• Journal of architectural history
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• v.29 no.2
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• pp.63-74
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• 2020

The palace byeoljeon(別殿), the King's non-ceremonial space, were created as a space for the king to comfortably use and for the king to do what he wanted to do. The byeoljeon housed various types of spaces and were flexible in that they could be repurposed to meet the demands of the times. Nevertheless, their characteristic as palatial building created for the King's convenience has remained unchanged. In this study, we examine the process by which such royal spaces were created by focusing on the reconstruction of the Changdeokgung Huijeongdang during Japanese occupation period, with a view to continuity and the transformation process. The reconstruction of Huijeongdang at the time may be considered along internal and external characteristics. Internally, Huijeongdang connected the symbolism of the king's space as the palace byeoljeon. Externally, Huijeongdang is characterized by its mixture of traditional and western style, where western style structures were housed within traditional buildings. The plans for the block of Huijeongdang also included the coexistence of traditional building, western style building, and mixture of traditional and western style building. This reflects the characteristic continuity of the byeoljeon as well as the architectural techniques of the time, manifested together within a specific spatial block.

• Journal of architectural history
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• v.29 no.3
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• pp.67-78
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• 2020

This study examines the transitional situation that can be seen from the palace operation in early Joseon Dynasty. The first decades of Joseon after the nation was founded differ from the Joseon Dynasty as a whole, but rather similar with the Goryeo Dynasty. By examining "The History of Goryeo(高麗史)," it showed that palace operation during the Goryeo Dynasy was marked by the fact that a separate palace was built and resided in despite the existence of the Bongweol(本闕, main palace) as the central palace. The separation of the parent's generation and the children's generation was shown through the establishment of one's own palace. Such trait of Goryeo affected palace construction directly after the founding of Joseon. This can be shown from the characteristic of palace operation by generation. The construction of the Changdeokgung Palace(昌德宮) of King Taejong, as his own palace, is an example. Afterwards, the palace system of Joseon was established, and the space of the king and the crown prince was merged through ritual reform during the reign of King Sejong. However, the space for the parents of the king were considered separate, and this influence continued to the reign of King Seongjong. The construction of Changgyeonggung Palace(昌慶宮) during the reign of King Seongjong is an event where the king proclaimed the separation with his mother and grandmother.

• Journal of the Korean Society for Library and Information Science
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• v.56 no.3
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• pp.213-239
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• 2022

This study attempted to organize the transition process of Royal Library (Gyujanggak) in chronological order, analyze the flow and find diachronic meaning during Gojong period, the most confused time at home and abroad prior to modernization. For this, first, the total status quo of King Gojong's library and book storage which played role of Royal Library and a personal library in Gojong period was investigated. Second, based on the current status of the investigation, the transition process from the Royal library in the early days of King Gojong to the Imperial library during the Korean Empire and its meaning were considered with the Annals of the Joseon Dynasty, Seungjeongwon diary, various catalogs and historical records. Third, the changes of space-time and aspect of Royal library through the palace of Gyeongbokgung, Changdeokgung, and Gyeongungung were examined to draw a sociopolitical meaning by schematizing each palace. As a result, first, King Gojong conjugated Kyujanggak as a device to strengthen the royal authority and accommodate Western culture in the process of modernization. Second, the crucial spaces containing the political orientation of King Gojong, such as the present king's portrait storage place, library(book storage), and office, formed a separate hall across Gyeongbokgung, Changdeokgung, Gyeongungung, and gradually changed into a Western architectural style.

• Journal of Bio-Environment Control
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• v.25 no.4
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• pp.232-239
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• 2016

The objective of this study was to examine the effect of photoperiod and light intensity of RBW LED (red:blue:white = 2:1:1) on the growth of Taraxacum coreanum Nakai in a fully artificial light type plant factory. 3 photoperiods and 4 light intensity were used respectively in a fully artificial light type plant production system. Plants were cultured with three photoperiods and four light intensity regimes (conditions) for 270 and 120 days, respectively, using nutrient film technique (NFT) or aeroponics culture methods. For each photoperiod, the total leaves per plant harvested 8 times in all cultivation period was 224 in the 16/8(day/light) photoperiod that had no significant difference from 220 in the 12/12 photoperiod and the lowest number of leaves was 151 occurred in the 8/16 photoperiod, which means that the longer photoperiod, the more leaves harvest. Total fresh weight of above ground was the high in order of in 16/8 photoperiod as 125g, 12/12 photoperiod as 91g, 8/16 photoperiod as 56g. For each light intensity, the total leaves per plant harvested 4 times in all cultivation period was the great in order of $150{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 123, $200{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 107, $100{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 95, $50{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 56 which was the smallest number of total leaves harvest. Total fresh weight of above ground per plant was the high in order of $150{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 43.6g, $100{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 34.6g, $200{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 32.2g, $50{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ as 18.2g. From these results, it was concluded that photoperiod of 16/8 and light intensity at $150{\mu}mol{\cdot}m^{-2}{\cdot}s^{-1}$ can be used as the light condition of RBW LED (red:blue:white = 2:1:1) for optimal growth of Taraxacum coreanum Nakai in a fully artificial light type plant factory.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.