• Economic and Environmental Geology
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• v.32 no.5
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• pp.445-454
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• 1999

The Sanjeon Au-Ag deposit consists of three subparallel hydrothermal quartz-calcite veins which filled fault-related fractures (generally $N20^{\circ}$ to 35"W-trending and $70^{\circ}$ to $80^{\circ}$ SW-dipping) within quartz porphyry. The vein mineralization shows an apparent variation of mineral assemblages with paragenetic time: (1) early, white quartz + pyrite + arsenopyrite + brown sphalerite, (2) middle, white (vein) to clear quartz (vug) + base-metal sulfides + electrum + argentite, (3) late, calcite + pyrite + native silver. Mineralogic and fluid inclusion data indicate that gold-silver minerals were deposited at temperatures from 2l $0^{\circ}$ to $250^{\circ}$ with salinities of 4 to 5 wt. % equiv. NaCl and log fS2 values from -14.0 to -12.2 atm. The linear relationship between homogenization temperature and salinity data indicates that gold-silver deposition was a result of meteoric water mixing. Ore mineralization occurred at pressure conditions of about 70 bars, which corresponds to the mineralization depths of about 260 m to 700 m. There is a remarkable decrease of the calculated 1)180 values of water from 1.3 to -9.7%0 in hydrothermal fluid with increasing paragenetic time. This indicates a progressive increase of meteoric water influx in the hydrothermal system at the Sanjeon deposit. Oxygen-hydrogen, sulfur, and carbon isotope values of hydrothermal fluids indicate that the ore mineralization was formed largely from meteoric waters with the contribution of sulfur and carbon from a deep igneous source.

• Conservation Science in Museum
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• v.24
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• pp.81-98
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• 2020

This paper presents the results of a comprehensive nondestructive analysis of Portrait of Master Gowun at Wunamyeongdang Shrine (Hereafter, Portrait of Choe Chiwon), Tangible Cultural Heritage No. 187 of Gyeongsangnam-do, including the underlying images drawn at the time of its production and the pigments present. The analysis revealed that the portrait was produced in 1793 at Ssanggyesa Temple in Hadong, Gyeongsangnam-do, which makes it the earliest known example among the extant portraits of Choe Chiwon. X-ray examination found images of a half-length boy monk and a full-length boy monk on either side of the portrait, which had been painted over and became invisible to the naked eye. XRF analysis of the pigments indicated that white lead was used for white, cinnabar and red lead for red, malachite for green, azurite for blue, and gold for gold. It was revealed that the overpainted boy monks were colored using the same pigments as those applied in the portrait of the main figure. It is hoped that the analysis of the pigments used for the boy monks can provide basic materials for research on the production of copied portraits and local Buddhist paintings. Also, additional research drawing upon other fields of study is required to examine the details of the inscription of the portrait.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• Korean Journal of Environment and Ecology
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• v.17 no.1
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• pp.1-8
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• 2003

This study was conducted to investigate the effects of road on bird community by line transect census method from May 2000 to January 2001 in Mt. Geumsan, Namhae-Gun, Kyeongsangnam-do. Canopy layer was more developed in forest area than road area. Understory vegetation of road area was more developed than forest area. Twenty six and twenty three bird species were observed in road and forest area, respectively, White's thrush and ashy minivet were observed just only in forest area, and Siberian blue robin, blue-and-white flycatcher and gold crest were in road area. The birds being to bush nesting and foraging guilds in road area were more than forest area. It is known that the road construction was negatively affected on bird community. However, road construction would be not so negative on bird community according to the results of thie study. It would be needed the maintenance of upper canopy layer and understory vegetation to reduce negative effect of road on bird communities in forest area.

• Asian Pacific Journal of Cancer Prevention
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• v.17 no.5
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• pp.2673-2678
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• 2016

Background: It is unclear as to whether the size ratio elastographic technique is useful for assessing ultrasound-detected ductal carcinoma-in-situ (DCIS) masses since they commonly lack a significant desmoplastic reaction. The objectives of this study were to determine the accuracy of this elastographic technique in DCIS and examine if there was any histopathological correlation with the grey-scale strain patterns. Materials and Methods: Female patients referred to the radiology department for image-guided breast biopsy were prospectively evaluated by ultrasound elastography prior to biopsy. Histological diagnosis was the gold standard. An elastographic size ratio of more than 1.1 was considered malignant. Elastographic strain patterns were assessed for correlation with the DCIS histological architectural patterns and nuclear grade. Results: There were 30 DCIS cases. Elastographic sensitivity for detection of malignancy was 86.7% (26/30). 10/30 (33.3%) DCIS masses demonstrated predominantly white elastographic strain patterns while 20/30 (66.7%) were predominantly black. There were 3 (10.0%) DCIS masses that showed had a co-existent bull's-eye sign and 7 (23.3%) other masses had a co-existent toothpaste sign, a strain pattern that has never been reported in the literature. Four out of 4/5 comedo DCIS showed a predominantly white strain pattern (p=0.031) while 6/7 cases with the toothpaste sign were papillary DCIS (p=0.031). There was no relationship between the strain pattern and the DCIS nuclear grade. Conclusions: The size ratio elastographic technique was found to be very sensitive for ultrasound-detected DCIS masses. While the elastographic grey-scale strain pattern should not be used for diagnostic purposes, it correlated well with the DCIS architecture.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.14-25
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• 2009

This Study is purposed to comparative analysis in the case of balanced with Ethnic image fashion and the event of an unbalanced between fashion and make-up and to reconfigure on the make-up of the features on the Ethnic image Fashion in the 21st century. The result of this study is as follows. First, in the case of Japanese ethnic image make-up, to emphasize applied forms and formative characterization, they generally use circles and horizontal lines. Also the harmony between Japanese image make-up and primary colors like white and red strengthen ethnic images better. In the event of an unbalance between fashion and image make-up, fashion occurs dynamically in Africa and linearly in China. Sexy & natural image make-up also widely appear in the modern view. Second, in the case of African ethnic make-up balanced with African image fashion, the form is repeatedly dotted, widely water-colored, and mattedly textured using ash make-up colors such as white, red, gold, gray and so forth. African image make-up strongly expresses primitive natural beauty adding primal tribal painting art and mask forms. In case of an unbalance between fashion and image make-up, no distinctive ethnic image make-up appears. To emphasize natural patterns as well as splendid & decorative fashion, they try not to use primary colors, but instead focus on natural make-up and monotone colored point make-up, sexy make-up, avant-garde make-up, goth make-up, romantic make-up, glossy make-up.

• Journal of Conservation Science
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• v.30 no.1
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• pp.13-25
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• 2014

This study interpreted the chemicals of the pigments and the coloring techniques employed on Youngsan Ritual Ceremony Buddhist Painting through a nondestructive analysis method and a microscopic observation. Based on the interpretation, this study closely examined the chemical properties of the names of the coloring materials specified on the ceremonial writing of the Buddhist painting. It is estimated that lead white was used for the white pigments, orpiment and organic pigment for the yellow pigment, cinnabar/vermilion, minium, red ochre, and red dyes for the red pigments, malachite or atacamite for the green pigments, azurite and indigo for the blue pigments, and ink stick for the black pigments. The pigment names specified on the ceremonial writing are juhong, jungcheong, hayeop, whangdan, and whanggeum, and it was verified that juhong is cinnabar or vermilion, jungcheong is azurite, hayeop is malachite or atacamite, whangdan is minium, and whanggeum is a gold foil.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.141-158
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• 2016

The objective of this study is to examine the type and characteristics of hat, and also to analyze the formative characteristics of hats shown in $Pr{\hat{e}}t-{\grave{a}}$-porter Collection. The literature review focused on the relevant technical books and preceding researches while the case study targeted 1,561 photos of hats shown in the 'Donga TV Collection'. The research range was from the S/S season of 2012 to the F/W season of 2015/16. The results of this study are as follows. 1. A hat is composed of crown and brim. In the results of classifying hats based on it, there were 572 crown-type hats, 533 hat-type, 219 cap-type, 156 irregular-type, and 81 brim-type in the order. 2. For the crown-type hats, they were mainly like cylindrical-type, bell-type, dome-type, and circle-type, using colors like black, beige, brown, red, mustard, and grey, and materials like wool, fur, velvet, straw, and metal while they were decorated with bead or lace. 3. For the hat-type hats, they were mainly like bell-type, ladder-type, and hemisphere-type, using colors like peach, white, gold, brown, and khaki, and materials like silk, cotton, straw, and wool while they were decorated with feather and ribbon. 4. For the cap-type hats, they were mainly like hemisphere-type, using colors like white, black, khaki, mustard, and purple, and materials like fur, leather, and wool while they were decorated with wappen and chain. 5. For the irregular-type hats, they were mainly like sandglass-type, box-type, animal-type, trumpet-type, and bell-type, using colors like purple, orange, pink, yellow, and sky-blue, and materials like metal, feather, mesh, plastic, straw, and linen while they were decorated with ribbon, net, bell, and flower. 6. For the brim-type visor, they were mainly like square-type, using colors like transparent, yellow, and black, and materials like plastic, cotton, leather, and metal.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.1
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• pp.45-53
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• 2004

This study was conducted to redesign hotel robes based on Korean images. Hotel robes are furnished at many Korean hotels to increase the level of their guests' satisfaction toward their hotel services. The current hotel robe has several flaws in utility and design. Also, the robes register a low level on guests' satisfaction while generating high cleaning cost. Consequently, improvements in the hotel robes' material, motifs, style, and color were needed. The current one-piece, cotton towel weave robes used in hotels are white and pale. Half of the hotel guests never wear the hotel robes during their stay, because they are unattractive and most Korean hotels provide a robe similar in design. Furthermore, these robes are undistinguishable from those found at other countries. Nevertheless, Korean hotel managers feel that the hotel robe is an important tool to express its hotel image and to increase guests' satisfaction of their services. Most hotel managers and consumers agreed that it is necessary to design hotel robes based on Korean images. They believe that redesigning the hotel robes based on Korean images would induce hotel guests to wear them and at the same time feel part of the Korean traditional culture. The Korean traditional motifs of Taegug, Un (cloud), JuJag (phoenix), and Kumkwan (gold crown) were used in the new design of the hotel robes. The style of new hotel robes is the Korean traditional Pho of the Three Kingdoms. The colors of new hotel robes are white and pink. Forty-three examiners evaluated the newly designed robes for their aesthetic, symbolic and distinctional values. They concurred that the new robes were much better than the current ones.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.