• Journal of Physiology & Pathology in Korean Medicine
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• v.18 no.3
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• pp.713-723
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• 2004

With regard of YinYang and Five Elements Theory, predominance of Yin or Yang is a key point to discuss Nourishin Ying or Reinforcing Yang. There are two major branches about studying predominance of Yin or Yang. Zhu Danxi advocated the theory that Yang was always in excess while Yin was often deficient, and thus belonged to the School for Nourishing the Yin. Zhang Jie-bin advocated that Yang is easily deficient while Yin is easily sufficient. It seems that they studied Wang Bing's 'Ministerial fire rule on all thing instead of Imperial Fire' and right Kidney Mingmen theory in Nan Jing, which are both related to the First Yang in the Book of Changes and say Mingmen fire is the host of the body. Zhu Danxi insisted that Mingmen fire was easily in excess and likely to become pathogenic fire while Water phase was easily in deficiency, so the doctors should nourish Yin and suppress Yang. Zhang Jie-bin said that Mingmen fire is vulnerable so the doctors should fortify yang and reinforce Mingmen fire. Suk Gock Master Lee thought that the Book of Changes and Nei Jing had a viewpoint of Fortify Yang as regards of some distinguished Physicians' articles about predominance of YinYang. The author's going to discribe Suk Gock's Fortify Yang Theory with viewpoints of Nei Jing and the Book of Changes.

• Journal of Korean Medical classics
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• v.27 no.1
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• pp.77-87
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• 2014

Objective : The writer has come to see that a study of the Theory of Ministerial Fire of JuDanGae presupposes a study of earlier theories of fire. Therefore, I have analyzed and studied the theories of fire presented by medical doctors since "Nae Gyeong(黃帝內經)" Method : To begin with, I have studied the concepts of grand fire(壯火) and small fire(少火), imperial fire(君火) and ministerial fire(相火) in "Nae Gyeong", and have construed the meaning of human fire(人火) and dragon fire(龍火) by Wang Bing(王冰), and fatty fire(膏火) by Sohn Sa-mak(孫思邈). Next, I have studied true fire(眞火) by Huh Sook-mi(許叔微) and true yang(眞陽) and pit fire(坎火) by Eom Yong-hwa(嚴用和), Theory on Right Kidney as the Gate of Life and Ministeiral Fire(右腎命門相火說) by Yu Wan-so(劉完素), and the reason why Jang Wan-so(張元素) asserted Theory of Three Burners as Ministerial Fire(三焦相火說). Result : I have understood the influence that the concepts of grand fire and small fire, imperial fire and ministerial fire in "Nae Gyeong"have exercised on the later medical doctors, and have also understood the physiological and pathological Fire that influences the human body. Moreover, I have seen that Fire, as discussed by scholars from Huh Sook-mi and Eom Yong-hwa to Yu Wan-so and Jang Wan-so, made great contribution to the later development of Theory of the Gate of Life, getting its entire picture in Eum Hwa. Conclusion : Seeing that the theories of Fire presented by medical doctors since "Nae Gyeong" and prior to JuDan-Gae had great influence on the later development of Theory of the Gate of Life, I have come to understand that along with Eum Hwa by Lee Dong-wan, they must precede a study of the Theory of Ministerial Fire of JuDan-Gae.

• International Journal of High-Rise Buildings
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• v.7 no.4
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• pp.363-374
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• 2018

The façade is an important, complex, and costly part of a building, performing multiple objectives of value to the occupants, like protecting from wind, rain, sunlight, heat, cold, and sound. But the frequency of façade fires in large buildings is alarming, and has multiplied by seven times worldwide over the last three decades, to a current rate of 4.8 fires per year. High-performing polymer based materials allow for a significant improvement across several objectives of a facade (e.g., thermal insulation, weight, and construction time) thereby increasing the quality of a building. However, all polymers are flammable to some degree. If this safety problem is to be tackled effectively, then it is essential to understand how different materials, and the façade as a whole, perform in the event of a fire. This paper discusses the drivers for flammability in facades, the interaction of facade materials, and current gaps in knowledge. In doing so, it aims to provide an introduction to the field of façade fires, and to show that because of the drive for thermal efficiency and sustainability, façade systems have become more complex over time, and they have also become more flammable. We discuss the importance of quantifying the flammability of different façade systems, but highlight that it is currently impossible to do so, which hinders research progress. We finish by putting forward an integral framework of design that uses multi-objective optimization to ensure that flammability is minimized while considering other objectives, such as maximizing thermal performance or minimizing weight.

• International Journal of High-Rise Buildings
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• v.10 no.4
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• pp.265-283
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• 2021

To ensure that fire induced collapse of a building is prevented it is important to understand the sequence of events that can lead to this event. In this paper, the initiation of collapse mechanisms of generic a multi-storey steel frame subjected to vertical and horizontal travelling fires are analysed computationally by tracking the formation of plastic hinges in the frame and generation of fire induced loads. Both uniform and travelling fires are considered. In total 58 different cases are analysed using finite element software LS-DYNA. For the frame examined with a simple and generic structural arrangement and higher applied fire protection to the columns, the results indicate that collapse mechanisms for singe floor and multiple floor fires can be each split into two main groups. For single floor fires (taking place in the upper floors of the frame (Group S1)), collapse is initiated by the pull-in of external columns when heated beams in end bays go into catenary action. For single floor fires occurring on the lower floors(Group S2), failure is initiated (i.e. ultimate strain of the material is exceeded) after the local beam collapse. Failure in both groups for single floor fires is governed by the generation of high loads due to restrained thermal expansion and the loss of material strength. For multiple floor fires with a low number of fire floors (1 to 3) - Group M1, failure is dominated by the loss of material strength and collapse is mainly initiated by the pull-in of external columns. For the cases with a larger number of fire floors (5 to 10) - Group M2, failure is dominated by thermal expansion and collapse is mainly initiated by swaying of the frame to the side of fire origin. The results show that for the investigated frame initiation of collapse mechanisms are affected by the fire type, the number of fire floors, and the location of the fire floor. The findings of this study could be of use to designers of buildings when developing fire protection strategies for steel framed buildings where the potential for a multifloor fire exists.

• Structural Engineering and Mechanics
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• v.35 no.6
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• pp.699-715
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• 2010

This paper investigates the structural responses of axially restrained steel beams under fire conditions by a nonlinear finite element method. The axial restraint is represented by a linear elastic spring. Different parameters which include beam slenderness ratio, external load level and axial restraint ratio are investigated. The process of forming a mid-span plastic hinge at the mid-span under a rising temperature is studied. In line with forming a fully plastic hinge at mid-span, the response of a restrained beam under rising temperature can be divided into three stages, viz. no plastic hinge, hinge forming and rotating, and catenary action stage. During catenary action stage, the axial restraint pulls the heated beam and prevents it from failing. This study introduces definitions of beam limiting temperature $T_{lim}$, catenary temperature $T_{ctn}$ and warning time $t_{wn}$. Influences of slenderness ratio, load level and axial restraint ratio on $T_{lim}$, $T_{ctn}$ and $t_{wn}$ are examined.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.121-129
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• 2014

This study was carried out to research the locations and comprehensive functions of Chinese unique Banwoldang(half-moon shaped pond) appeared at the traditional Chinese villages. Based on the research, the time of Banwoldang being introduced into Chinese traditional culture could date back to Yuan Dynasty and villages that have Banwoldang mainly distributed in the south of the Yangtze River of China where wealthy and high class have lived. Bamwoldangs were mostly built at the front of the village clan halls for the prosperity of the whole clan, The main reason of Banwoldang construction was to complete Feng Shui functions and its goal from the point of Feng Shui in Chinese ancient villages was replenishing the power of location, including increasing the probability of passing the imperial examination for villagers, multiplying riches, minimizing the fire accident and perfecting the geomantic pattern 'leaning against the hill and facing the water(背山臨水)' of villages. Other functions of Banwoldang were found as the place for the community meeting, fish farming and protection of village from enemy. In this research, the reasons of Banwoldang location and values of its various functions were found. But Banwoldang is disappearing rapidly at the Chinese modern villages because there is no interest in traditional culture. Banwoldang is one of unique elements of Chinese culture that must be preserved, so its meaning and value should be lasted well as the Chinese traditional cultures.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.234-252
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• 2023

This study looked at the modification of major gardens while making Deoksugung Palace (德壽宮) a park in the Japanese colonial era. This is because landscaping work was carried out in various places from 1932 to 1933 to open Deoksugung Palace, which used to be an imperial palace, as a public recreation space. In particular, major gardens such as the front yard of Seokjojeon Hall (石造殿), the back yard of Hamnyeongjeon Hall (咸寧殿), and the back yard of Jeukjodang Hall (卽阼堂) were greatly transformed into different shapes from the original. During the first phase of construction in 1932, a water tank was installed in Seokjojeon Hall Garden, creating the first water space. This water tank was originally a structure installed in the front yard of Injeongjeon Hall (仁政殿) of Changdeokgung Palace (昌德宮). Around 1909, a water tank installed in the front yard of Injeongjeon Hall was relocated to Seokjojeon Garden in the process of turning Deoksugung Palace into a park. The water tank moved from the front yard of Injeongjeon Hall was a factor that transformed the central area of Seokjojeon Garden into a water space, and a fountain installed to replace the water tank remains to this day. The backyard of Hamnyeongjeon Hall was also renovated into a new shape during the first phase of construction. Originally, there was a terraced flowerbed called Hwagye (花階) in the backyard of Hamyujae Hall (咸有齋) and Hamnyeongjeon Hall, and it was restored from the construction that took place after the Great Fire of Deoksugung Palace. In the process of turning Deoksugung Palace into a park, a three-stage stonework was built in the front yard of Jeonggwanheon Pavilion (靜觀軒) which renovated the Hwagye in the backyard of Hamyujae Hall and Hamnyeongjeon Halll. The stonework built at that time was used as a peony garden to provide visitors with attractions after the opening of Deoksugung Palace, and it remains today with the name Jeonggwanheon's Hwagye. The backyard of the Jeukjodang Hall area is a case of damage in the second phase of construction in 1933. Like the backyard of Hamnyeongjeon Hall, the backyard of Jeukjodang Hall, where the Hwagye was originally built, was converted into a Japanese-style garden in the process of turning Deoksugung Palace into a park. The site where the Hwagye was demolished was decorated with a Japanese-style garden centered on mounding, small roads, and landscaping stones, as well as topographic control and planting work. Although there have been minor changes since liberation, the backyard of the Jeukjodang Hall area is still based on a Japanese-style garden created by turning Deoksugung Palace into a park.