• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.40-59
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• 2010

Anssolim is the unique technique which standing columns lean in a inward direction of buildings in traditional architecture, which has not been thoroughly investigated to this day. With a dearth of previous studies, the anssolim technique can only be examined through detailed three-dimensional surveys. The main halls of Korean palaces can be seen as buildings that were built with the regulations of the day in mind, making them excellent research subjects when studying the anssolim technique. The findings can be summarized as follows. 1. In the main halls that were studied, anssolim was applied most to main space (eokan) columns, then lessened for peripheral columns. 2. The largest second-floor cheoma columns were placed inward in the eokan, then became smaller as with the peripheral columns. In the case of the eokan, the columns were arranged according to the size of the anssolim. 3. The second-floor cheoma column anssolim in the middle-floor main hall were generally a third or a quarter of the size of those on the first floor. As on the first floor, the largest anssolim were applied to the eokan columns, then became gradually smaller towards the periphery columns. 4. In the palace main halls, the largest anssolim were used for the eokan columns, and became smaller with the peripheral columns. This unique structure can be seen to be a Korean technique that deviates from the Chinese "Yingzaofashi(營造法式)" techniques. Although this study is limited in that it only studies the main hall of Korean palaces, it is significant in that it shed new light on the technological implications of the anssolim technique, and can be used as important data for research into the history of technology. Although this type of data is difficult to extrapolate, it has been made as accurate as possible by minimizing the margin of error in the data for the palaces that were actually studied.

• Journal of Korea Water Resources Association
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• v.52 no.10
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• pp.743-752
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• 2019

The flow in the meandering channel is characterized by the spiral motion of secondary currents that typically cause the erosion along the outer bank. Hydraulic structures, such as spur dike and groyne, are commonly installed on the channel bottom near the outer bank to mitigate the strength of secondary currents. This study is to investigate the effects of submerged vanes installed in a $90^{\circ}$ meandering channel on the development of secondary currents through three-dimensional numerical modeling using the hybrid RANS/LES method for turbulence and the volume of fluid method, based on OpenFOAM open source toolbox, for capturing the free surface at the Froude number of 0.43. We employ the second-order-accurate finite volume methods in the space and time for the numerical modeling and compare numerical results with experimental measurements for evaluating the numerical predictions. Numerical results show that the present simulations well reproduce the experimental measurements, in terms of the time-averaged streamwise velocity and secondary velocity vector fields in the bend with submerged vanes. The computed flow fields reveal that the streamwise velocity near the bed along the outer bank at the end section of bend dramatically decrease by one third of mean velocity after the installation of vanes, which support that submerged vanes mitigate the strength of primary secondary flow and are helpful for the channel stability along the outer bank. The flow between the top of vanes and the free surface accelerates and the maximum velocity of free surface flow near the flow impingement along the outer bank increases about 20% due to the installation of submerged vanes. Numerical solutions show the formations of the horseshoe vortices at the front of vanes and the lee wakes behind the vanes, which are responsible for strong local scour around vanes. Additional study on the shapes and arrangement of vanes is required for mitigate the local scour.

• Korean Journal of Mineralogy and Petrology
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• v.35 no.4
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• pp.447-455
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• 2022

Fully dehydrated Tl₁₂-LTA (|Tl₁₂|[Si₁₂Al₁₂O₄₈]-LTA,Tl₁₂-A) was treated with 6.0×10³ Pa of ZrI₄ (g) at 623 K for 72 hr under anhydrous conditions. The crystal structure of product, |Zr_0.25I_1.5Tl₁₂|[Si₁₂Al₁₂O₄₈]-LTA, was determined by single-crystal crystallography using synchrotron X-radiation in the cubic space group Pm3m (a = 12.337(2) Å). It was refined using all data to the final error index (for the 712 unique reflections for which F_o> 4σ(F_o) R₁/wR₂= 0.055/0.189. In this structure, octahedral ZrI₆^2- ions center about 25% of the large cavities (Zr-I = 2.91(4) Å). Each coordinates to eight Tl⁺ ions and they are further bridged by Tl⁺ ions in the planes of 8-rings to form a cubic three-dimensional ZrI₆Tl₁₁⁹⁺ cationic cluster. About 1.5 Tl⁺ ions per unit cell moved to deeper side of sodalite cavity after reaction with ZrI₄(g). The remaining Tl⁺ ions occupy well-established cation positions near 6- and 8-rings.

• Journal of the Korean Society of Radiology
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• v.18 no.2
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• pp.101-108
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• 2024

Recently, Metaverse technology has emerged as an important topic in various fields. Metaverse refers to a three-dimensional virtual space in which social and economic activities similar to the real world are possible. Among the 235 third-year students who applied the Metaversity app in the radiology department of this university from September to December 2023, 200 participated in a survey to determine the difference in student response and satisfaction when applying the Metaversity app. analyzed. First, the most satisfactory VOD viewing method was viewing through the Metaversity app, followed by viewing through the LMS. Second, 'I think online videos are appropriate for holiday reinforcement.' showed the highest score at 4.35±0.60, 'I want face-to-face classes and online classes to be held simultaneously.' was 4.25±0.87, and 'I think meta. 'I watched it well through the Metaversity app' was the lowest at 4.10±0.30, and 'VOD viewing through the Metaversity app was used appropriately in class' was the lowest at 3.99±0.75. Also, there was no significant difference in the response to the teaching method (p>0.05). Third, in terms of satisfaction with VOD viewing using the Metaversity app, 'Applying the Metaversity app was interesting and fun' ranked the highest at 4.24±0.88. The score was high, with 'Better improvement is needed to actively utilize the metaversity app' at 4.00±0.45, and 'I hope the metaversity app is implemented in other remote classes' at 3.77±0.88. appear. 'VOD classes through the Metaversity app are better than the existing LMS method.' was found to be 3.44±0.66. Additionally, there was no significant difference in satisfaction with classes according to age and gender (p>0.05). The correlation between response and satisfaction with the metaversity app is 0.601, which can be considered very significant (p>0.001). As a limitation of this study, although we surveyed students' satisfaction with using the Metaversity app, we were unable to investigate the satisfaction of instructors who interact with students. In the future, we did not consider the instructor's satisfaction in classes using the Metaversity app. Research must be conducted, and universities must have institutional support and continued interest until metaversity apps are selected and used to prepare for distance learning.

• Journal of Intelligence and Information Systems
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• v.24 no.2
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• pp.59-83
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• 2018

With the increasing importance of sentiment analysis to grasp the needs of customers and the public, various types of deep learning models have been actively applied to English texts. In the sentiment analysis of English texts by deep learning, natural language sentences included in training and test datasets are usually converted into sequences of word vectors before being entered into the deep learning models. In this case, word vectors generally refer to vector representations of words obtained through splitting a sentence by space characters. There are several ways to derive word vectors, one of which is Word2Vec used for producing the 300 dimensional Google word vectors from about 100 billion words of Google News data. They have been widely used in the studies of sentiment analysis of reviews from various fields such as restaurants, movies, laptops, cameras, etc. Unlike English, morpheme plays an essential role in sentiment analysis and sentence structure analysis in Korean, which is a typical agglutinative language with developed postpositions and endings. A morpheme can be defined as the smallest meaningful unit of a language, and a word consists of one or more morphemes. For example, for a word '예쁘고', the morphemes are '예쁘(= adjective)' and '고(=connective ending)'. Reflecting the significance of Korean morphemes, it seems reasonable to adopt the morphemes as a basic unit in Korean sentiment analysis. Therefore, in this study, we use 'morpheme vector' as an input to a deep learning model rather than 'word vector' which is mainly used in English text. The morpheme vector refers to a vector representation for the morpheme and can be derived by applying an existent word vector derivation mechanism to the sentences divided into constituent morphemes. By the way, here come some questions as follows. What is the desirable range of POS(Part-Of-Speech) tags when deriving morpheme vectors for improving the classification accuracy of a deep learning model? Is it proper to apply a typical word vector model which primarily relies on the form of words to Korean with a high homonym ratio? Will the text preprocessing such as correcting spelling or spacing errors affect the classification accuracy, especially when drawing morpheme vectors from Korean product reviews with a lot of grammatical mistakes and variations? We seek to find empirical answers to these fundamental issues, which may be encountered first when applying various deep learning models to Korean texts. As a starting point, we summarized these issues as three central research questions as follows. First, which is better effective, to use morpheme vectors from grammatically correct texts of other domain than the analysis target, or to use morpheme vectors from considerably ungrammatical texts of the same domain, as the initial input of a deep learning model? Second, what is an appropriate morpheme vector derivation method for Korean regarding the range of POS tags, homonym, text preprocessing, minimum frequency? Third, can we get a satisfactory level of classification accuracy when applying deep learning to Korean sentiment analysis? As an approach to these research questions, we generate various types of morpheme vectors reflecting the research questions and then compare the classification accuracy through a non-static CNN(Convolutional Neural Network) model taking in the morpheme vectors. As for training and test datasets, Naver Shopping's 17,260 cosmetics product reviews are used. To derive morpheme vectors, we use data from the same domain as the target one and data from other domain; Naver shopping's about 2 million cosmetics product reviews and 520,000 Naver News data arguably corresponding to Google's News data. The six primary sets of morpheme vectors constructed in this study differ in terms of the following three criteria. First, they come from two types of data source; Naver news of high grammatical correctness and Naver shopping's cosmetics product reviews of low grammatical correctness. Second, they are distinguished in the degree of data preprocessing, namely, only splitting sentences or up to additional spelling and spacing corrections after sentence separation. Third, they vary concerning the form of input fed into a word vector model; whether the morphemes themselves are entered into a word vector model or with their POS tags attached. The morpheme vectors further vary depending on the consideration range of POS tags, the minimum frequency of morphemes included, and the random initialization range. All morpheme vectors are derived through CBOW(Continuous Bag-Of-Words) model with the context window 5 and the vector dimension 300. It seems that utilizing the same domain text even with a lower degree of grammatical correctness, performing spelling and spacing corrections as well as sentence splitting, and incorporating morphemes of any POS tags including incomprehensible category lead to the better classification accuracy. The POS tag attachment, which is devised for the high proportion of homonyms in Korean, and the minimum frequency standard for the morpheme to be included seem not to have any definite influence on the classification accuracy.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.