• 대한가정학회지
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• 제44권1호
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• 박물관보존과학
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• 제12권
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• pp.35-45
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• 2011

국립중앙박물관에서는 일제 강점기에 발굴된 미정리유물 정리사업의 일환으로 서봉총(瑞鳳塚), 식리총(飾履塚), 금령총(金鈴塚) 출토 행엽(杏葉) 중 일부를 선별하여 보존처리 및 제작기법을 연구하였다. 선별된 행엽은 편원어미형(扁圓魚尾形), 심엽형(心葉形), 이형(異形)으로 구분할 수 있으며 실체현미경관찰 및 XRF, SEM-EDS 분석결과 지판(地板)의 재질은 철(Fe)이며, 상판(上板) 및 문양판의 재질은 철(Fe), 구리(Cu), 은(Ag)이 각각 확인되었다. 편원어미형과 십자문심엽형행엽의 경우 세 분묘 모두 제작기법과 크기가 동일한 행엽이 각각 철(Fe)과 구리(Cu)로 제작된 것이 특징이다. 도금층이 존재하지 않는 이형행엽을 제외한 나머지 행엽의 도금층은 수은아말감도금이었다.

• 보존과학회지
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• 제28권2호
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• pp.101-112
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• 2012

동관왕묘(보물 제142호)는 조선시대(1602)의 건축물로서 관우, 장비, 우장군, 주창 및 조자룡 등의 소조상이 안치되어 있다. 이 소조상들의 채색층은 먼지 등 무기오염물로 인해 안료의 원색이 손상되었으며, 수차례의 보수 및 덧칠로 인해 원형이 훼손되어 있다. 소조상의 채색안료에 대한 정밀분석을 위해 X-선 회절분석, SEM-EDS, P-XRF 및 색도 측정을 실시한 결과, 적색과 갈색의 안료는 진사, 석간주, 연단이며, 연적색은 석고를 첨가하여 조색하였다. 흑색과 금색은 각각 흑연과 금(Au)박이 사용되었으며, 녹색 안료에서는 공작석, 염화동 및 해록석이 동정되었다. 매우 선명하게 발색된 청색은 현대 안료로 보채한 것으로 판단되며, 백색은 백악, 석고, 연백이 모두 검출되었다. 석황과 밀타승은 각각 황색과 연황색 채색에 사용되었다.

• 보존과학회지
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• 제36권4호
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• pp.296-305
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• 2020

Konbaung Dynasty was the last unified dynasty that ruled Myanmar from 18^th to 19^th century. During this time Buddhist art flourished in Myanmar due to the interest of the rulers toward their traditional culture. Metal decorative artifacts in the 18^th century are classified into structures and Buddha statues. They are further subdivided into gilt-bronze and bronze objects, depending on their material component. Three-dimensional gilt-bronze decorative artifacts were cast with a brass alloy of Cu-Zn-Sn-Pb and their surfaces were gilded with extremely thin gold leaves (less than 1 ㎛ in thickness). The gilded layer approximately comprised 10 wt% silver in addition to the main element, gold. The lack of Hg in the gilded layer, indicated that the amalgam gilding technique was not applied. The analysis results indicated that the lacquered gilding technique was applied to the objects. Bronze decorative artifacts without gilding were cast with materials containing Cu-Sn-Pb. The bronze pavilions and bronze Buddha staues were crafted using the same alloy of high-tin bronze, which approximately contained 20 wt% Sn. No heat treatment was applied to reduce the brittleness of the objects after they were cast with a large amount of Sn. The most significant difference between the gilt-bronze and bronze decorative artifacts lie in their elemental compositions. The gilt-bronze decorative artifacts with their gilded surface were manufactured using brass containing zinc, while the unplated bronze decorative artifacts were composed of bronze containing tin. Artifacts of the same type and size are classified differently depending on the materials utilized in the surface treatment such as gilding.

• 대한치과보철학회지
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• 제27권1호
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• pp.143-179
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• 1989

To observe the bonding behavior of palladium-based alloys to porcelain; 1. Pd-Co binary alloy with the higher cobalt content, 2. Pd-Co binary alloy with the lower cobalt content, 3. Pd-Ag-Sn ternary alloy, 4. Pd-Ag binary alloy, 5. Pd-Cu-Au ternary alloy and 6. Pd-Cu binary alloy were made as 6 groups of experimental alloys. Each group of alloy was divided into 4 sub-groups such as one sub-group that was not degassed and three sub-groups that degassed for 5 minutes, 10 minutes and 15 minutes. On each specimen, weight changes after degassing, morphological changes of oxide layer by changing the degassing time, compositional changes at metal-ceramic interface and bond strength of metal-ceramic measured with planar shear test were observed and compared. The results of the present study allow the following conclusions to be drawn: 1. The alloy showing the greatest bond strength was Pd-Cu alloy without gold and bond strength was decreased by alloying gold to them. 2. Although Pd-Co alloy showed the most prominent oxidation behavior, bond strength of them to porcelain was not greatly high by the formation of porosities at metal-ceramic interfaces. 3. Likewise tin, cobalt formed the peaks on line profiles at metal-ceramic interface, however copper did not exhibit such peaks on line profiles. 4. Mainly, oxide layer on Pd-Co alloy was composed with cobalt, and for Pd-Co alloy with higher cobalt content the rise of bond strength was not significant by increased degassing time. 5. On Pd-Ag alloy not containing tin, during degassing for 15 minutes silver content was increased at metal-ceramic interface. 6. As an oxidized element, tin formed the oxide layers that widen their area by increasing the degassing time, while cobalt and copper showed the morphological changes of particle or crystal on oxide layer.

• 대한기관식도과학회:학술대회논문집
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• 대한기관식도과학회 1983년도 제17차 학술대회연제순서 및 초록
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• pp.8.1-8
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• 1983

후두격막증은 이를 선천성 및 후천성 후두격막증으로 분류하며 선천성 후두격막증은 후두의 발생과정에서 특히 태아기 7 ∼ 8주경에 후두개와 양측 피열연골 융기가 서로 합쳐진 T형 초기성문 (primitive glottis)이 태아기 10 주경에 이루어져야 할 전후분리가 장해됨으로서 선천성 후두질환의 약 3 %에서 발생되며 그 중 약 75 %가 성문부에서 발생되고 나머지 약 25 %는 성문상부 및 성문하부에서 발생된다. 한편 후천성 후두격막증은 그의 대부분이 외상이나 수술후의 상흔 등에서 합병되며 선천성에 비해서 격막이 비교적 두껍고 섬유성인 경향을 보인다. 후두격막증의 증상은 그 격막의 상태에 따라서 일정하지 않으나 대체로 그 격막형성이 아주 작은 경우에는 특별한 증상이 없으나 격막이 큰 경우에는 사성이나 호흡곤란을 유발하게 된다. 본 증의 치료 원칙으로서는 격막을 절제한 후 특히 성문의 성대전연합 (Anterior Commissure)부위의 재유착을 예방하는 것인데 현재까지의 시술방법으로서는 1924년 Haslinger가 수술후의 성대전 연합 사이로 엷은 은편(silver plate)을 삽입시켰던 례와 1950년 McNaught가 갑상연골절개술로 탄타룸 편(tantalum keel)을 삽입시켰던 례가 있으며 이밖에도 테후론편 (teflon keel)등이 삽입되거나 점막이식술 등이 시도되어 왔다. 저자들은 최근에 23세 남자 환자로서 유·소아기에 수차의 후두유두종 수술후에 성대 전연합부에 발생한 격막증에 대하여 금편(gold keel)을 삽입하여 치험하였기에 이를 비데오로 소개하고자 한다.

• 한국화예디자인학연구
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• 제40호
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• pp.45-61
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• 2019

본 논문에서는 공간을 이루는 모든 것을 보여주는 '메종 & 오브제' 전시회의 최근 경향을 알아보고 이러한 '그린어메너티'가 적용된 사례를 찾아보았다. 형태적 측면에서 미니멀한 공간을 곡선의 형태로 채웠고 점차 자연을 재현하는 디자인이 제작되었다. 점차 새롭게 맥시멀리즘이 대두되어 디자인에 장식적인 요소가 가미되어 공예적인 제품이 많이 나타났다. 재료적 측면에서는 자연주의 감성이 대세로 자연적인 목재소재가 주로 사용되었다. 이러한 재료는 다양한 이질재료와 결합하여 새로운 디자인을 완성하며 자연적 요소를 공간 안에 형상화하였다. 색채적 측면에서는 2016년은 테마가 '와일드 (Wild)'로 야생자연을 체험할 수 있는 공간을 볼 수 있었다. 나무의 갈색과 초록색을 중심으로 자연의 다채로운 색채를 보여주었다. 2017년의 '사일런스 (Silence)'는 핑크 컬러의 특징이 돋보인다. 또한 따뜻한 느낌의 적갈색 계열의 가구가 제작되었다. 예전엔 황동이나 로즈 골드가 유행이었다면 2017년은 골드나 실버 색상의 제품이 더 대세를 보였다. 2018년은 '쇼룸(Show-Room)'이 테마로 대표 색채는 초록색으로 노랑, 분홍과 함께 새롭게 디자인에 영향 주었다.

• 한국안광학회지
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• 제15권4호
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• pp.361-366
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• 2010

목적: Hollow Cathode Discharge방법을 이용한 HCD 이온플레이팅 장비를 제작하였고, 이 장비를 이용하여 stainless steel 위에 TiN 박막을 질소 가스양을 변화하면서 코팅하였으며, 이때 TiN 박막의 미세색상변화를 분석하였다. 방법: 질소 가스에 대한 TiN박막의 미세색상변화를 광학적으로 관찰하기 위해 분광복사계와 분광광도계를 사용하였고, 질소 가스에 대한 TiN 박막의 성분 변화를 알기위해 XPS로 분석하였다. 결과: 질소가스 120 sccm의 TiN 박막의 CIE 색좌표는 (0.382, 0.372)로 은색과 금색의 혼합색으로 나타나고 질소 가스양이 증가함에 따라 x, y값 둘다 조금씩 커져 금색이 점점 진해지는 것을 알 수 있었다. 또한 분광광도계에 의한 TiN 박막의 반사율에 있어서 질소 가스양이 증가함에 따라 550 nm 파장근처에서의 반사율의 기울기가 대체적으로 점점 커지는 것을 알 수 있었다. 그리고 XPS를 사용하여 Ti scan 한 결과, $N_2$ 성분에서 유래된 458 eV의 조그마한 피크는 조금씩 더 들어가며 TiN 성분에서 유래된 455 eV의 큰 피크는 약간씩 커지는 것을 볼 수 있었다. 결론: 질소 가스양이 120 sccm인 TiN 박막에서는 표면에 있는 TiC 성분과 표면과 내부에 존재하는 $N_2$, TiN 성분으로 인해 은색과 금색의 혼합색으로 나타났으나, 질소 가스양이 증가함에 따라 TiN 성분이 다른 성분에 비해 점점 많아져 금색이 점점 진해진 것으로 유추할 수 있었다.

• 복식
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• 제18권
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• Bulletin of the Korean Chemical Society
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• 제32권spc8호
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• pp.2941-2948
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• 2011

A nanogap formed by a metal nanoparticle and a flat metal substrate is one kind of "hot site" for surface-enhanced Raman scattering (SERS). The characteristics of a typical nanogap formed by a planar Au and either an Au and Ag nanoparticle have been well studied using 4-aminobenzenethiol (4-ABT) as a probe. 4-ABT is, however, an unusual molecule in the sense that its SERS spectral feature is dependent not only on the kinds of SERS substrates but also on the measurement conditions; thus further characterization is required using other adsorbate molecules such as 1,4-phenylenediisocyanide (1,4-PDI). In fact, no Raman signal was observable when 1,4-PDI was selfassembled on a flat Au substrate, but a distinct spectrum was obtained when 60 nm-sized Au or Ag nanoparticles were adsorbed on the pendent -NC groups of 1,4-PDI. This is definitely due to the electromagnetic coupling between the localized surface plasmon of Au or Ag nanoparticle with the surface plasmon polariton of the planar Au substrate, allowing an intense electric field to be induced in the gap between them. A higher Raman signal was observed when Ag nanoparticles were attached to 1,4-PDI, irrespective of the excitation wavelength, and especially the highest Raman signal was measured at the 632.8 nm excitation (with the enhancement factor on the order of ${\sim}10^3$), followed by the excitation at 568 and 514.5 nm, in agreement with the finite-difference timedomain calculation. From a separate potential-dependent SERS study, the voltage applied to the planar Au appeared to be transmitted without loss to the Au or Ag nanoparticles, and from the study of the effect of volatile organics, the voltage transmission from Au or Ag nanoparticles to the planar Au also appeared as equally probable to that from the planar Au to the Au or Ag nanoparticles in a nanogap electrode. The response of the Au-Ag nanogap to the external stimuli was, however, not the same as that of the Au-Au nanogap.