• The Journal of Korean Philosophical History
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• no.32
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• pp.337-370
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• 2011

The academic circle of the Qing Dynasty has seen a new trend, mostly based on Han-Hak through the event of the publication of "Sagojeyo" and sought a new change in the sector of Spring Autumn-Hak as well. This study is focused on understanding and evaluation of the developmental process of especially the traditional Spring Autumn-Hak view, among some views of "Sagojeyo" by the book. "Sagojeyo" does a critical analysis of Gongyang-Hak and Gokryang-Hak and the interpretation of "Spring Autumn" made by Song-Hak scholars, and which seems a kind of preparatory step to build up a new research methodology for Spring Autumn-Hak. "Sagojeyo" emphasizes the importance of "Jwacijeon" and also points out its weaknesses and strongly demands the acceptance of strengths "Gongyangjeon" and "Gokryangjeon" have in order to compensate such demerits. Even further, it tries to evaluate Spring Autumn-Hak of the Song Dynasty objectively and reasonably as possible with no prejudice. Such analysis attitude made it possible for Spring Autumn-Hak to get a new turning point starting from the publication of "Sagojeyo". The new research methodology that comprehensively judges historical research and fidelity discourse could be one of important achievements discovered in the Han-Hak-centered academic circle in the early Qing Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.12-20
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• 2015

Sujeong-Dong garden heritage is a unique, valuable villa garden constructed by Gosan Yoon Sun-Do during middle Joseon period. However, the site has been faced on damage risk because of the development of near quarry. The purpose of the study is to suggest careful maintenance plan for the valuable Korean traditional garden heritage. For the plan, the study conducts the interview of residents and experts, literature review, the investigation of historical materials, site survey, and the analysis of aerial photography. The results are following: Firstly, the paper divides the site into three types of an excavation area: core, recommend and investigation. Secondly, of remained Gosan's one and remains of unknown contents, it has the plan of vegetation maintenance, safety facilities, pathway maintenance, and service area. Thirdly, it also suggests pathway plan for authentic garden promenade according to the literature of Sanjungsingok(山中新曲), site survey, and interviews with residents and experts. The study has a special meaning for an insightful approach based on the accurate site survey, research, and the consideration of practical use.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.1-13
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• 2005

This study is for the construction of Cheo-Yongdance Costumeby historical research based on Ak-Hak-Gue-Peom(樂學軌範). Through the production of Cheo-Yongdance Costume by historical research, it is examined and this study is expected that be a help of the right succession of a traditional costume. Cheo-Yongdance Costumeis draught to real size by comparing the size and picture suggested in Ak-Hak-Gue-Peom. In the specialty of Cheoyong(處容) dance Costume in the drawing, the length of clothes was 152cm that is longer than the length of the excavated Danlyeong(團領) of Chosun Dynasty period. Width was 81.9cm that is very big and the width of Danlyeong is 11.7cm. The sleeve length of Hansam(汗衫) is 20O.60cm and it is one that attached Hansam to Jeogori(저고리). The material used for Cheoyong dance Costume is Dan(緞), Cho, Joo(紬), Red gold patterned brocade(紅金線). At the same part, and as the goal was differently used at the same clothing. As the methods of dyeing, the process of dyeing naturally is suggested. A gardenia seeds, indigo plant, and ink stick are used for the color of blue, red, yellow and black. The producing process is made in concrete by suggesting the process of producing clothing. Danlyeong is required the technique of smoothing out wrinklesin case of attaching. Goon(裙) was made by making plaits below and attaching string for making form in the literature. Ui(衣), Chon-ui(天衣) and Goon(裙)'s Bang-sul(方膝) are drawn a Man-hwa Mun(蔓花紋) on Ak-Hak-Gue-Peom by using the golden dyeing material. As the result of producing the clothe by using the recorded size in Ak-Hak-Gue-Peom, it could be examine a pertinent dance clothing for expressing the dance performance with big motions.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.8
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• pp.991-1005
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• 2011

This study researches the historical production, process, and design method for 3 pairs of corsets in $18^{th}$ century France. In the analytical stage of historical materials, it grasped the kind, form, origin, and change in style through a lexical definition of relevant terms. Through a precedent study on Garsault's 'L'art du tailleur', preservation costume, and historical reconstruction of pattern in preservation costume, it confirmed corps size, silhouette, pattern form, and material for historical production. The sewing method and the producing sequence were analyzed. In the production stage, 3 selective models in corps plein baleine, corps demi-baleine, and corset were historically produced. With neckline of forming broad Letter U, the bust part is covered roundly. The bodice was composed of 10 panels based on the corps form in the mid-$18^{th}$ century of following a curve of a human body. A shoulder strap was allowed to make the arm movement comfortable by producing and attaching it separately. The cutting line except the center in the front and the back of vertical line was distributed according to the natural flow of a form and movement of the human body. The curve-based pattern line was confirmed.

• Fashion & Textile Research Journal
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• v.22 no.1
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• pp.11-24
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• 2020

This research examines pattern production of 3 men's costumes in the second half of 19th century by 3D reconstruction to reveal technical aspects of mail costumes. The steps are as follows. First, an examination of selective type according to research study. Second, a pattern analysis of 3 historical male tops of 19th century referred to 9 pattern books of the France National Library collection. Third, a categorized type analysis that referred to paintings of the Musée d'Orsay collection. Fourth, a measurement and structure research of 3 historical garments of Fashion and Textile Museum collection. Fifth, the pattern making and fitting by 3D simulation. Research discussed the following subjects and results. First, main type of men's coat can be categorized by frac, redingote, jaquette, and veston. Second, the male costume pattern contained in pattern books was researched along with distinguished silhouettes and structures; X silhouette for frac and redingote, H silhouette for jaquette, and straight box silhouette for veston. Third, based on the analysis of representative type of men's costume per period conducted previous studies, 2 redingotes and a jaquette in the museum were selected and compared to other data such as image materials. Last, the following process was conducted for reconstruction; 'Drawing diagram-Primary pattern drafting by measurement value-3D virtual fitting-Checking the fit-Modification and complement'. We also obtained a 3D virtual reconstruction and a 2D research pattern that suggested a costume pattern by each type along with 3D reconstruction that included insights for male coat techniques of 19th century France.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1322-1331
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• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.2
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• pp.113-136
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• 2000

Problems and improvemental measures for the historical inquiry of TV drama costumes and for the reproduction of them were investigated. For this study, the MBC historical drama 'The way of the Great King' started on march 24 in 1998 and ended on september 26 in 1998 was selected as the subject. The reasons why the drama was selected are as follows. First, the historical background was the time of King Young ＆ drama introduced various kinds of costumes Joungjo, which is the starting era of traditional costumes peculiar to Korea. Second, the based on the historical inquiry of that time. There is a limitation in the process of historical inquiry about the costumes of that time because we don't have enough research data such as relics, remains, references, literary works, pictures, etc. Although, in some cases, exact historical inquiry about the costumes were made, they could not be reproduced in the original forms due to several reasons: the absence of the materials of that time, structural changes including length and size for convenience of action, alterations of the manufacturing method for the reuse, addition of the gorgeous and various olors for the enhancement of image quality, variations in colors according to the actor's character, modulations of the structures and colors by the producer's intention, and the restraints in time and money for manufacturing. In view of these situations, it seems to be difficult for us to settle the problems occurring between the historical inquiry about the traditional costumes and the reproduction of them in drama. However, the costumes presented in historical drama have the meanings to provide informations of that time with TV audience. Therefore I think that it is necessary to narrow the gap between the historical inquiry of TV drama costumes and for the reproduction of hem, First, It should be restrained that each broadcasting stations show the costumes under the similar situations of the same age in different ways. Second, We need to unify the inquiry systems concerning historical drama costumes, In addition to this, it is also necessary for broadcasting stations to establish internet sites of traditional costumes for communication.

• The Bulletin of The Korean Astronomical Society
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• v.45 no.1
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• pp.55.3-56
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• 2020

유구한 전통을 배경으로 우리나라는 유네스코 세계기록유산을 세계 4위, 아시아 1위로 등재하여 기록물의 가치를 국제적으로 인정받고 있다. 이제는 세계 기록유산 16건이라는 등재 수량을 넘어, 활용도 증진을 통한 명실상부 질적 차원의 우수 세계 기록유산 보유국가로 성장해야 할 시기를 맞고 있다. 이러한 측면에서 기록유산의보편적 접근과 활용의 증진을 목적으로 하는 국제기록유산센터(ICDH, International Centre for Documentary Heritage)의 2019년 청주시 유치는 시사하는 바가 크다. 또 정부가 세계 기록유산의 다양한 활용 제고를 위한 지자체 협업 사업을 지원하기 시작한 것도 유의할만하다. 그러나 한국 천문학 분야에서는 세계 기록유산이 한 건도 지정되지 않아 우리나라의 우수한 과학적 성취가 담긴 사료들은 알려지지 않고 있으며, 체계적인 관리·보존도 미비한 상태다. 이에 이 연구는 한국 천문학 기록자원의 세계 기록유산 발굴과 등재 및 등재 이후 활용 증진을 위한 아웃리치 서비스의 방법론을 제언하는 데 목적을 가지며 다음 기획론을 제시하고자 한다. 먼저 한국 천문학 기록자원의 세계 기록유산 발굴을 위하여 유네스코의 등재평가기준과 참고할만한 등재과정의 선행사례를 분석한다. 다음으로, 등재 이후 정·관·학 협업의 체계적 관리보존과 공유체계를수립하는 방안을 모색하고자 한다. 이를 위하여 소장처와협업체간 분쟁의 소지가 될 수 있는 저작권 등 위험 요소와 참고할만한 국내외 협업의 선진사례를 분석한다. 마지막으로 한국 천문학계의 요구와 현실에 부합하는 기록학적방법론을 분석하여 한국 천문학 분야 세계 기록유산의 아웃리치서비스 방안을 제언하고자 한다. 이 연구는 천문학 분야에서 망실·훼손될 수 있는 기록 자원을 발굴하는 계기를 세계 기록유산에서 찾아, 천문학계에 새로운 연구의 장(場)을 창출하는 선순환을 도모했다는 점에서 의의가 있다. 그러나 선험적 기획이므로 과정상 발생할 수 있는 변수의 대처 방안과 유의성 분석 등 연구 결과 검증에는 한계가 있다. 향후 한국 천문학과의 협업으로 세계 기록유산과 관련한 사료 발굴과 가치 고증 등 학술적 이론 검증을 이어나가 다양한 학제 간 연구로 심화하길 기대한다.

• The Journal of Korean Philosophical History
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• no.28
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• pp.387-415
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• 2010

This article examines Zhu Xi(朱熹)'s theory of I-Qing(易經) present in Yi Xue Qi Meng. Zhu Xi aims to establish a novel Confucian theory of I-Qing, examining the study of I-Qing in Han Dynasity and the Taoist theory of I-Qing. To this end, he embraces Shao Yong(邵雍)'s theory of Xian Tian. Adapting the notion of Xian Tian(先天) as developed by Shao, he completes the Image-Number(象數) Theory of Hetu-Luoshu(河圖洛書). While discussing Hetu Luoshu, Zhu Xi argues that the Image and Number are not merely a form of prognostication, but a medium that reveals the principles of the nature and the sagely ways of mind. In addition, by studing I-Zhuan(易傳) in authoring Yi Xue Qi Meng, Zhu Xi maintains that the notions of Image and Number as he understands were to be approved by Confucius. This leads to the unification of Sho Yong's Tai-Ji(太極), Zou Dun Yi(周 敦頤)'s Tai-Ji, and Tai-Ji in Hetu. Through this work, Zhu Xi attempts to construct a systematic philosophy that straddles ontology and value theory, while identifying Li (理) with Xiang (象) and Shu (數). The Image-Number Theory of Hetu-Luoshu has replaced numerous theories of Image and Number at the time of Zhu Xi. Based on this theory, he restores the method of divination as presented in Xi CI Zhuan(繫辭傳). By successfully applying his theory of Image and Number to interpreting a number of recorded examples of divination during the Spring and Autumn period and the Warring States period, Zhu Xi demonstrates that his theory is not only an abstract metaphysical theory, but also can function as an adaptable method of divination.