동화에서 묘사수단으로서의 황금 : 은유적 전의

김정철 한국독어독문학교육학회 2008 獨語敎育 Vol.43 No.-

Die vorliegende Arbeit beschäftigt sich mit der Frage, wie das Gold als Darstellungsmittel im Märchen Verwendung findet. In der Neigung zur Metallisierung wird im Märchen Gold von allen Metallen am häufigsten und am liebsten verwendet und spielt eine dominierende Rolle. Dinge, Lebewesen und sogar Menschen werden nicht selten ins Gold transponiert. Dem Gold werden folgende vier Funktionen in der Darstellung des Märchens zugeschrieben: Erstens, das Gold ist Zeichen einer übernatürlichen Welt. Übernatürliche Wesen besitzen Gold. Zweitens, das Gold wird als Attribut nicht nur für das Zeichen königlicher Herkunft verwendet, sondern auch für das Zeichen der königlichen Angehörigkeit in der Zukunft. Die Märchengestalten, die der königlichen Familie angehören oder in der Zukunft angehören werden, tragen Gold am Körper. Sie sind in den meisten Fällen Hauptfiguren. Das Gold wird mit königlichen Werten in Beziehung gesetzt. Drittens, es wird mit der Schönheit, die im Märchen nicht konkret beschrieben ist, in Beziehung gesetzt und wird für den Ausdruck höchster Schönheit verwendet. Viertens, es wird gemäß der dem Märchen innewohnenden Neigung zum Extremen für das Zeichen der höchsten Belohnung verwendet, wobei es als Symbol der Schönheit behandelt wird, die zugleich innere Werte involviert. Diese vier Eigenschaften, die im Märchen zum Ausdruck kommen sollten, werden auf das edle Metall Gold übertragen, dem sie nicht zugeschrieben sind. Das Gold wird als Summum bonum im Märchen betrachtet. In diesem Zusammenhang gehört die Verwendung des Goldes als Darstellungsmittel im Märchen zur einfachen metaphorischen Übertragung.

Global Gold Decoupling from the Dollar and Its implications

Chae, Dae-Seok,Hur, Hyung-Doh Korea Association for International Commerce and I 2006 통상정보연구 Vol.8 No.1

Gold prices are rising around the world in all major currencies. This is a telltale sign of a Stage Two gold bull where gold decouples from the US dollar. In this study, We analysed a confluence of factors seem to be feeding gold's gains and the typical shape of a secular gold bull---gold bulls' three stages. Stages one, two, and three of a secular gold bull are defined by the major changes. Each stage, considered in turn, makes perfect sense when described in terms of global investor demand. Since Stage One is currency-devaluation driven, the young gold bull is most noticeable in terms of the dominant eroding currency. Now after three or four years of stage one, Stage Two arrives. Stage Two marks a momentous event when gold decouples from the local-currency devaluation. In the case of our gold bull today, Stage Two will be here when gold starts consistently rising faster than the dollar is able to fall. After five or so years of Stage Two gains, gold has a chance at going ballistic in stage three. Stage Three is only ignited if the general public around the world starts growing enamored with gold investing. In summary, the first stage being when insiders and professionals invest in the market. The second stage is when the general public and financial media recognizes that the bull market is real. The third stage is the mania stage when people feel that not only is the bull market real, but it is a must own situation. Through the study we found that gold is entering it now.

Gold Recovery using Porphyrin-based Polymer from Electronic Waste: Adsorbent Regeneration and Reuse

( Jieun Sona ),( Cafer T. Yavuz ),( Yeongran Hong ),( Thien Nguyen ),( Jong-in Han ) 한국폐기물자원순환학회(구 한국폐기물학회) 2019 ISSE 초록집 Vol.2019 No.-

Due to the rapid development of innovations, the amount of discarded electrical or electronic equipment, called electronic wastes, have been gradually increased over the world and as a consequence, the treatment of the wastes brought a great attention to many researchers. Despite its small amount, precious metals in electronic wastes have large potential values as a future secondary source of metals. However, separation and refining of these metals are complicated and none of them are chosen to be commercialized. As one of the promising adsorbents, porphyrin-based porous polymer, named COP-180, has been developed for the selective adsorption and separation of gold. Although the characteristics and adsorption abilities of COP-180 has been deeply investigated, the strategies on the desorption and recovery of adsorbed gold and the regeneration of the polymer are still unknown. Herein, a hydrometallurgical method for efficient gold desorption and recovery from COP-180 was suggested. Chloride, thiosulfate and thiourea, which are typical non-cyanide gold leaching solutions, were evaluated for gold desorption from the polymer. Leaching solution of thiourea in acidic condition provided the best desorption performance. The results of FTIR analysis showed that the structure of COP-180 was maintained during desorption with thiourea, while changes of structures were detected with acid chloride solution as it supported the suitability of thiourea in either gold desorption or adsorbent regeneration. The ratio of adsorbed gold over the polymer was varied to analyze its effect on desorption efficiency. The less amount of gold was adsorbed on the polymer, the higher gold desorption efficiency was obtained. More than 98% of the adsorbed gold was desorbed from COP-180 by the treatment of 0.1M of thiourea for 2 hours at 50°C. The regeneration and reusability of the adsorbent was evaluated in three consecutive cycles. All these present works suggested that the desorption method via acid thiourea can offer a workable way of efficient gold recovery and regeneration of the adsorbent.

Global Gold Decoupling from the Dollar and Its implications

Dae-Seok Chae,Hyung-Doh Hur 한국통상정보학회 2006 통상정보연구 Vol.8 No.1

Gold prices are rising around the world in all major currencies. This is a telltale sign of a Stage Two gold bull where gold decouples from the US dollar. In this study, We analysed a confluence of factors seem to be feeding gold’s gains and the typical shape of a secular gold bull---gold bulls’ three stages. Stages one, two, and three of a secular gold bull are defined by the major changes. Each stage, considered in turn, makes perfect sense when described in terms of global investor demand. Since Stage One is currency-devaluation driven, the young gold bull is most noticeable in terms of the dominant eroding currency. Now after three or four years of stage one, Stage Two arrives. Stage Two marks a momentous event when gold decouples from the local-currency devaluation. In the case of our gold bull today, Stage Two will be here when gold starts consistently rising faster than the dollar is able to fall. After five or so years of Stage Two gains, gold has a chance at going ballistic in stage three. Stage Three is only ignited if the general public around the world starts growing enamored with gold investing. In summary, the first stage being when insiders and professionals invest in the market. The second stage is when the general public and financial media recognizes that the bull market is real. The third stage is the mania stage when people feel that not only is the bull market real, but it is a must own situation. Through the study we found that gold is entering it now.

CIE L*a*b*와 분광광도계를 이용한 금(Gold)과 은(Silver) 합금 주얼리 색상 연구

이 종 하,최승욱 한국전시산업융합연구원 2022 한국과학예술융합학회 Vol.40 No.2

In ancient times, gold and silver jewelry was alloyed with other metals or non-metals, resulting in a wide range of metallic colors. Since the 19th century, due to metal alloy regulations, the colors of jewelry are mainly limited to White Gold, Rose Gold, and Yellow Gold. However, jewelry in the 21st century is a style that express who you are, and although colors must be expressed in various ways to meet consumers needs, there are only few options of color and many studies tend to focus more on jewerly design. In particular, research on the materials of gold and silver jewelry is insufficient, and this study was started from this necessity. Therefore, the purpose of this study is to broaden the metal color range through the binary alloy of gold and silver, which is commonly used in jewelry making, and to propose guides for smooth communication when selecting colors. To this end, literature research and experimental research were conducted in parallel, and the research results are as follows. First, gold and silver were alloyed in 10% increments to produce 11 levels of gloss and matte. Second, the manufactured metal specimen was colorimetrically measured using a spectrophotometer, and quantified as a value of CIE L*a*b* and presented. Third, color guides for gold-silver alloys were proposed based on the manufactured colors. Based on the results of this study, it is expected that it will be used as basic data for metal color research through gold-silver alloys. In the future, this study is meaningful to expand from binary alloy to ternary alloy (gold-silver-copper) and to use it as basic data for fusion of other materials (gold-acrylic, gold-silicon). 고대의 금과 은 주얼리는 타금속이나 비금속과 합금하여 금속 색상의 범위가 넓었다. 19세기 이후 금속 합금규제로 인해 주얼리의 색상은 주로 화이트 골드(White Gold), 로즈 골드(Rose Gold), 옐로우 골드(Yellow Gold) 로 제한되었다. 그러나 21세기의 주얼리는 자신의 개성을 표현하는 패션의 하나로서 소비자의 니즈에 따라 색상도 다양하게 표현돼야 하지만, 국내 주얼리는 디자인연구에만 편중되고 있어 소비자의 다양한 욕구를 충족시키지 못하고 있다. 특히 소비자가 가장 많이 사용하는금과 은 주얼리의 소재에 대한 연구가 미비한 실정이며, 본 연구는 이러한 필요성에서 시작되었다. 이에 본 연구는 주얼리 제작 시 일반적으로 사용되는금과 은의 이원 합금을 통해 금속 색상 범위를 넓히고, 색상 선택 시 원활한 소통을 위한 가이드를 제안하는데목적이 있다. 이를 위해 문헌연구와 실험연구를 병행하였으며, 연구 결과는 다음과 같다. 첫째, 금과 은을 10% 단위로 합금하여 11단계의 유광과 무광으로 제작하였다. 둘째, 제작한 금속 시편을 분광광도계를 통해 측색하여CIE L*a*b*의 값으로 정량화하여 제시하였다. 셋째, 제작한 색상을 바탕으로 금-은 합금의 색상 가이드를 제안하였다. 본 연구 결과를 바탕으로 금-은 합금을 통한 주얼리금속 색상 연구의 기초 자료로 활용될 것을 기대한다. 추후 본 연구는 이원합금에서 확장하여 삼원합금(금-은- 구리)으로의 색상 연구, 타소재(금-아크릴, 금-실리콘 등) 융합으로서 기초자료로 활용하는데 의의가 있다.

THE EFFECT OF GOLD ELECTROFORMING PROCEDURE ON GOLD-SILVER-PALLADIUM ALLOY

Hwang, Bo-Yeon,Kim, Chang-Whe,Lim, Young-Jun,Kim, Myung-Joo The Korean Academy of Prosthodonitics 2007 대한치과보철학회지 Vol.45 No.3

Statement of problem. The effect of gold electroforming on gold alloy was not studied. Purpose. This in vitro study investigate the effect of gold electroforming on gold-silver-palladium alloy. Material and methods. Three pieces of gold strips had undergone the electroforming procedures on one side and then half of the side again electroformed. The set mode for this study was program 1 ($200{\mu}m$). And the processing time was 15min (1/20 time to form $200{\mu}m$ coping). The confocal laser scanning microscope (PASCAL 5, Carl Zeiss, Bernried, Germany) was used to measure the thickness of the pure gold layer electroformed on the gold strips. Half of the gold strip was coated two times with electroformed gold, and the other half one time. The data from the cone focal laser system was processed to get the vertical profile of the strips and the difference of the vertical height between the double coated and single coated layer was regarded as the thickness of the gold coating. The layer thickness value to built 3D image of the cone-focal laser was set $0.5{\mu}m$. Next to the measurement of the thickness of the coating, the Vicker's hardness test was done. It was performed on the double coated surface, single coated surface and non-coated surface (back side) three times each. Results. The mean thickness value gained from gold electroforming technique was measured to be $22{\mu}m$ for sample 1, $23{\mu}m$ for sample 2, $21{\mu}m$ for sample 3. In the same condition of time, power and the amount of electrolyte, the data showed no difference between samples. According to the results of variance analysis, the differences among the variations in number of coating were statistically insignificant (p>0.05), meaning that the two times of gold electroforming coating did not change the hardness of gold-silver-palladium alloy. Conclusion. The test of thickness of gold coating proved the coherency of the gold electroforming procedure, in other words, when the power, the exposed surface area, processing time and the amount of electrolytes were set same, the same thickness of gold would be coated on. The hardness test showed that the electroformed gold coating did not change the hardness of the gold-silver-palladium alloy when it is coated not more than $45{\mu}m$.

임플랜트 지대주와 주조 금합금과의 접합 및 부식에 관한 연구

손미경,마장선,정재헌,Son, Mee-Kyoung,Ma, Jang-Seon,Chung, Chae-Heon 대한치과보철학회 1999 대한치과보철학회지 Vol.37 No.5

The purpose of this study was to compare the casting problem and corrosion behavior in two types of HL Hexed abutments of the Steri-Oss system ; gold/plastic coping and gold coping. The anodic Polarization behavior, the galvanic corrosion between abutments and Type III gold alloys, before and after casting were analyzed, and the crevice corrosion of casting samples was analyzed with the CPPT test and the SEM. The results are as follows : 1. Anodic polarization behavior of samples ; Before casting, gold/plastic coping and gold coping was shown to have a similar corrosion pat-terns. Type III casting gold alloy was shown to have a lower corrosion potential and passivation film. Corrosion potential of the case of gold/plastic coping after casting was higher than that of gold coping, but the region of passivation film for gold/plastic coping was smaller than that of gold coping. 2. Galvanic corrosion behavior of samples ; Contact current density between casting gold alloys and gold/plastic before casting was higher than that between gold coping and casting gold alloy Galvanic corrosion of samples after casting was shown to have similar contact current density 3. Crevice corrosion behavior of samples ; Crevice corrosion resistance of casting sample using gold coping was lower than that of cast-ing sample using gold/plastic coping, and a severe corrosion pattern was observed at the abutment-casting gold alloy interface by the SEM.

조선 전기 아미타팔대보살도 연구-한국 개인소장 金線描阿彌陀八大菩薩圖를 중심으로

김형곤 동악미술사학회 2018 東岳美術史學 Vol.0 No.24

본 연구는 조선 전기 아미타팔대보살도의 현황과 제작인식에 관한 전반적인 내용을 토대로 한국 개인소장 <금선묘아미타팔대보살도>의 도상과 화풍을 중점적으로 다루는데 목적이 있다. 조선 전기 아미타팔대보살도는 고려시대에 비해 현존 작품수가 급격하게 줄어들었지만, 고려의 도상을 계승하려는 인식이 충분했으며, 16세기까지 큰 변화없이 이어져왔다. 현존하는 조선 전기 아미타팔대보살도는 총 6점이 알려져 있다. 한국 개인소장 <금선묘아미타팔대보살도>는 그 중 한 점으로 2006년 동국대학교 건학100주년 기념특별전 <국보전>을 통해 최초로 공개되어 많은 관심을 받았다. 전시를 통해 본 불화에 대한 관심이 높아졌지만, 작품의 제작시기, 작가, 소장처, 후원자 등 객관적인 정보가 누락되어 조선 전기 불화에서 주목받지 못했다. 그러나 본 불화는 고려의 전통 도상을 계승하고 16세기 왕실발원 혹은 궁정화풍 선묘불화의 특징이 고스란히 표현된 상당히 수준이 높은 작품이다. 한국 개인소장 <금선묘아미타팔대보살도>의 세부적인 도상과 표현기법은 1532년 일본 엔라쿠지소장 <금선묘아미타팔대보살도>를 모본으로 제작한 것으로 보이며, 두 작품의 도상과 화풍의 관련성은 본 불화의 위치를 추정하게 하는데 많은 도움을 준다. 우선, 불화의 제작에 사용된 비단과 금, 금니를 표현하는 방식은 1532년 엔라쿠지본을 포함하여 조선 16세기 문정왕후 발원 왕실발원 선묘불화에서 쉽게 찾아 볼 수 있다. 그 중 공간을 가득 채우는 금니의 운용과 선묘의 흐름 그리고 뇌문, 마엽문, 수파문, 초문 등 다양한 형태의 무늬는 한국 개인소장 <금선묘아미타팔대보살도>를 비롯하여 1562년 일본 엔츠지소장 <금선묘약사삼존십이신장도>, 1565년 국립중앙박물관소장 <금선묘약사삼존도> 등에서도 살펴볼 수 있다. 이러한 표현의 유사성은 한국 개인소장본이 단순히 민간 차원에서 제작된 불화가 아니라는 점을 분명하게 시사해준다. 한국 개인소장 <금선묘아미타팔대보살도>는 도상과 표현기법을 통해 16세기 중반 왕실발원 선묘불화가 활발히 제작되고 난 이후 선묘불화가 확산되는 16세기 중반을 넘어선 시점에 제작되었을 것으로 추정된다. 아울러 한국 개인소장본은 공간을 선묘가 가득 채우는 선묘불화의 전통성을 지향하고 있지만, 몇 가지 표현기법을 통해 왕실에서 직접적인 비호 아래 제작된 불화는 아닌 것으로 판단된다. 특히, 선의 탄력성이 떨어지고 단순화된 무늬를 통한 공간의 구성력은 왕실이라는 특정 계층과 화사가 직접 관여하여 제작했기 보다는 그 주변 환경속에서 탄생된 불화로 이해할 수 있다. 한편, 한국 개인소장 <금선묘아미타팔대보살도>는 화면 상부와 하부가 원본의 현상에서 벗어나 있다. 아마도 일본으로 불화가 건너간 이후 화면의 상·하부에 비단을 덧대어 붙였던 것으로 보이며, 화면 상부에 등장하는 글 역시 어느 시점에 일본에서 추기한 것으로 보인다. 글 속에 등장하는 일본의 推古天皇(592-628) 때 활동한 승려 久能忠仁(?-?)이 활동한 지역이 현재 일본 시즈오카라는 점은 한국 개인소장본의 일본내에 소장처를 추정할 수 있는 단서를 제공해준다. 또한, 글의 내용이 ‘축원과 기원’이라는 성격이 담겨져 있는 점과 눈에 띄이는 백서로 쓰여진 점에서 한국 개인소장 <금선묘아미타팔대보살도>의 일본내에서 관심은 적지 않았던 것으로 이해할 수 있다. The purpose of this study is to examine the iconography and painting style of <Gold-Lined Screen of Amitabha with Eight Great Bodhisattras> owned by Korea based on the general matters about current status and perception on production of Screen of Amitabha with Eight Great Bodhisattras during early Joseon Dynasty. In early Joseon Dynasty, although the number of Screen of Amitabha with Eight Great Bodhisattras sharply decreased compared to Goryeo Dynasty, people had enough intention to inherit iconography of Goryeo Dynasty and it continued until 16th century without major changes. There are total of 6 Screen of Amitabha with Eight Great Bodhisattras are known to be remaining from early Joseon Dynasty. Gold-Lined Screen of Amitabha with Eight Great Bodhisattras owned by Korea is one of the 6 remains and it was first released in the special 100th anniversary exhibition of Dongguk University, <National Treasure Exhibition> in 2006. Although more people got interested in Buddhist paintings through the exhibition, the objective information such as painting time, painter, holding institute, and sponsor was omitted and the Gold-Lined Screen of Amitabha with Eight Great Bodhisattras couldn’t get much attention. Gold-Lined Screen of Amitabha with Eight Great Bodhisattras is a sophisticated work which inherits the traditional iconography of Goryeo Dynasty and expresses the characteristics of line-drawing Buddhist paintings from the royal family or royal style during 16th century. It is assumed that the detailed iconography and expressive technique of <Gold-Lined Screen of Amitabha with Eight Great Bodhisattras> took < Gold-Lined Screen of Amitabha with Eight Great Bodhisattras > owned by Enryakuji, Japan in 1532 as example. The iconography and painting styles of the two paintings help in assuming the location of the <Gold-Lined Screen of Amitabha with Eight Great Bodhisattras> owned by Korea. For instance, the methods of expressing the silk, gold, and gilt are easily found in line-drawing Buddhist paintings from royal family during the Queen Munjeong period in 16th century and Gold-Lined Screen of Amitabha with Eight Great Bodhisattras from Enryakuji, Japan in 1532. Among them, the use of gilt filling up the whole space, flower of line-drawing, and various patterns of lightening, wind, wave, and grass are found in < Gold-Lined Screen of Amitabha with Eight Great Bodhisattras > owned by Korea, <Gold-Lined Paintings of Bhaisaiyaguru Triad and 12 Servants> owned by Wontongsa Temple, Japan in 1562, and <Gold-Lined Painting of Bhaisaiyaguru Triad> owned by National Museum of Korea in 1565. Such similar expressions clearly imply that Screen of Amitabha with Eight Great Bodhisattras owned by Korea is not a Buddhist painting produced in a private level. Based on iconography and expressive technique. it is assumed that the <Gold-Lined Screen of Amitabha with Eight Great Bodhisattras > owned by Korea was produced in mid-16th century when line-drawing Buddhist paintings from loyal family were actively produced and when line-drawing Buddhist paintings were widely spread. In addition, while <Gold-Lined Screen of Amitabha with Eight Great Bodhisattras> owned by Korea seeks the traditionality of line-drawing Buddhist painting where lines fill up the space, few expressive techniques indicate that the painting was not produced directly by the loyal family. Especially, the lines have less elasticity and the space is composed of simplified patterns. Such characteristics show that the royal family and royal painter were not directly involved in the painting and that the painting was produced in the surrounding environment. Meanwhile, < Gold-Lined Screen of Amitabha with Eight Great Bodhisattras > owned by Korea has top part and bottom part deviating from the original screen. It is assumed that silks were added on the top and bottom part of the screen when the Buddhist painting were brought to Japan. Also, the writing found on the top part is assum...

Corrosion Behavior between Dental Implant Abutment and Cast Gold Alloy

Son, Mi-Kyoung,Choe, Han-Cheol,Chung, Chae-Heon 대한금속재료학회 2004 METALS AND MATERIALS International Vol.10 No.2

TWO types of HL hexed abutments of a Steri-Oss system, gold/plastic coping and gold coping, were compared in terms of corrosion behavior. The anodic polarization behavior and the galvanic corrosion between abutments and Type III gold alloys, before and after casting, were analyzed. In addition, the crevice corrosion of the casting samples was analyzed with cyclic potentiodynamic polarization tests using the IE-E value and scanning electron microscopy. Before casting, gold/plastic coping and gold coping were shown to have similar corrosion patterns in the anodic polarization test. Type III casting gold alloy was shown to have a lower corrosion potential and passivation film. The corrosion potential of the goldlplastic coping after casting was higher than that of gold coping, but the passive region for the goldplastic coping was smaller than that of gold coping. The contact current density between the cast gold alloys and goldplastic before casting was higher than that between gold coping and cast gold alloy. The contact current density of the samples after casting was shown to be similar to that before casting. The crevice corrosion resistance of cast samples using gold coping was lower than that of cast samples using goldlplastic coping, and severe corrosion was observed by SEM at the abutment-casting gold alloy interface.

고려시기(高麗時期) 사원(寺院)의 금은(金銀) 소비(消費)

이병희 ( Lee Byung-hee ) 청람사학회 2018 靑藍史學 Vol.28 No.-

Both gold and silver was part of the most valuable matters whose possession was allowed only for the extremely high class rather than ordinary people. Gold and silver was used for foreign trade, coinage(especially Eunbyeong), luxury items at the royal palace, and bestowal to the subjects. Gold and silver was also used to make Buddhist works of art. It was even pointed out that temples consumed much more gold and silver than the state. There were rivalry relations between the state and temples even in the use of gold and silver as well as copper. It was a common practice to use gold and silver to make Buddhist statues in Goryeo. It is estimated that approximately 500g of gold was used to plate a Buddhist statue with gold. Buddhist statues made of 100% gold or silver were small, consuming hundreds of grams of gold or silver. Gold and silver was widely consumed to make Sagyeong, which had long been made. Its making was the most active during Yuan’s intervention. When Sagyeong was for an entire set of scriptures, a couple of kilograms of gold and silver were used. Gold and silver was also broadly used to make all kinds of Buddhist craftwork and install ornaments. It is not easy to estimate accurately the amount of gold and silver used to make Buddhist works of art. Given the number of Buddhist temples around the nation, the total amounts of gold and silver used by the Buddhist community must have been enormous at thousands of kilograms. During the reign of King Woo at the end of Goryeo, the country had considerable hardship to meet the massive demand of gold and silver from Ming. The shortage of gold and silver was mainly attributed to the outflow of gold and silver to Yuan and the paralysis of production. In addition, the large consumption of gold and silver to make Buddhists works of art was another important factor. Trying to prepare gold and silver to present to Ming, the government worked hard on the production of gold and silver, put the old items made of gold and silver in requisition, and prohibited the use of gold and silver in the creation of Buddhist art. There were measures to prohibit strictly the consumption of gold and silver in the making of Buddhist statues and Sagyeong from the end of Goryeo to the beginning of Joseon. As a result, it was rare to us e gold and silver to make Buddhist works of art in early Joseon.