• Journal of the Korean Society of Costume
• /
• v.17
• /
• pp.183-195
• /
• 1991

• Journal of Oriental Neuropsychiatry
• /
• v.2 no.1
• /
• pp.19-28
• /
• 1991

내의원(內醫院)은 병원과 약국을 겸비한 일종의 궁중의료기관으로 의사를 비롯하여 여러의원들이 임금과 왕비 및 왕자들의 약을 조제하여 달이던 곳으로, 일명 내국(內局) 또는 약원(藥院)이라고 내의원 앞에 예시되어 있다. 그러나 내의원은 현재 그 내용이 전해지지 않고, 단지 관광지의 유물로만 여겨지고 있다. 현재의 내의원은 창덕궁(昌德宮)에 위치하고 있다. 내의원은 창덕궁의 돈화문(敦化門)을 지나, 인정전(仁政殿)을 거쳐 희정당(熙政當) 좌측에 있으며, 왕비의 거처인 대조전에 가장 가까이 자리잡고 있다. 내의원은 조선왕조 세종25년(1443)에 개원하게 되었으니, 이때는 정치, 문화적으로 안정이 이루어져 가는 상황이었다. 또한 당시 왕이나 왕비 기타 왕족들의 여러 가지 정신적인 갈등으로 인한 질병이 많았으며, 이로인해 전문적이고 독립적인 왕실의료기관의 필요성에 의해 내의원이 독립적인 개원이 이루어졌으리라 사료된다. 이로인하여 저자가 내의원에 관한 자료조사와 실제답사를 통하여 다음과 같은 사실을 알수 있었다. 1) 내의원의 개원은 조선왕조 초기 중앙의료질서 성립을 통한 봉건왕조의 절대왕권확립을 의미함으로 사료된다. 2) 내의원의 위치가 창덕궁의 중심부에 위치하고, 특히 어전(御殿)과 내전(內殿) 가까이에 위치함은 왕실의 질병을 신속하고도 중요하게 다루기 위함으로 사료된다. 3) 특히 의인을 내전에서도 대조전(大造殿) 가까히 둔것은 왕실의 질병중 왕비의 정신신체질환의 치료를 위함으로 사료된다. 4) 내의원의 진료형태는 왕진(往診)이었으며, 이는 당시 의원신분이 중인층이었음으로 사료된다. 5) 내의원의 이용중에서 평민에게는 왕명에 의해서만 이루어졌음으로 사료된다.

• Journal of The Korean Digital Architecture Interior Association
• /
• v.11 no.4
• /
• pp.13-20
• /
• 2011

Vincenzo Scamozzi as the successor of Palladio stands as a major accomplishment of the task of cleanup to the classicism in 16th century. In addition, unlike the trend seen over Palladian, he shows succession and change of Renaissance villa. "L'Idea dell' Archittectura Universale; The Idea of a Universal Architecture"(1615) is a book of Scamozz's representative. This book is represented his idea for a residential building. His concepts for a residential building were analyzed through the analysis of his book and work. Scamozzi thought that domestic architecture should be designed according to he owner's social status and reputation. These concepts as decorum and this is divided into three categories. This is a threefold order, the first category and highest encompassing reigning princess and their families, who were more or less regarded as God's representatives on earth. The second category comprised noblemen and high office holders whose houses were to be, in all respects, a degree less grand, costly and dignified than the prince's residence. The third category was made up of prominent citizens and wealthy merchants whose houses were to have only moderate commoner did not come into this classification at all. - the magnifiche, honorevoli, and commune style of speech.

• 한국HCI학회:학술대회논문집
• /
• 2006.02a
• /
• pp.1341-1347
• /
• 2006

기존의 모바일 게임의 경우에는 간단한 스토리를 갖는 2D 게임이 주종을 이루었다. 그러나 이 논문에서는 PC 에서만 가능하다고 여겨지던 3D 경영 시뮬레이션 게임을 모바일에 접목해 보고자 하였다. 시공간의 제약이 없으며 간편성과 이동성을 가진 모바일 게임의 장점을 살리며 3D 게임의 현실감, 시뮬레이션 게임의 재미를 모두 가질 수 있는 게임을 제작하고자 하였다. 게임의 기본적인 줄거리에는 고구려의 역사적 사건을 넣어서 게임을 하면서 고구려의 역사를 직접 느껴보도록 하였다. 세금의 단위나 정책에 관한 내용은 고구려의 실제 역사적 내용을 따랐으며 게임의 중간 중간에 시행되는 고구려의 정책 결정 과정을 통하여 고구려 왕의 생각과 흐름을 느끼도록 하였다. 게이머는 왕을 보조하는 입장에서 고구려의 정책을 간언할 수 있으며 왕의 정책을 지지할 수도, 반대할 수도 있다. 시간의 변화에 따라 왕도 변화하며 왕족의 계도도 고구려의 수순을 따르며, 왕의 역사적인 주요 정책도 게임을 통하여 자연스럽게 적용된다. 이로써 단순한 도시 경영이 주 테마가 아닌 고구려의 역사적 배경을 자연스럽게 삽입한 게임을 제작함으로써 게임의 사실성을 높였으며 한국적인 그래픽과 음악을 삽입하여 통적인 감각을 살렸다. 전본 논문에서는 3D 경영 시뮬레이션 게임 [한고을]의 전체적인 구성과 본 게임의 알고리즘을 소개하고 있다. 본 게임 개발의 가장 큰 목적은 모바일 기반의 3D게임 개발을 통한 사실적인 게임을 제작하고 탄탄한 스토리를 가진 게임 제작이다. 그러나 역사적인 내용을 사용함으로써 부가적으로 교육적인 효과도 있었다. 이 게임개발을 계기로 하여 급속하게 성장하고 있는 모바일 컨텐츠 시장에서도 컨텐츠의 수가 아닌 질적인 증가가 이루어 졌으면 하는 바램을 가진다.

• KOMUNHWA
• /
• no.59
• /
• pp.64-87
• /
• 2002

The Burial of the living with the dead in Yeongnam Region began to appear between the late 3rd and the early 4th centuries when dramatic social changes, such as the emergence of fortresses, stoneware, and the division of Gyeongju style and Gimhae style ou

• Journal of the Korean Wood Science and Technology
• /
• v.49 no.6
• /
• pp.550-565
• /
• 2021

This study's objective was to conduct species identification and tree-ring dating of wooden elements used in Mungyeong Juheulgwan of Joryeong (Gate No. 1). Of the 84 wooden elements evaluated, 76 were confirmed to be hard pines, 5 were soft pines, and 3 belonged to Abies spp. For tree-ring dating, cores of the wooden elements were collected using a drill, and ring-width plots of individual samples were constructed using the TSAP software. The results of performing tree-ring dating for the outermost ring of 59 hard pine wooden elements revealed the following 4 felling dates: summer of 1708-late fall of 1709, summer of 1792-early spring of 1794, late fall of 1838-early spring of 1840 and 1867, and early spring-fall of 1872. These felling dates were found to be consistent with those in the construction and repair records of the Annals of Joseon Dynasty, Juhulgwan Jungsugi, and those engraved on Juhulgwan Walls. It is believed that some of the wooden materials harvested at that time were stored and used since there was a difference of approximately10 years between the repair records and felling dates.

• Journal of Conservation Science
• /
• v.38 no.2
• /
• pp.87-95
• /
• 2022

This aimed to species identification and tree-ring dating of wooden elements used in the Myeongjeong-gate of the Changgyeong-palace, Seoul, Korea. Of the 79 wooden elements evaluated, 78 were confirmed to be hard pines and one belonged to Abies spp.. Cores of the wooden elements were collected using a drill for tree-ring dating, and ring-width plots of individual samples were constructed using the TSAP software. The tree-ring dating results for the outermost ring of 58 hard pine wooden elements revealed the following felling dates: early spring of 1604-late fall of 1615, late fall of 1706-early spring of 1707, and late fall of 1828-late fall of 1834. The obtained felling dates of the 1600s and 1800s were found to be consistent with those in the construction and repair records of the Annals of Joseon Dynasty, Gwanghaegun's Diary and Changgyeonggung Yeonggeondogam Uigwe. However, the obtained felling dates of the 1700s were not consistent with those in the construction and repair records. Therefore, additional confirmation of repairs that were not included in the records was possible using tree-ring dating.

• Journal of Conservation Science
• /
• v.37 no.6
• /
• pp.626-637
• /
• 2021

The tomb complex of the royal family from the period of the Ungjin Baekje Kingdom (475 to 538 AD) in Gongju, Korea, contains the tomb of King Muryeong and other royal tombs. After the excavation of the tomb of King Muryeong in 1971, these tombs were opened up to the public, without the establishment of systems for their safety, conservation and management. The tombs have consequently experienced rapid environmental changes and suffered various damages. In this study, specific vulnerable parts inside the tombs were selected for deviation analysis using 3D scanning, and 3D image models were constructed on this basis. Progressive displacement was identified in tomb No. 5, and basic data for future investigations was acquired from tomb No. 6 and the tomb of King Muryeong. In the deviation analysis for the southern plastered wall of tomb No. 5, the damage was not found to exceed the ranges of ±18 mm and ±2 mm. However, the lintel stone was found to be sagging by 0.32 mm on average, and the distance between the walls to have increased by 0.36 mm on average. Direct water seepage occurring in tomb No. 5 is considered to be increasing the damage within the tomb, such as the dropping and sagging of the lintel. The 3D image models constructed in this study will play an important role as baseline data for future research, and can be used to discuss a secure conservation scheme for the tombs through cross-validation with precise measurement monitoring.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.1
• /
• pp.196-221
• /
• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.