• The Journal of Korean Society for Radiation Therapy
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• v.30 no.1_2
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• pp.9-16
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• 2018

Purpose : Brain Stereotactic Radiosurgery can treat non-invasive diseases with high rates of complications due to surgical operations. However, brain stereotactic radiosurgery may be accompanied by radiation induced side effects such as fractionation radiation therapy because it uses radiation. The effects of Coplanar Volumetric Modulated Arc Therapy(C-VMAT) and Non-Coplanar Volumetric Modulated Arc Therapy(NC-VMAT) on surrounding normal tissues were analyzed in order to reduce the side effects caused fractionation radiation therapy such as head and neck. But, brain stereotactic radiosurgery these contents were not analyzed. In this study, we evaluated the usefulness of NC-VMAT by comparing and analyzing C-VMAT and NC-VMAT in patients who underwent brain stereotactic radiosurgery. Methods and materials : With C-VMAT and NC-VMAT, 13 treatment plans for brain stereotactic radiosurgery were established. The Planning Target Volume ranged from a minimum of 0.78 cc to a maximum of 12.26 cc, Prescription doses were prescribed between 15 and 24 Gy. Treatment machine was TrueBeam STx (Varian Medical Systems, USA). The energy used in the treatment plan was 6 MV Flattening Filter Free (6FFF) X-ray. The C-VMAT treatment plan used a half 2 arc or full 2 arc treatment plan, and the NC-VMAT treatment plan used 3 to 7 Arc 40 to 190 degrees. The angle of the couch was planned to be 3-7 angles. Results : The mean value of the maximum dose was $105.1{\pm}1.37%$ in C-VMAT and $105.8{\pm}1.71%$ in NC-VMAT. Conformity index of C-VMAT was $1.08{\pm}0.08$ and homogeneity index was $1.03{\pm}0.01$. Conformity index of NC-VMAT was $1.17{\pm}0.1$ and homogeneity index was $1.04{\pm}0.01$. $V_2$, $V_8$, $V_{12}$, $V_{18}$, $V_{24}$ of the brain were $176{\pm}149.36cc$, $31.50{\pm}25.03cc$, $16.53{\pm}12.63cc$, $8.60{\pm}6.87cc$ and $4.03{\pm}3.43cc$ in the C-VMAT and $135.55{\pm}115.93cc$, $24.34{\pm}17.68cc$, $14.74{\pm}10.97cc$, $8.55{\pm}6.79cc$, $4.23{\pm}3.48cc$. Conclusions : The maximum dose, conformity index, and homogeneity index showed no significant difference between C-VMAT and NC-VMAT. $V_2$ to $V_{18}$ of the brain showed a difference of at least 0.5 % to 48 %. $V_{19}$ to $V_{24}$ of the brain showed a difference of at least 0.4 % to 4.8 %. When we compare the mean value of $V_{12}$ that Radione-crosis begins to generate, NC-VMAT has about 12.2 % less amount than C-VMAT. These results suggest that if NC-VMAT is used, the volume of $V_2$ to $V_{18}$ can be reduced, which can reduce Radionecrosis.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Journal of Biosystems Engineering
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• v.2 no.1
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• pp.7-24
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• 1977

This paper is the forth and fifth one of the study on balanced type oscillating mole drainer. In the light of the results from previous reports about the model tests, some design criteria were established and a prototype machine was set up for experimental purpose. Motion characteristics and functionof the each parts of the machine were checked and analyzed. After that, performance tests of the prototype machine were carried out in thefield. Obtained results are summarized as follows ; 1. Ten centimeter of the bullet diameter was determined so as to be able to attach it to the tractors with capacity of 30 PS to 40 PS. 2. To maintain the balance between the moments of the front shank and rear shank, the oscillating amplitude of the rear bullet was determined to be larger than that of the front bullet. At the same time , the oscillating direction of the rear bullet was designed with the inclines of ten to thirty degrees. 3. An octagonal dynamo transduced was developed for measuring the compressive force of the upper link is measuring the draft force of the machine. Acceptable linear relationship between forces and strain responses from O.D.T. was obtained. 4. Analysing the balancing mechanism of the acting part of the machine , it was found that the total draft force of the machine was equal to the difference between the sum of the draft force produced from the right and left side bending moments of the lower drawber and the compressive force on the upper link. 5. There are acceptable linear relationship between the strain and twisting moment by driving shaft, and between strain and shank moment. Above results enable us to carry out the field experiment with prototype machine. 6. When the test machine was used in the field, it was possible to reduce the oscillating acceleration by forty percent in average as compared it with the single bullet mole drainer. 7. When the test machine was used under the oscillating condition, the dratt torce was reduced by 27 percent to 59 percent as compared it with the test machine under non-oscillating condition, while the draft force was increased by 7 percent to 20 percent as compared it with the mole drainer having oscillating single bullet. The reasoning behind this fact was considered as the resistance force due to the rear shank and bullet. 8. As the amplitude and frequency of the bullet were increased, the torque was increased accordingly. This tendency could be varied with the various characteristics of the given soils. And the larger frequency and amplitute, the more increasing oscil\ulcornerlating power but decreasing draft brce were needed, and draft force was increased as the velocity was increased.9. When the amplitude of the rear bullet was designed to be larger than that of the front bullet, the minimum value of the moment was lowered and oscillating acceleration was reduced. And when the oscillating direction of the rear bullet was declined back\ulcornerwards, oscillating acceleration was increased along with the increasing angle of decli\ulcornernation. When the test machine was operated in high speed, the difference between maximum moments and minimum ones became narrow. This varying magnitude of moments appeared on the moment oscillogram seems to be correlated to the oscillating acceleration and draft force. 10. From the analysis of variance, it was found that those factors such as frequency, amplitude, and operating velocity significantly affected in the oscillating acceleration, the draft resistance, the torque, the moment, and the total power required. And interaction between frequency and amplitude affected in the oscillating acceleration. 11. Within the given situation of this study, the most preferable operating conditions of the test machine were 7 Hz in oscillating frequency, 0.54 m/sec in operating velocity, and 39.1 mm in oscillating amplitude of front and rear bullets. However, it is necessary to select the proper frequency and magnitude of oscillation depending on the soil properties of the field in which the mole drainer is practiced by use of a bal1nced type oscillating mole drainer. 12. It is recommended that a comparative study of the mole drainers would be performed in the near future using two separate balanced oscillating bullet with the one which is operated by oscillating the movable bullet in a single cylinder or other balanced type which may be single oscillating bullet with spring, damper or balancing weight, and that of thing. To expand the applicability of the balanced type oscillating mole drainer in practical use, it is suggested to develop a new mechanism which perform mole drain with vinyl pipe or filling material such as rice hull.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.102-115
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• 2014

The stamped earth method is a typical ancient engineering technique which consists of in-filling wooden frame with layers of stamped earth or sand. This method has been universally used to construct earthen walls and buildings, etc. The purpose of this article is to understand the construction method and principles of the stamped earthen wall through analysis of various construction techniques of Pungnaptoseong Fortress(Earthen Fortification in Pungnap-dong). First of all, the ground was leveled and the foundations for the construction of the earthen wall were laid. The underground foundation of the earthen walls was usually constructed by digging into the ground and then in-filling this space with layers of mud clay. Occasionally wooden posts or paving stones which may have been used to reinforce the soft ground were driven in. The method of adding layers of stamped earth at an oblique angle to either side of a central wall is the most characteristic feature of Pungnaptoseong Fortress. Even though the traces of fixing posts, boards, and the hardening of earth - all signatures of the stamped earth technique - have not been identified, evidence of a wooden frame has been found. It has also been observed that this section was constructed by including layers of mud clay and organic remains such as leaves and twigs in order to strengthen the adhesiveness of the structures. The outer part of the central wall was constructed by the anti-slope stamped earth technique to protect central wall. In addition a final layer of paved stones was added to the upper part of the wall. These stone layers and the stone wall were constructed in order to prevent the loss of the earthen wall and to discharge and drain water. Meanwhile, the technique of cementing with fire was used to control damp and remove water in stamped earth. It can not be said at present that the stamped earth method has been confirmed as the typical construction method of Korean ancient earthen walls. If we make a comparative study of the evidence of the stamped earth technique at Pungnaptoseong Fortress with other archeological sites, progress will be made in the investigation of the construction method and principles of stamped earthen wall.

• Journal of Oral Medicine and Pain
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• v.30 no.4
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• pp.411-426
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• 2005

The purpose of this study was to investigate the effects of occlusal condition and clenching level on the mandibular torque rotational movement. For this study, healthy 14 men without any symptoms and signs of temporomandibular disorders were selected. Mandibular torque rotational movement was observed in each circumstance of combination of three occlusal conditions such as natural dentition, with wafer of 3.6 mm thickness, and wafer with resin stop of 14 mm thickness total during hard biting of bite stick at maximum voluntary contraction(MVC) and 50% of MVC level of surface EMG activity of masseter muscle. Electromyographic activity and mandibular torque rotational movement were observed using BioEMG and BioEGN in $BioPak^{(R)}$ system. Each biting movement in each circumstance was composed of clenching one time and hard biting of wooden stick two times. The observed items were opening distance, velocity and amount of torque rotational movement in mandibular movement, and the data were statistically processed with $SPSS^{(R)}$ windows (ver.10.0). The results of this study were as follows: 1. There were no differences in the mandibular movement distance between those value in both biting sides, and between those in both clenching forces, but the mandibular velocity showed a different results by clenching force. For the amount of torque rotational movement, there were no difference in the value of the frontal plane but some significant difference was in the value of the horizontal plane by biting side. 2. The mandibular movement distance and the mandibular velocity in both planes were higher by maximum voluntary contraction than those by half maximum voluntary contraction, and amount of torque rotational movement in the horizontal plane was also increased by maximum voluntary contraction. 3. The opening distance in both planes were decreased with the increase of vertical dimension of occlusion, namely, by the occlusal appliances, and this pattern was also showed in the mandibular velocity in case of hard biting by maximum voluntary contraction. However, the amount of torque rotational movement were not different by the increase of vertical dimension of occlusion. 4. The value of angle and distance of the torque rotational movement in the hard biting of wooden stick were generally higher than those in the clenching without wooden stick in both planes without regard to occlusal conditions and/or clenching forces.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Restorative Dentistry and Endodontics
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• v.34 no.4
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• pp.324-332
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• 2009

The purpose of this study was to investigate the effect of rigidity of post core systems on stress distribution by the theoretical technique, finite element stress-analysis method. Three-dimensional finite element models simulating an endodontically treated maxillary central incisor restored with a zirconia ceramic crown were prepared and 1.5 mm ferrule height was provided. Each model contained cortical bone, trabecular bone, periodontal ligament, 4 mm apical root canal filling, and post-and-core. Six combinations of three parallel type post (zirconia ceramic, glass fiber, and stainless steel) and two core (Paracore and Tetric ceram) materials were evaluated, respectively. A 50 N static occlusal load was applied to the palatal surface of the crown with a $60^{\circ}$angle to the long axis of the tooth. The differences in stress transfer characteristics of the models were analyzed. von Mises stresses were chosen for presentation of results and maximum displacement and hydrostatic pressure were also calculated. An increase of the elastic modulus of the post material increased the stress, but shifted the maximum stress location from the dentin surface to the post material. Buccal side of cervical region (junction of core and crown) of the glass fiber post restored tooth was subjected to the highest stress concentration. Maximum von Mises stress in the remaining radicular tooth structure for low elastic modulus resin core (29.21 MPa) was slightly higher than that for high elastic modulus resin core (29.14 MPa) in case of glass fiber post. Maximum displacement of glass fiber post restored tooth was higher than that of zirconia ceramic or stainless steel post restored tooth.

• The Journal of Korean Society for Radiation Therapy
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• v.28 no.2
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• pp.109-121
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• 2016

To verify the accuracy of the image guided radiotherapy using ExacTrac 6D couch, the error values in six directions are randomly assigned and corrected and then the corrected values were compared with CBCT image to check the accurateness of ExacTrac. The therapy coordination values in the Rando head Phantom were moved in the directions of X, Y and Z as the translation group and they were moved in the directions of pitch, roll and yaw as the rotation group. The corrected values were moved in 6 directions with the combined and mutual reactions. The Z corrected value ranges from 1mm to 23mm. In the analysis of errors between CBCT image of the phantom which is corrected with therapy coordinate and 3D/3D matching error value, the rotation group showed higher error value than the translation group. In the distribution of dose for the error value of the therapy coordinate corrected with CBCT, the restricted value of dosage for the normal organs in two groups meet the prescription dose. In terms of PHI and PCI values which are the dose homogeneity of the cancerous tissue, the rotation group showed a little higher in the low dose distribution range. This study is designed to verify the accuracy of ExacTrac 6D couch using CBCT. It showed that in terms of the error value in the simple movement, it showed the comparatively accurate correction capability but in the movement when the angle is put in the couch, it showed the inaccurate correction values. So, if the body of the patient is likely to have a lot of changes in the direction of rotation or there is a lot of errors in the pitch, roll and yaw in ExacTrac correction, it is better to conduct the CBCT guided image to correct the therapy coordinate in order to minimize any side effects.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.82-110
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• 2021

This study specifically examined the date of the black glazed bowls marked with "Gongyu (供御)" or "Jinzhan (進琖)" of Jian ware, one of the key research topics related to the bowls. The results of this study can be summarized as follows. Jian Kiln produced various shapes of black glazed bowls, but almost all of the inscriptions of "Gongyu (供御)" or "Jinzhan (進琖)" are found only in two certain type bowls: Type I, the Shukou type bowls (束口碗), or Type II, the Piekou type bowls (撇口碗). Of these, there are significantly more of the former in existence. For Type I bowls marked with "Gongyu (供御)" or "Jinzhan (進琖)", the mouth of the bowls is slightly evaginated outwards, and the inclination angle of the side slope is about 50°. The shape feature, Shukou (束口) is formed which is slightly indented around the bowl about 0.3~0.5cm below the mouth of bowl. And the height of the bowls is relatively low compared to other Type I black glazed bowls produced by Jian Kiln, so the height divided by the diameter is 0.5 or less. There is little difference in shape between the black glazed bowls marked with "Gongyu (供御) and those with "Jinzhan (進琖)". However, taking into consideration the excavation situation of both type bowls, the former is considered to be ahead of the latter in terms of production date. On the other hand, the black glazed bowls of Jian ware, which have the same shape features as the Type I bowls marked with "Gongyu (供御)" or "Jinzhan (進琖)" have not been found in the tombs dating from the end of the 12th to the beginning of the 13th century from which typical Jian kiln black glazed bowls of the same type were excavated. For the Hakata site (博多遺址) in Japan, the black glazed bowls with such a shape feature were excavated from early 12th century sites, rather than from the late 12th to early 13th century sites at which the typical black glazed bowls of Jian kiln were found. Considering that the black glazed bowls from Fujian province were imported into Hakata with almost no time gap, it is very unlikely that the production time of Type I black glazed bowls marked with "Gongyu (供御)" or "Jinzhan (進琖)" will deviate from the early 12th century. In conclusion, it is considered that the black glazed bowls marked with "Gongyu (供御)" or "Jinzhan (進琖)" of Jian ware were produced in the early 12th century.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.