• The Korean Journal of Archival Studies
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• no.3
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• pp.91-113
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• 2001

History always be re-interpreted as the time flows. 'The Sillok', Which was registered in Memory of World of UNESCO in 1997, is comprehensive documents of the Chosun Dynasty, which had been compiled after kings' death, The Sillok encompasses 473 years of the reign in their 848 volumes(1,893 chapters). It was a history itself and has been main source in studying Korean history. Due to the rise of studies on the Sillok, time has come to explore the nature of the Sillok and to criticize the text, which would be called 'The Sillok-Study'. In this context, this paper examined three concepts that categorize the nature of the Sillok as historical materials ;Is it book or record?; The Sillok in register system in pre-modern society; And the Sillok as the National Archives. Korean historians, including myself, haven't yet examined the question whether the Sillok is the Book or Record in terms of archival science. At first, I regarded it as history book, and with this presupposition, wrote several papers on the characteristics of the Sillok. However, I recognized that the Sillok are close to record rather that history book as I examined the definition of glossary of librarian study, OED (Oxford English Dictionary) and Encyclopedia of Britannica, etc. Definitely, the Sillok was neither compiled and published to be read and sold publicly, nor meant to the works of literature or scholarship. one may say that the court-historians wrote comments on the facts and therefore it was just scholarly work. However, because the court-historians produced their comments on their own businesses, the outcome of 'their scholarly works' were also records conceptually, as were daily court-journalists in Rome. Its publication also had a absolutely different meaning from that of modern society. It was a method to preserve the important national records and distributed each edition of them to plural repositories for its safety and security. How can we explain its book-like shape and the procedure of compilation after a kings' death. The answer is as follows ; In pre-modern society, it was a common record-keeping system in the world to register records materials in order to arrange the materials of different sizes and to store them conveniently. And the lack of scientific preservation or conservation skill also encouraged them to register original records. Actually, the court-historians who participated in the compiling process called themselves "registering officers". On the other hand, similar to social hierarchy, there was a hierarchical system of records, and the Sillok was placed at the top of this hierarchy. In conclusion, the Sillok was a kind of registered records in the middle ages and the supreme records in the records-world. In addition to this we can also conceptualize the Sillok as archives. Through the compiling process, the most important and valuable records were selected to be the parts of Sillok. This process corresponds to the modem records appraisal. In the next step, it was preserved in the Four Archives(史庫) which located at remote site as archives and only accessible by the descendents in the future, who might be the people of the next dynasty. And nobody could access or read the documents at that time except the authorized court-historians who were archivists of the Chosun Dynasty. From this perspective, I conclude that Sillok was the supreme confidential archives in the register system. I work for the Government Archives as a historian and archivist. Whenever I entered the exhibition hall of the Government Archives and Records Service(GARS) and saw the replica of the Archives of Taebeak Mountain built during Chosun period, I always asked to myself a question whether the Sillok can be a symbol of the archival tradition of Korea and the GARS. Now, I can say, 'Yes!' definitely.

• The Korean Journal of Archival Studies
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• no.19
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• pp.3-55
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• 2009

Records of architectural cultural properties, in case of accidents, show who are to blame, present what evidences are to establish the cause, and also are used for checking if there were any problem in policies and regulations in preserving and caring architectural cultural properties. These records are of great importance in their roles and are of essential use regardless of time and space. Considering its significance, In that architectural cultural properties requires setting clear goals and directions and as well, criteria, for management, we need methods of systematical control and consideration for its characteristics. This research started with the sense of purpose that managing architectural cultural properties are in need of systematic and concrete control, based on the perception that they need protecting and transmitting. The goal of this thesis is to work on the current archiving status of architectural cultural properties by monitoring patterns and processes in archival administration, to diagnose problems by looking into the records creation and management, and to present the improvement plan which would lead to the architectural cultural properties' more efficient management and better use in the future. The management of architectural cultural properties begins with registering and assigning. Cultural Heritage Administration is in charge of control, supervision, and budget and local governments deal with direct management. Accordingly, records are by the hands of each local governmental body. Currently, each cultural property has its management depending on every different working environment in each governmental body. Architectural cultural properties needs managing in one body through the synthetic and unified, concrete and systematic manual and guide for management. Archiving architectural cultural properties have need of unitive management through a professional system, considering the physical characteristics and history of archiving. Unified management system will enhance efficiency and actual use of architectural cultural property records if one governmental body undertakes uniting records through standardization and professional supervision, and data-based unified search engine would enhance efficiency and actual use. Therefore, I suggest that Archives for Architectural Cultural Properties should be established as a professional Archives and wholly responsible body for the purpose of systematically and unifiedly managing architectural cultural property records with professional personnel and facility and transmitting their historical, cultural, and academic value. In Korea, studies up to the present have mainly focused on managing architectural records and records of drawing while few efforts were made to directly deal with managing architectural cultural properties themselves. The focus of this thesis is to study the current status and establish problems of the management of architectural cultural properties in administrative process, and as a result, to propose to establish Archives for Architectural Cultural Properties as a professional archives.

• Korean Journal of Poultry Science
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• v.46 no.1
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• pp.31-37
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• 2019

A chicken clathrin-associated adaptor protein $3-{\delta}$ subunit 2 (AP3S2) is a subunit of AP3, which is involved in cargo protein trafficking to target membrane with clathrin-coated vesicles. AP3S2 may play a role in virus entry into host cells through clathrin-dependent endocytosis. AP3S2 is also known to participate in metabolic disease developments of progressions, such as liver fibrosis with hepatitis C virus infection and type 2 diabetes mellitus. Chicken AP3S2 (chAP3S2) gene was originally identified as one of the differentially expressed genes (DEGs) in chicken kidney which was fed with different calcium doses. This study aims to characterize the molecular characteristics, gene expression patterns, and transcriptional regulation of chAP3S2 in response to the stimulation of Toll-like receptor 3 (TLR3) to understand the involvement of chAP3S2 in metabolic disease in chicken. As a result, the structure prediction of chAP3S2 gene revealed that the gene is highly conserved among AP3S2 orthologs from other species. Evolutionarily, it was suggested that chAP3S2 is relatively closely related to zebrafish, and fairly far from mammal AP3S2. The transcriptional profile revealed that chAP3S2 gene was highly expressed in chicken lung and spleen tissues, and under the stimulation of poly (I:C), the chAP3S2 expression was down-regulated in DF-1 cells (P<0.05). However, the presence of the transcriptional inhibitors, BAY 11-7085 (Bay) as an inhibitor for nuclear factor ${\kappa}B$ ($NF{\kappa}B$) or Tanshinone IIA (Tan-II) as an inhibitor for activated protein 1 (AP-1), did not affect the expressional level of chAP3S2, suggesting that these transcription factors might be dispensable for TLR3 mediated repression. These results suggest that chAP3S2 gene may play a significant role against viral infection and be involved in TLR3 signaling pathway. Further study about the transcriptional regulation of chAP3S2 in TLR3 pathways and the mechanism of chAP3S2 upon virus entry shall be needed.

• Economic and Environmental Geology
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• v.52 no.1
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• pp.107-118
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• 2019

Two assertions about the process the formation of the high-purity limestone in the Taebaeksan Basin, categorized into syngenetic and epigenetic origin, are verified on the basis of its oxygen-carbon stable isotopic characteristics. The carbonate rocks sampled from the selective six high-purity limestone mines and several outcrops in the Daegi formation are featured by various colors such as the gray, light gray and dark gray. They show a wide range of oxygen stable isotope ratios (4.5 ~ 21.6 ‰), but a narrow range of carbon stable isotope ratios (-1.1 ~ 0.8 ‰, except for vein calcite), which means that they had not experienced strong hydrothermal alteration. In addition, there is no difference in the range of the oxygen stable isotope ratios by mine and color, and it is similar to the range from surrounding outcrop samples. These results indicate that the effect of the hydrothermal alteration were negligible in the generation of high-purity limestone in deposit scale. Whereas, the carbonate rocks can be divided texturally into two groups on the basis of an oxygen isotope ratio; the massive-textured or well-layered samples (>15 ‰), and the layer-disturbed (or layer-destructed) and showing over two colors in one sample (<15 ‰). In the multi-colored samples, the bright parts are characterized by the very low oxygen stable isotope ratios, compared to the dark parts, implying the increase in brightness of the carbonate rocks could be induced by the interaction between hydrothermal fluid and rock. However, these can be applied in a small scale such as one sample and are not suitable for interpretation of the generation of high-purity limestone as a deposit scale. In particular, the high oxygen isotope ratios from the recrystallized white limestone suggest that hydrothermal fluids are also rarely involved during recrystallization process. In addition, the occurrences of the high-purity limestone orebody strongly support the high-purity limestone in the area are syngenetic rather than epigenetic; the high-purity limestone layers in the area show continuous and almost horizontal shapes, and is intercalated between dolomite layers. Consequently, the overall reinterpretation based on the sequential stratigraphy over the Taebaeksan basin would play an important role to find additional reserves of the high-purity limestone.

• Journal of Ginseng Culture
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• v.1
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• pp.43-56
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• 2019

Korean ginseng (Panax ginseng) has been known as one of the representative special and healthful products originating from Korea for 4500 to 5000 years. The word of ginseng was first mentioned in JiJuZhang(急就章), written by ShiYou during the reign of King Yuah Di of the Chien Han Dynasty, China (33-48 BC). It has been known that wild Korean ginseng grows in Korean peninsula including Manchuria and the ginseng is found only between the $33^{rd}$ and $48^{th}$ parellels of north latitude. Since the times of three kingdom in Korea at 4-7 century, which is Kokuryo, Baekje and Shila, Korea has been the chief ginseng producing country. A large quantity of ginseng was exported from Korea to China for medicinal use at that times. That was written in SamGukSaGi(三國史記) by BuSik Kim of Koryeo Dynasty in Korea in 1145. The cultivation of Korean ginseng was also recorded in Bencaogangmu(本草綱目) written by LiShi Zen during the regin of the Ming Dynasty in 1596, China. The ginseng seedling, which was known as an original method invented by imitating the method of rice transplantation, appeared in the SeungJeongWon Ilgi(the diaries of the royal secretariat, 承政院日記), 1687 in the regin of King SukJong in Korea. It was suggesting that ginseng cultivation was firstly established in the early 1600s in Korea. On the other hand, red ginseng(written as 熟參) was reported firstly in GoRyeoDoGyeong(高麗圖經)(a record of personal experience in Korea, written in 1123) by SeoGung in Song Dynasty, China. The names of Pansam(written as 板蔘) and Pasam(written as 把蔘), which were the another types of red ginseng products, were came on in the JoSeon Dynasty Annals in 1552 and 1602, respectively. Although the term of red ginseng(Hongsam in Korean) was firstly appeared in the JoSeon Dynasty Annals in 1797, it is believed to have been developed a little earlier periods from the King Jungjong(1506~1545) to the King SeonJo(1567~1608) in Korea. Then, the Korean red ginseng has begun production on a large scale in SamJeong Department of NaeJangWon(內藏院 蔘政課) in the Korean Empire(大韓帝國) in 1899. More detailed records about red ginseng production method were written in the SohoDanag Miscellany(韶濩堂集) by Taekyoung Kim at 1916 year in Korea. On the while, the efficacy of ginseng was first recorded in Shennongbencaojing(神農本草經) written in China(BC 83-96) and the efficacy has been continuously inherited.

• The Korean Journal of Archival Studies
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• no.23
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• pp.87-139
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• 2010

Unlike in the past, a new paradigm has been presented which the use of records is much more important than the preservation of those in the present. It will be necessary for users to signalizes the value of records and to make themselves easily accessible to records in order that records should be more effectively used. To meet the needs of the times, it is the very 'Contents' that starts to attract public attention. National Archives in England produces and provides contents utilizing multi-media by using digital technology on various sorts of archives which England has. In addition to England, Asian Historical Records center in Japan in Japan makes Archival Contents Service reflecting users' needs and continues to update the latest contents. What is more, National Archives of Korea has recently promoted the introduction of digital archive by the change of archival paradigm in records management, and it is giving an impetus to the development of contents in the digital archive. In fact, it is crucial to keep as many contents as possible and to give service to public, but it will not be possible to get positive response from public and to offer much higher level of archival information service until the quality of contents is highly improved. Accordingly, this manuscript analyzed the feature and type of contents which National Archives of Korea provides with cases of both TNA in England and Asian Historical Records center in Japan, each of which has different characteristics. Also, it dealt with several methods of the usage of contents in those organizations. Furthermore, this study explained what kind of contents and feedback are given to users. Moreover, it divided the components of contents of three institutions as mentioned into three by information provided and evaluated the quality of contents by establishing the details of contents. In addition, there were implications for archives with regard to reference for building contents.

• Journal of Environmental Impact Assessment
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• v.27 no.6
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• pp.674-684
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• 2018

The purpose of this study is to construct ecological pond using LID technique in order to create naturally comfortable community space in urban idle space. The specification of the ecological pond is $110m^2$ of surface area, $0.45{\pm}0.02m$ of average depth, and bed material is composed of gravel (diameter ${\leq}60mm$), sand (diameter ${\leq}2mm$) and bentonite. Rainfall and water depth monitoring were conducted to determine the annual characteristics of inflow of the water for the ecological pond, result of total rainfall was 1,287 mm and showed a seasonal imbalance that accounted for 71.3% (918 mm) during July to August, but the annual mean water depth was kept constant at $0.45{\pm}0.02m$ due to the secondary water source. Annual trends of basic water quality showed a significant changes according to the season, such as water temperature ($5.2{\sim}28.8^{\circ}C$), DO (5.0 ~ 13.8 mg/L), EC ($113{\sim}265{\mu}S/cm$). BOD, COD, TN, and TP in physicochemical water quality tended to increase after October, but the ion parameters such as $NH_3$ and $PO_4{^{3-}}$ were generally low. Phytoplankton indicators Chl-a and BGA (blue green algae) showed a sharp increase from July to August, and green algae (Selenastrum bibraianum, Pediastrum boryanum etc.) and filamentous blue green algae (Phormidium sp.) emerged as a dominant species. The ion parameters ($F^-$, $Na^+$, $K^+$, $Mg^{2+}$, $Ca^{2+}$) were strongly correlated with the $Cl^-$ as a conservative substance (R=0.70~0.97, p<0.05). Water quality was influenced by the ambient environment such as seasonal changes or rainfall, and it was closely related to fluctuation of the inflow of the water. In the future, it is necessary to consider ecological connections by referring to the characteristics surveyed in this study in order to effectively manage the water quality and biodiversity of the ecological pond in idle space.

• 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.2
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• pp.46-69
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• 2013

The results of study on the meaning landscape and environmental design techniques of the Byulup, Yoohoedang garden(Hageowon) based on the story in the collection of Kwon Yi-jin (Yoohoedangjip, 有懷堂集), are as below. First, Yoohoedang Kwon Yi-jin (有懷堂 權以鎭 : 1668~1734) constructed a Byulup garden consisting of ancestor grave, Byulup, garden, and a school, through 3 steps for 20 years in the back hill area of Moosoo-dong village, south of Mountain Bomun in Daejeon. In other words, he built the Byulup(別業, Yoohoedang) by placing his father's grave in the back hill of the village, and then constructed Yoegeongam(餘慶菴) and Geoupjae(居業齋) for protection of the pond(Napoji, 納汚池), garden(Banhwanwon, 盤桓園), and ancestor graves, and descendants' studying in the middle stage. He built an extension in Yoohoedang and finally completed the large-size garden (Hageowon) by extending the east area. Second, in terms of geomancy sense, Yoohoedang Byulup located in Moosoo-dong village area is the representative example including all space elements such as main living house (the head family house of Andong Kwon family), Byulup (Yoohoedang), ancestor graves, Hagoewon (garden) and Yoegeongam (cemetery management and school) which byulup type Byulseo should be equipped with. Thirdly, there are various meaning landscape elements combining the value system of Confucianism, Buddhism and Taoism value, including; (1) remembering parents, (2) harmonious family, (3) integrity, (4) virtue, (5) noble personality, (6) good luck, (7) hermit life, (8) family prosperity and learning development, (9) grace from ancestors, (10) fairyland, (11) guarding ancestor graves, and (12) living ever-young. Fourth, after he arranged ancestor graveyard in the back of the village, he used surrounding natural landscapes to construct Hagoewon garden with water garden consisting of 4 mountain streams and 3 ponds for 13 years, and finally completed a beautiful fairyland with 5 platforms, 3 bamboo forests, as well as the Seokgasan(石假山, artificial hill). Fifth, he adopted landscape plantation (28 kinds; pine, maple, royal azalea, azalea, persimmon tree, bamboo, willow, pomegranate tree, rose, chinensis, chaenomeles speciosa, Japanese azalea, peach tree, lotus, chrysanthemum, peony, and Paeonia suffruticosa, etc.) to apply romance from poetic affection, symbol and ideal from personification, as well as plantation plan considering seasonal landscapes. Landscape rocks were used by intact use of natural rocks, connecting with water elements, garden ornament method using Seokyeonji and flower steps, and mountain Seokga method showing the essence of landscape meanings. In addition, waterscape are characterized by active use of water considering natural streams and physio-graphic condition (eastern valley), ecological corridor role that rhythmically connects each space of the garden and waterways following routes, landscape meaning introduction connecting 'gaining knowledge by the study of things' values including Hwalsoodam(活水潭, pond), Mongjeong(蒙井, spring), Hosoo(濠水, stream), and Boksoo(?水, stream), and sensuous experience space construction with auditory and visualization using properties of landscape matters.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.