• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.38-55
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• 2021

Cherwon Castle is located in Pungcheonwon, Cherwon, in the center of the Korean Peninsula. Currently, it is split across the Demilitarized Zone (DMZ) between the two Koreas. It attracts attention as a symbol of inter-Korean reconciliation and as cultural heritage that serves as data in making important policy decisions on the DMZ. Despite its importance, however, there has not been sufficient investigation and research done on Cherwon Castle. This is due to the difficulty involved in investigation and research and is caused by the site's inaccessibility. As a solution, the current investigative methods in satellite and aerial archeology can be applied to interpret and analyze the structure of Cherwon Castle and the features of its inner space zoning. Cherwon Castle was built on the five flat hills that begin in the northern mountainous hills and stretch to the southwest. The inner and outer walls were built mainly on the hilly ridges, and the palace wall was built surrounding a flat site that was created on the middle hill. For each wall, the sites of the old gates, which were erected in various directions , have been identified. They seem to have been built to fit the direction of buildings in the castle and the features of the terrain. The castle was built in a diamond shape. The old sites of the palace and related buildings and landforms related to water drainage were identified. It was verified that the roads and the gates were built to run from east to west in the palace. In the spaces of the palace and the inner castle, flat sites were created to fit different landforms, and building sites were arranged there. Moreover, the contour of a reservoir that is believed to be the old site of a pond has been found; it lies on the vertical extension of the center line that connects the palace and the inner castle. Between the inner castle and the outer castle, few vestiges of old buildings were found, although many flat sites were discovered. Structurally, Cherwon Castle is rotated about nine degrees to the northeast, forming a planar rectangle. The planar structure derives from the castle design that mimics the hilly landform, and the bending of the southwestern wall also attests to the intention of the architects to avoid the wetland. For now, it is impossible to clearly describe the functions and characters of the building sites inside the castle. However, it is believed that the inner castle was marked out for space for the palace and government offices, while the space between the outer and inner castle was reserved as the living space for ordinary people. The presence of the hilly landform diminishes the possibility that a bangri (grid) zoning system existed. For some of the landforms, orderly zoning cannot be ruled out, as flat areas are commonly seen. As surveys have yet to be conducted on the different castles, the time when the walls were built and how they were constructed cannot be known. Still, the claim to that the castle construction and the structuring of inner spaces were inspired by the surrounding landforms is quite compelling.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• The Journal of Korean Philosophical History
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• no.42
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• pp.295-330
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• 2014

This article is to investigate into the philosophical background and the applicability of the humanities programmes effectively to practice them, not to educate the religious doctrines, based on the traditional-cultural resources in the education center affiliated with the religious institution. These humanities programmes can be understood on the lifelong education associated with a person. In the light of common curriculum practising in the existing education center, contents of those programmes are reviewed with classifying the humanities programmes into 3 parts, that is, eastern classical language education, eastern classical education, and eastern traditional prognosticating arts branching off from the eastern philosophy. Eastern classical language education indicates the classical Chinese characters and literatures in the context of our historical tradition. Eastern classical education implies the education which can acquire classical literatures in a modern way, as a accumulation of knowledges having been in charge of a person's lifelong education, and as a entity responsible for making a person to bring to maturity of his character by comprehending the life of human being and the world in pre-modern, Finally, the eastern philosophy is chosen for the reason that have the very interesting contents which can report facts that recover the integral relationship between nature and human being lacking in contemporaries, and instead of rejecting to interpret human being excessively in terms of materialism, is a significant one endowed with the mission which should develop his potentials through the his lifelong. Especially, eastern traditional prognosticating arts are selected that people has considered with them so kindly, and are the knowledges forming the cores of national culture. It may be a very important that attempts to develop the humanities programmes practising in the education center affiliated with the religious institution are not only the demands of the times in our days, but also a new teaching way replacing with old fashioned teachings.

• Journal of the Korean earth science society
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• v.42 no.1
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• pp.39-54
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• 2021

Damyang Wetland, a riverine wetland, has been designated as the first wetland protection area in South Korea and is a candidate area for the Mudeungsan Area UNESCO Global Geopark. The Damyang Wetland area is the upstream part of the Yeongsan River and is now a relatively wide plain. To reconstruct the sedimentary environment around the Damyang Wetland, core samples were obtained, and sedimentary facies analysis, AMS and OSL age dataings, grain size, and geochemical analyses were carried out. In addition, comprehensive sedimentary environment changes were reconstructed using previous core data obtained from this wetland area. In the Yeongsan River upstream area, where the Damyang Wetland is located, fluvial terrace deposits formed during the late Pleistocene are distributed in an area relatively far from the river. As a gravel layer is widely distributed throughout the plains, Holocene sediments were likely deposited in a braided river environment when the sea level stabilized after the middle Holocene. Then, as the sedimentary environment changed from a braided river to a meandering river, the influx of sand-dominated sediments increased, and a floodplain environment was formed around the river. In addition, based on the pollen data, it is inferred that the climate was warm and humid around 6,000 years ago, with wetland deposits forming afterward. The the trench survey results of the river area around the Damyang Wetland show that a well-rounded gravel layer occurs in the lower part, covered by the sand layer. The Damyang Wetland was likely formed after the construction of Damyang Lake in the 1970s, as muddy sediments were deposited on the sand layer.

• The Journal of Korean Society for Radiation Therapy
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• v.33
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• pp.47-54
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• 2021

Purpose : In order to evaluate the usefulness of clinical application of the Pause & Resume methods by comparing and analyzing the data stability and dose reduction effect when repeat scan assuming irregular breathing and using the Pause & Resume method during chest 4D CT using Quasar^TM Phantom. Materials and Methods : Using the Quasar^TM Phantom, set the breathing rate per minute to 15 BPM and 7.5 BPM, and set the S15 point as an irregular breathing section, and then placed OSLD to this point and use the Pause & Resume method to measure the dose of S15. CTDIvol, DLP, and ALARA-CT were used for comparative analysis of radiation dose between Pause & Resume method and Repeat-scan. In order to evaluate the stability and usability of the data applying the Pause & Resume method, the captured images were sorted by Advanced Workstation Volume Share7 and then sent to Eclipse^TM, the diameter and volume were analyzed by forming a contour on the iron ball in the Quasar^TM Phantom Results : When using Pause & Resume, the dose of OSLD measurement increased by 1.97 times in the section of S15. As a result of image evaluation, the average value of all volumes measured with and without the Pause & Resume method at 15 BPM and 7.5 BPM was 15.2 cm3±0.5%.Allthemeasuredvaluesfor the radius of iron ball were 3.1 cm regardless of whether Pause & Resume method was used or not. In the case of using Pause & Resume, 33% decreased from the lowest DLP value and 38% decreased from the highest DLP value of repeat scan, and the effective dose also decreased 32.1% from the minimum value and 37.6% from the maximum value. Conclusion: Irradiation dose was increased by Pause & Resume method because of the repeat scan on the S15 site where assuming irregular breathing occurred, However Pause & Resume method led to a significant reduction in dose on overall scan range. It also proved the usefulness of clinical application of the Pause & Resume method as a result of similar diameters and volumes of iron ball measurement.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.1-19
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• 2022

The Geumgang Pine (Pinus densiflora) Forest in Sogwang-ri, Uljin has traditionally been a pine tree protection area (prohibited forest) for timber production purposes, and is now designated and managed as a protected area for forest genetic resource conservation by the Korea Forest Service. This study, we analyzed topographical characteristics, existing vegetation, tree age, and plant community structure, and proposed a sustainable management method for the Geumgang Pine (Pinus densiflora) Forest in Sogwang-ri, Uljin for timber havesting purposes. The topographical characteristics of the target area were 36.7% ridges and 38.7% valleys; the ratio of ridges to valleys was similar, and the slopes formed 24.7% of the total area. The types of pine forest communities are divided into six types based on the progress of pine forest renewal, the competition with other species such as deciduous broadleaf trees, and the formation of layered structures. It has been confirmed that the age of the large-diameter pine trees (40~60cm in diameter) is approximately 60~70 years, which is relatively low. As a result of the analysis of the relative importance percentage and layered structure, differences depended on the progress of the pine forest renewal project, and not only the maintenance of the pine forest, but also the creation of a secondary growth forest, the density adjustment of pine trees, and the active management of competitive trees. The average basal area by the community was 12,642.1~25,424.4cm² for the tree layer and 1.8~1,956.5cm² for the low tree layer based on a quadrat of 400m². The difference in the basal area appeared to depend on the size and number of trees forming the tree layer and the degree of pine forest renewal (the degree of time elapsed after thinning pine trees). The average number of species that appeared in each community was 8.7-20.3; there were many species located in valleys, and the type competes with deciduous broadleaf trees due to the lack of management. The diversity of species ranged from 0.6915-1.0942, and was evaluated as low compared to pine communities in central temperate zones. In this paper, we determined the management goals of Geumgang Pine (Pinus densiflora) Forest in Sogwang-ri, Uljin to produce timber with high economic value, and suggested efficient vegetation management for continuous afforestation, the establishment of a timber production system, and improvement of wood production as a management direction.

• Journal of the Korean earth science society
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• v.43 no.1
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• pp.128-139
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• 2022

This study aimed to investigate the tectonic setting of the volcanic edifice at Mt. Baekdu by analyzing petrochemical characteristics of Holocene felsic volcanic rocks distributed in the Baekdusan stratovolcano edifice and summit of the Cheonji caldera rim, as well as Pleistocene mafic rocks of the Gaema lava plateau and Changbaishan shield volcano edifice. During the early eruption phases, mafic eruption materials, with composition ranging from alkali basalt to trachybasalt, or from subalkaline (tholeiitic) basalt to basaltic andesite formed the Gaema lava plateau and Changbaishan shield volcanic edifice, whereas the Baekdusan stratovolcano edifice and Holocene tephra deposits near the summit of the Cheonji caldera comprises trachytic and rhyolitic compositions. Analysis results revealed bimodal compositions with a lack of 54-62 SiO₂, between the felsic and mafic volcanic rocks. This suggested that magmatic processes occurred at the locations of extensional tectonic settings in the crust. Mafic volcanic rocks were plotted in the field of within-plate volcanic zones or between within-plate alkaline and tholeiite zones on the tectonic discrimination diagram, and it was in good agreement with the results of the TAS diagram. Felsic volcanic rocks were plotted in the field of within-plate granite tectonic settings on discrimination diagrams of granitic rocks. None of the results were plotted in the field of arc islands or continental margin arcs. The primitive mantle-normalized spider diagram did not show negative (-) anomalies of Nb and Ti, which are distinctive characteristics of subduction-related volcanic rocks, but exhibited similar patterns of ocean island basalt. Trace element compositions showed no evidence of, magmatic processes related to subduction zones, indicating that the magmatic processes forming the Baekdusan volcanic field occurred in an intraplate environment. The distribution of shallow earthquakes in this region supports the results. The volcanic rocks of the Baekdusan volcanic field are interpreted as the result of intraplate volcanism originating from the upwelling of mantle material during the Cenozoic era.

• Clean Technology
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• v.29 no.4
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• pp.255-261
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• 2023

Power semiconductors are semiconductors used for power conversion, transformation, distribution, and control. Recently, the global demand for high-voltage power semiconductors is increasing across various industrial fields, and optimization research on high-voltage IGBT components is urgently needed in these industries. For high-voltage IGBT development, setting the resistance value of the wafer and optimizing key unit processes are major variables in the electrical characteristics of the finished chip. Furthermore, the securing process and optimization of the technology to support high breakdown voltage is also important. Etching is a process of transferring the pattern of the mask circuit in the photolithography process to the wafer and removing unnecessary parts at the bottom of the photoresist film. Ion implantation is a process of injecting impurities along with thermal diffusion technology into the wafer substrate during the semiconductor manufacturing process. This process helps achieve a certain conductivity. In this study, dry etching and wet etching were controlled during field ring etching, which is an important process for forming a ring structure that supports the 3.3 kV breakdown voltage of IGBT, in order to analyze four conditions and form a stable body junction depth to secure the breakdown voltage. The field ring ion implantation process was optimized based on the TEG design by dividing it into four conditions. The wet etching 1-step method was advantageous in terms of process and work efficiency, and the ring pattern ion implantation conditions showed a doping concentration of 9.0E13 and an energy of 120 keV. The p-ion implantation conditions were optimized at a doping concentration of 6.5E13 and an energy of 80 keV, and the p+ ion implantation conditions were optimized at a doping concentration of 3.0E15 and an energy of 160 keV.