• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.186-203
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• 2015

This article attempts to examine both the outcome and future task of the art history research on Central Eurasia, better known under the name of "Silk Road". The term Central Eurasia encompasses Xinjiang Uygur, Tibet, Mongolia, former Soviet Republics, the northwest region of India, Iran and Turkey. The article analyzes the 30-year history of the region's art history research and further presents a desirable direction that the study should move towards. Though short in its research period, the ROK's art history study on Central Eurasia has shown eye-catching achievement in several areas such as the northwest region of India and the Xinjiang Uygur, Dunhwang of China. Two factors allowed for this accomplishment. First was the actual improvement of the work environment, where the scholars were finally able to travel to Central Eurasia and explore the historic sites for themselves since 1990. More important was the 'arena of study' for the next-generation scholars made possible by institutions like The Korean Association for Central Asian Studies and the Center for Central Eurasian Studies. Slowly but consistently, the two academic societies induced scholars' attention towards the field and fostered new experts. Circumstances changed, marking 2012 as the starting point. International academic forums held by the government branches surged in number. The intention behind it was to link the ROK with the Silk Road and ultimately to obtain the "Eurasia initiative". As of now, the public has shown heightened interest in the issue. The academia is subsequently riding on this second "wave of interest" following the first wave in the 1980s. However, increased popularity comes with some negative consequences, and this art history research on Central Eurasia is no exception. There are criticisms regarding the objectivity of recent academic forums. Some argue that the aim of the forums are sternly set most of the times, prohibiting the presenters to voice their own perspectives. Still, this heated attention will definitely play its role as a stepping stone for further development. The academia should commit to fostering rising researchers who will systemically and professionally study the field. This is imperative in order for the Korean culture to successfully communicate with the world and take itself to a new level. Without completing this task, the ROK's art history research on Central Eurasia is likely to remain idle.

• Korean Journal of Remote Sensing
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• v.34 no.6_3
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• pp.1457-1468
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• 2018

The sigma naught (${\sigma}^0$) equation is essential to calculate geo-physical properties from Synthetic Aperture Radar (SAR) images for the applications such as ground target identification,surface classification, sea wind speed calculation, and soil moisture estimation. In this paper, we are suggesting new Kompsat-5 (K5) Radar Cross Section (RCS) and ${\sigma}^0$ equations reflecting the final SAR processor update and absolute radiometric calibration in order to increase the application of K5 SAR images. Firstly, we analyzed the accuracy of the K5 RCS equation by using trihedral corner reflectors installed in the Kompsat calibration site in Mongolia. The average difference between the calculated values using RCS equation and the measured values with K5 SAR processor was about $0.2dBm^2$ for Spotlight and Stripmap imaging modes. In addition, the verification of the K5 ${\sigma}^0$ equation was carried out using the TerraSAR-X (TSX) and Sentinel-1A (S-1A) SAR images over Amazon rainforest, where the backscattering characteristics are not significantly affected by the seasonal change. The calculated ${\sigma}^0$ difference between K5 and TSX/S-1A was less than 0.6 dB. Considering the K5 absolute radiometric accuracy requirement, which is 2.0 dB ($1{\sigma}$), the average difference of $0.2dBm^2$ for RCS equation and the maximum difference of 0.6 dB for ${\sigma}^0$ equation show that the accuracies of the suggested equations are relatively high. In the future, the validity of the suggested RCS and ${\sigma}^0$ equations is expected to be verified through the application such as sea wind speed calculation, where quantitative analysis is possible.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Korea Science and Art Forum
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• v.30
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• pp.119-127
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• 2017

Multi-cultural societies in the era of globalization are now common phenomena all over the world. Since our country has already entered into a multi-cultural society, we can no longer stay in the ideology of a single nation. However, current national policies and researches related to multi-cultural society in Korea are limited to institutional aspects and unilateral education of Korean culture. Therefore, this study aims to overcome these practical limitations. The purpose of this study is to acquire design resources in the folk paintings reflecting the culture of each country. And We will develop textile design content that can be applied to most closely related textile products in daily life. Through this, it is aimed to raise awareness of various cultures and to suggest a communication method through cultural exchange. Therefore, this study has developed color and textile pattern design contents through analysis of characteristics of China, Vietnam, and Japan peoples of the three most frequent countries based on the status of domestic marriage immigrants. And tried to apply it immediately to various textile products. The results and contents of the study are as follows. First, the domestic multi-cultural society was formed through international marriage, and the largest number of marriage immigrants came from China, Vietnam, Japan, the Philippines, Cambodia, Thailand, Mongolia and others. Second, folk paintings are suitable for developing textile design contents as an important factor implied by different cultures of different countries. Thirdly, we have developed the pattern and coloring DB and textile pattern design contents by using folk paintings of China, Vietnam and Japan. As a result, we could verify the utilization of contents reflecting the cultural characteristics of each country and the possibility of commercialization. Based on the results of this research, we hope to contribute to the harmonization of the emotional and artistic aspects that naturally share the culture among multi-cultural society members and to develop differentiated related products.

• Journal of Nutrition and Health
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• v.56 no.3
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• pp.264-276
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• 2023

Purpose: Food environmental factors related to food insecurity affect household food intake in several socio-ecological aspects. This study explores the relationship between food environment factors and food insecurity in households with married immigrant women. Methods: From November 2018 to February 2020, a survey was conducted enrolling 249 married immigrant women residing in the metropolitan areas of South Korea. In the final analysis, 229 subjects were divided into 2 groups classified as food security (n = 154) and food insecurity (n = 75), as assessed by the score of food security. Three aspects of food environments were measured: built·natural, political·economic, and socio-cultural Results: Food environments were significantly different between food security and food insecurity groups, as follows: the number of foods market and their distance from the home and food status for the last week at home in the built·natural domain; monthly cost of food purchase and experience for food assistance in the political·economic domain; total score of social support, parenting, and cooking skills in the socio-cultural domain. A stepwise multivariate linear regression model showed a negative association between the food insecurity score with social support from family and food inventory status in the last week. After adjusting for confounders, a positive association was obtained between the experience of a food support program. The final regression model explains about 30% of the relationship obtained in the three food environment domains and food insecurity (p < 0.001). Conclusion: Not only economic factors, which are common determinants of household food insecurity, but socio-cultural factors such as social support also affect household food insecurity. Therefore, plans for implementing a food assistance program to improve food insecurity for households with immigrant women should consider financial support as well as other comprehensive aspects, including socio-cultural domain such as social support from family and community.

• The Korean Journal of Air & Space Law and Policy
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• v.28 no.1
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• pp.115-157
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• 2013

Some contracting States of the Convention on International Civil Aviation (commonly known as the Chicago Convention) issue FAOC(Foreign AOC and/or Operations Specifications) and conduct various safety audits for the foreign operators. These FAOC and safety audits on the foreign operators are being expanded to other parts of the world. While this trend is the strengthening measure of aviation safety resulting in the reduction of aircraft accident, it is the source of concern from the legal as well as economic perspectives. FAOC of the USA doubly burdens the other contracting States to the Chicago Convention because it is the requirement other than that prescribed by the Chicago Convention of which provisions are faithfully observed by almost all the contracting States. The Chicago Convention in its Article 33 stipulates that each contracting State recognize the validity of the certificates of airworthiness and licenses issued by other contracting States as long as they meet the minimum standards of the ICAO. Consequently, it is submitted that the unilateral action of the USA, China, Mongolia, Australia, and the Philippines issuing the FOAC to the aircraft of other States is against the Convention. It is worry some that this breach of international law is likely to be followed by the European Union which is believed to be in preparation for its own unilateral application. The ICAO established by the Chicago Convention to be in charge of safe and orderly development of the international civil aviation has been in hard work to both upgrade and emphasize the safe operation of aircraft. As the result of these endeavors, it prepared a new Annex 19 to the Chicago Convention with the title of "Safety Management" and with the applicable date 14 November 2013. It is this Annex and other ICAO documents relevant to the safety that the contracting States to the Chicago Convention have to observe. Otherwise, it is the economical burden due to probable delay in issuing the FOAC and bureaucracies combined with many different paperworks and regulations depending on where the aircraft is flown. It is exactly to avoid this type of confusion and waste that the Chicago Convention aimed at when it was adopted in 1944. The State of the operator shall establish a system for both the certification and the continued surveillance of the operator in accordance with ICAO SARPs to ensure that the required standards of operations are maintained. Certainly the operator shall meet and maintain the requirements established by the States in which it operate. The authority of a State stops where the authority of another State intervenes or where the former has yielded its power by an international agreement for the sake of international cooperation. Hence, it is not within the realm of the State to issue FAOC towards foreign operators for the reason that these foreign operators are flying in and out of the State. Furthermore, there are other safety audits such as ICAO USOAP, IATA IOSA, FAA IASA, and EU SAFA that assure the safe operation of the aircraft, but within the limit of their power and in compliance with the ICAO SARPs. If the safety level of any operator is not satisfactory, the operator could be banned to operate in the contracting States with watchful eyes until the ICAO SARPs are met. This time-honoured practice has been applied without any serious problems. Besides, we have the new Annex 19 to strengthen and upgrade with easy reference for contracting States. We don't have no reason to introduce additional burden to the States by unilateral actions of some States. These actions have to be corrected. On the other hand, when it comes to the carriage of the Personal or Pilot Log Book, the Korean regulation requiring it is in contrast with other relevant provisions of USA, USOAP, IOSA, and SAFA. The Chicago Convention requires in its Articles 29 and 34 only the carriage of the Journey Log Book and some other certificates, but do not mention the Personal Log Book at all. Paragraph 5.1.1.1 of Annex 1 to the Chicago Convention even makes it clear that the carriage in the aircraft of the Personal Log Book is not required on international flights. The unique Korean regulation in this regards giving the unnecessary burden to the national flag air carriers has to be lifted at once.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.54-73
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• 2012

In this article, we examined the patterns of activities of the Sarmathians though in a humble measure, with a focus on the regions where the Sarmathian sheaths spreaded. One of the main weapons the mounted nomads like the Scythias, the Sarmathians, and the Alans used at war was a spear. Though complementary, a sword was the most convenient and appropriate weapon when fighting at a near distance, fallen from the horse to the ground. The Sarmathian swords continued the tradition of the Akinakes which the Scythias or the Persians used, but those of the Sarmathians showed some advances in terms of the easiness with which a sword was drawn out from a sheath, and the way the sheaths were worn to parts of a human body. It turns out that the Sarmathian sheaths, which were designed for the people to draw swords easily, having the sheaths attached to thighs through 4 bumps, spread extensively from Pazyryk, Altai, to South Siberia, Bactria, Parthia and Rome. The most noteworthy out of all the Sarmathian sheaths were the ones that were excavated from the 4th tomb in Tillatepe, Afghanistan which belonged to the region of Bactria. The owner of the fourth tomb of Tilla-tepe whose region was under the control of Kushan Dynasty at that time, was buried wearing Sarmathian swords, and regarded as a big shot in the region of Bactria which was also under the governance of Kushan Dynasty. The fact that the owner of the tomb wore two swords suggests that there had been active exchange between Bactria and Sarmathia. It seemed that the reason why the Sarmathians could play an important role in the exchange between the East and the West might have something to do with their role of supplying Chinese goods to Silk Road. That's why we are interested in how the copper mirrors of Han Dynasty, decoration beads like melon-type beads, crystal beads and goldring articulated beads, and the artifacts of South China which produced silks were excavated in the northern steppe route where the Sarmathians actively worked. Our study have established that the eye beads discovered in Sarmathian tomb estimated to have been built around the 1st century B.C. were reprocessed in China, and then imported to Sarmathia again. We should note the Huns as a medium between the Sarmathians and the South China which were far apart from each other. Thus gold-ring articulated beads which were spread out mainly across the South China has been discovered in the Huns' remains. On the other hand, between 2nd century B.C. and 2nd century A.D. which were main periods of the Sarmathians, it was considered that the traffic route connecting the steppe route and the South China might be West-South silk road which started from Yunnan, passed through Myanmar, Pakistan, and Afghanistan, and then went into the east of India. The West-south Silk road is presumed to have been used by nomadic tribes who wanted to get the goods from South China before the Oasis route was activated by the Han Dynasty's policy of managing the countries bordering on Western China.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.