• Proceedings of the Korean Information Science Society Conference
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• 2005.07b
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• pp.163-165
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• 2005

ROLAP 시스템에서는 다차원 OLAP 큐브를 관계 데이터베이스 내에 여러 집계 테이블을 사용하여 저장하며, 관계 DBMS 기능을 그대로 이용하므로 구현이 간단하다. 이들 집계 테이블들은 대용량의 소스 데이타(즉, 사실 테이블)를 정렬한 후 이에 대한 집계 값을 계산하므로 큐브를 생성하는데 많은 시간이 소요된다. 이러한 다차원 큐브를 효율적으로 생성할 수 있는 여러 가지 방법이 제안되었다. 이들 방법들은 큐브 생성 시간이 사실 테이블을 정렬하는데 주로 소요되므로 이 횟수를 줄이는 기법을 주로 제안하였다. 그러나 이러한 큐브 생성 알고리즘의 성능은 실제 DBMS 상에서 평가되지 않았다. 이 연구에서는 기존의 큐브 생성 알고리즘들을 관계 DBMS 상에서 그 성능을 비교 평가하였다.

• KOMUNHWA
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• no.57
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• pp.113-127
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• 2001

This paper introduces the reverse 'L' shaped roof-tiles discovered in Kyongju and tries to date them on the basis of the manufacturing technology of roof-tiles and associated various kinds of roof-tiles. Furthermore, I examined the characteristics of the

• Journal of Conservation Science
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• v.33 no.5
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• pp.355-362
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• 2017

The Nongso tomb of Sunchang was built in a relatively deep place; hence there was little damage from grave robbers. The tomb was completely filled with a large amount of charcoal, and therefore the wooden coffin was excavated in relatively good condition. On the basis of the structure of the tombs, excavated artifacts, and radiocarbon dating results, the tomb is estimated to be from between the late Goryeo and the early Joseon period. The wooden coffin excavated is double-layered structures consisting of an outer coffin and an inner coffin. The outside of the wooden coffin is thickly lacquered and decorated with yellow letters and white motifs. An analysis of the pigments' components revealed that the major component of the letters was gold (Au) and the major component of the motifs was silver (Ag). The coffin lacquer had three layers: a pigment layer, a yellowish-brown layer, and a black layer. The wooden bases of the coffins were painted with a black substance, such as soot, as mineral elements were not detected in the black layer. The yellowish-brown layer is presumed to be refined lacquer. From the analysis of the structure of the layers and pigments, we can estimate the method was adopted for making lacquer for wooden coffin. It is assumed that the method used gold leaf and gold powder. The form of the pigment and the internal structure are likely to be gold leaf, but the shape of the surface letters appears to have been formed using gold powder. This study will serve as important information for understanding lacquer making techniques at the time of the tombs' construction by confirming the making method through reproduction experiments using gold leaf and gold powder.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.120-147
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• 2024

The inscribed bricks from the Tomb of Jang Mui are unique in many ways. First, there are nearly a hundred of them. Second, there are multiples bearing the same inscriptions. Third, their production methods, including type of firing, are diverse. Fourth, the forms of the bricks are inconsistent. Fifth, the positioning of the sides with inscriptions or stamped designs and those with no designs (as well as the vertical orientation of the inscriptions) are inconsistent. Sixth, most bricks bear inscriptions written reverseds. Seventh, white lime has been painted on the surfaces of the inscribed bricks. Despite these aspects, however, a comparison with Chinese inscribed bricks from the Weijin Dynasties reveals that the inscribed bricks from the Tomb of Jang Mui are indeed connected to their counterparts and provide important materials for forging a more holistic understanding of East Asian culture. Moreover, the understanding of the inscriptions as not just a series of Chinese characters, but as textual objects with characters stamped on them, a focus on how the inscribed bricks were placed inside the tomb, and the observation of them from viewers' perspectives can help clarify the significance of the inscribed bricks from the Tomb of Jang Mui.

• Archives of design research
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• v.18 no.4 s.62
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• pp.277-286
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• 2005

The purpose of this study is to ascertain the design element in traditional palaces of Korea, China and Japan. It takes threesteps to proceed this study. Firstly, it needs to be established the analysis framework from the documents. In second step, the design elements - the form, the material, the pattern and the color - should be collected and investigated through the observation of the actual traditional palaces the Changduckung, the Forbidden City, the Nijo castle. The third step is the analysis of the results of the investigation of the design elements from step two. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China and Japan is as the following It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas' and 'confucianism'. But the representation style of the design element is differed from the country. : The typical features of China are symmetry, glassy surface by artificial process, the meandered curve, the magnificent pattern and the constrable color. In Japan, the mathematical asymmetry, made-up rough surface by artificial skill, decorativepattern with abbreviation and achromatic color are important feature of the design element. While the major features of Korean design element are asymmetrical balance with nature, rough surface by natural process, moderate pattern and harmonious color.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1941-1955
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• 2009

This study compares street fashions in Korea and Japan to investigate possible interactive influences. Women's street fashion data were obtained from two magazines in each country from the 2003 spring/summer season to the 2007/08 fall/winter season. A total of 2211 pictures were used in the final analysis. The longitudinal changes in street fashion showed a similar trend toward full coordination, the increased use of colors and prints, and the influences of global fashion trends in both countries. The results showed a time lag between the two countries in the adoption of some clothing items that suggest the influence of Japanese street fashion in Korea. The time lag has diminished and since 2006, street fashion has simultaneously progressed under the mutual and common influences of global trends. There are more fashion similarities in the spring/summer than in fall/winter. The adoption of fashion accessories did not show any sign of a time lag and many accessories became popular during the same season.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.135-143
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• 2006

The definition of the 'Pocket', according to the Korean encyclopedia, is an accessory that a person puts in small belongings or money and carry on waist or holds with a hand. Since the pockets were not attached to the clothes at that period of time, the portable bag or pocket had been used without distinction of age or sex for carrying personal belongings. The pocket in France was also used in a similar manner, where it was used as a handbag to carry purse, comb, or a key by women during the middle ages. The pockets were decorated, made of quality material such as velvet, silk, or satin with splendid embroidery or beads. This study closely examines the history of the pocket from late 16th century around Renaissance to early 20th century in France and during the mid Cho-Sun dynasty in Korea and compares the different kinds of patterns, symbolism, and the purpose of the pockets. In addition, the relationships between the pockets, belongings, and ornament are examined as well by thoroughly investigating the unique characteristics of the pocket of each country.