage, followed by Bluish-Green, greenish-Blue. It was identified that Drawing technique was the most common glass bead production technique of the Joseon Dynasty. Potassium oxide (K₂O) was the most common flux agent for glass beads, while the potash glass and mixed alkali glass groups account for the largest quantity. The choice of stabilizers depended on the type of flux agents used, but the most common were calcium oxide (CaO) and aluminum oxide (Al₂O₃). The potash glass and potash lead glass groups are high in CaO and low in Al₂O₃, the mixed alkali glass group is high in CaO, and the lead glass group is low in CaO. In terms of the association between color and shape, most of the beads with shade of brown and blue have round shapes of brown and blue have spherical shapes, while the coil shape is prominent in blue beads. A high percentage of green and colorless beads also take the shape of a coil, while white beads in general have a floral shape. In terms of the association between shape and chemical composition, round, floral and segmented shapes account for a high percentage of the potash glass group, while coil and flat shapes are common in the mixed alkali glass group. This paper also analyzed the colorants for each color based on the association between color and chemical composition. Iron (Fe) was used as the colorant for brown and white, and titanium (Ti) and iron were used for light yellow. Purple-Blue was produced by by cobalt (Co), and greenish-Blue, Bluish-Green, green, Greenish-Blue were produced by iron and copper (Cu). Colorless beads had a generally low colorant content.