• Korean Journal of Heritage: History & Science
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• v.38
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• pp.359-385
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• 2005

Red ocher, red lead or cinnabar has been as red colorant for ages. Cinnabar of the red pigments has been highly regarded as a valuable ingredient because it represent a symbol of exorcising and a haute image. It was used as a pigment of painting and mural painting, bowl, clothes, rock writing, gravestone, etc. It is powder which dissolves in perilla oil or glue before using. Because it is high-priced, the use of cinnabar may be limited to the privileged class. Therefore, red ocher or red lead was used instead of cinnabar. "Gongsagyunmunrok" demonstrated that government official's gravestonea has been painted red by two colorants in the period of the Goryeo dynasty. However, cinnabar may be used to paint gravestones for the first time in the period of the Three States because it has been transmitted since the times. This study discuss the results obtained from an analysis of the pigments used on the red pigments of the Stone Monuments. The results can be briefly summarized as below; First, the microcrystalline structures seen on the surface section of analyzed pigments, samples of which were taken from various parts of red pigments show that different sizes and shapes of pigment particle. Second, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are : Red pigments - Red lead($Pb_3O_4$), Cinnabar(HgS) and Hematite($Fe_2O_3$) White pigments - Calcite($CaCO_3$) Especially, we knew that red Stone Monuments were found to be natural mineral pigments, which were used as a singular or a mixture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.41-55
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• 2019

The purpose of this study is to present the basic data for conservation and management of traditional landscape and ecological environment by surveying and analysing the vascular plants distributed in Gwnagneung, a royal tomb of the Joseon Dynasty. The results are as follows. The numbers of vascular plants were summarized as 446 taxa including 97 families, 274 genera, 384 species, 4 subspecies, 49 varieties and 9 forms. The planting species were 34 taxa including Ginkgo biloba L., Pinus koraiensis Siebold ＆ Zucc., Taxus cuspidata Siebold ＆ Zucc. and so forth. Exotic species such as Pterocarya stenoptera DC. and Magnolia obovata Thunb. need to be remove for traditional landscape management. The rare plants were 7 taxa including 2 taxa of CR(critically endangered), 2 taxa of VU(vulnerable) and 3 taxa of LC(least concerned). The Korean endemic plants were 8 taxa including Pseudostellaria coreana (Nakai) Ohwi, Chrysosplenium pilosum var. fulvum (N.Terracc.) Hara, Philadelphus schrenkii Rupr., Indigofera koreana Ohwi, Paulownia coreana Uyeki(planting), Weigela subsessilis (Nakai) L.H.Bailey, Aster koraiensis Nakai(planting) and Hosta minor (Baker) Nakai(planting). The specific plants by floristic region were 45 taxa including 2 taxa of grade V, 12 taxa of grade III, 9 taxa of grade II and 22 taxa of grade I. The naturalized plants were 25 taxa including Fallopia dumetorum (L.) Holub, Chenopodium ficifolium Smith, Amorpha fruticosa L., Galinsoga ciliata (Raf.) S.F.Blake and so forth. The target plants adaptable to climate change were 9 taxa including 1 taxon of endemic plant and 8 taxa of northern plants.

• Journal of Convergence for Information Technology
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• v.11 no.3
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• pp.194-204
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• 2021

The reason why domestic fermented tea is less recognized than the world's top three black[Sri Lanka Uva black tea, India Darjeeling black tea, China Keemun(祁門) black tea] teas is that there is a very lack of scientific basis for clear quality standards and functionality. This researcher identified the major components of the world's top three black teas and fermented teas derived from domestic wild tea trees through analysis of various instruments such as HPLC, TOF-MS, and ELISA reader. In addition, in order to compare the physiological activity of the world's three major black teas and domestic fermented teas, the biological activity was compared and analyzed through DPPH·ABTS free radical scavenging activity and NO production inhibition. Furthermore, comparative analysis data on organic acid, free sugar, and tannic acid were obtained for quality comparison of palatable foods. When the above results are summarized, it is believed that it is possible to present the quality standards of Korean tea, and it is expected that the globalization of Korean tea will be possible.

• The Journal of Korean Philosophical History
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• no.58
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• pp.307-336
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• 2018

This paper traces the historical genealogy of the subjectivity and the silsim (實心, true mind) that appear in Jeong In-Bo's "gukhak" (國學, the national learning) thought and illuminates its characteristics. In the modern East Asian history of thought, the beginning of the emergence of subjectivity and the silsim as the main philosophical topic comes from the Neo-Confucianism of Song Dynasty in China. Cheng Yi is the first thinker to emphasize subjectivity and consciousness. Zhu Xi and Wang Yang-ming inherit the Neo-Confucian thought based on Cheng Yi's principle of subjectivity, but only show difference in methodology. In the Chosun Dynasty, Jeong Je-Doo and his School were one example of the Neo-Confucian spirit of subjectivity and the silsim. Although Jeong In-Bo (鄭寅普) belongs to Jeong Je-Doo's school of Ganghwa in the school curriculum, he has only used it methodologically since he believed that Yangming's learning is more effective in the awareness and practice of the silsim. Especially noteworthy is that the principle of subjectivity led Jeong In-Bo to follow the frame of Zhu Xi's moral theory. Jeong's claim that selfish desire (jasasim 自私心) should be controlled by a conscious mind (silsim) being aware of the right and 'ought to do' corresponds to Zhu Xi's view that the moral mind (dosim 道心) should be selected in the conflict situation between sensual desire (insim 人心) and moral consciousness so that the insim should be supervised by the dosim. Such ethics is a position to emphasize the inner motive and the sense of duty of conduct, and there is no fundamental difference in Zhu Xi and Wang Yang-ming. At least on this point, it is necessary to look at modern and contemporary Korean studies from the perspective of continuity, not discontinuity from Confucian tradition.

• (The)Study of the Eastern Classic
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• no.35
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• pp.189-214
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• 2009

The followings are the characteristics of Kyunghakkwan of Youngjae Oh Yunsang. First, he delves into Soju (小注: Small notes or commentaries) of Saseo-Jibju-Daejeon (四書集註大全: Compendium of the Commentaries of Four Confucius Canons). Frequently adding, "thinking," "thinking again," he enumerates his own theories critical of various scholars who left commentaries in Daehak-Janggu-Daejeon (大學章句大全: Compendium of the sentences and phrases in Daehak, one of the canon) and Jungyong-Janggu-Daejeon (中庸章句大全: Compendium of the sentences and phrases in Jungyong, another canon). Secondly, he quotes theories of Korean confucius scholars. Besides Lee Yulgok, he introduces mainly theories of Nongam Kim Changhyub and Namdang Han Wonjin. Thirdly, he researches into various canons. He diverts from the general trend of Chosun confucius studies which focuses on Saseo and explores Seokyung (書經: One of Five canons of Chinese Confucius Studies and the oldest history book). Fourthly, his Kyungseol, especially that of Jungyong, was recognized and accepted by his contemporary Giho School scholars. Finally, he shows skepticism even on Confucius's own ideas and begs to differ.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.377-382
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• 2021

《Mu Yang Ai Hua, 牧羊哀話》 is known as the first Korean-sanctioned novel in the history of modern Chinese literature, and is famous for a novel created by the author himself visiting Korea and being inspired. The translation of 《牧羊哀話》 is constantly being re-translated (4 types). These translations also reflect the characteristics of each period, and the translation strategies used have their own characteristics. The results of the comparative analysis of the four types of translations in this study are as follows. The role A was published during the Japanese colonial period, and some parts were reduced and omitted according to the intent of the translator, and a foreignization translation strategy was used. B, C, and D have implemented content equivalence by utilizing many of the localization translation strategies, and added supplementary explanations in part to help readers understand. Since translation is a process of communication, it should not just convert the source text to the target text, but the target reader's response to the work should be the same as that of the reader. Therefore, translation must be able to understand the environment of the times and the readership, and it must use all possible methods to elicit the same emotion and empathy as the reader has read the original text. Therefore, translators need to use their nationalization and foreignization strategies at the same time based on their understanding of the target language and the politics, economy, history, culture, etc. of the destination country.

• Korean Journal of Ichthyology
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• v.34 no.2
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• pp.73-85
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• 2022

The cynoglossid fishes are popular for food in the world including Korea, China and Japan, and among them, Paraplagusia japonica lives all over the sea of Korea. In order to establish appropriate management measure, it is essential to clarify population structure of P. japonica from the morphological and molecular perspectives. We collected a total of 132 individuals of P. japonica from six localities in Korea between 2008 and 2021. Canonical discriminant analysis results showed that the West Sea population (Incheon) slightly differed from the South (Tongyeong, Busan) and East Sea populations (Pohang, Donghae, Sokcho). Similar results were also shown in Kruskal-Wallis test of meristic characters. Furthermore, neighbor-joining and maximum-likelihood trees based on 849 base pairs of mitochondrial DNA cytochrome b sequences showed that P. japonica was divided into two lineages (designated as A and B) with a high significance (Φ_st=0.0781, P<0.001). Interestingly, however, the two lineages in the admixture area (South-East Sea) were not different in morphological characters. Our results suggest that P. japonica had undergone differentiated history during the Late Pleistocene, but secondary contact may occur at the admixture area.

• Journal of International Area Studies (JIAS)
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• v.14 no.3
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• pp.135-156
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• 2010

While there are a few ways of giving meanings to the term, "Altai" ranging from a language family to a national residing around the Altai Mountains in Russian Federation, and to the people speaking the language or the whole area where they live, there have been controversial debates whether it is a meaningful categorization. This paper argues that the basic cause lying beneath the controversies is the underdevelopment of the subject that identifies itself as a representative of the whole area where the Altaic language family is spoken. It might be true, as some Korean and Russian scholars insist, that what deserves to be called Altaic culture (or civilization) has provided a common culture and mutual interactions with the people. However, the Altaic people failed to constitute themselves as a meaningful modern group, that is a nation, and they did not fully develop national consciousness, As a result, although their way of life may be regarded as an origin of various cultures across North-East Asia, Altaic culture is not sufficient to give a momentum to claim for cultural initiative in the region. This comes at least partly from the reconfiguration of ethnic identity through a Soviet type of modernization and its geopolitical situation surrounded by super-powers such as China and Russia, as well as belated import of religions such as Buddhism and Christianity. From a wide perspective, the trouble about delimiting an area is not unique in Altai, but universally found in anywhere, as far as area studies are concerned. The delimitation of an area is not a natural outcome of physical environment but an artificial production of how cultural-political relationships have been distributed. Therefore, while the case of Alai has its own specificities, its implications that a national or regional boundary in area studies should not be taken for granted may be applied to other areas.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.267-302
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• 2019

Oral literature can largely be categorized into myth, legend, and folktales, which are stories orally transmitted from the prehistoric times. The purpose of this study is to compare the discourse on the oral literature of the East and the West from a cultural studies viewpoint by focusing on its "symbolic systems," particularly "figures of speech," or "tropic traits", in order to utilize this oral literature as a resource in the study of Northeast Asian culture. Undergoing modernization, the symbolic meaning of oral literature has been demythologized both in the West and in Northeast Asia. Of course, oral literature, verbally transmitted over a long period of time, has naturally been changed over time and even "contaminated" in a sense by losing its original archaic archetype while it was textualized with letters during the early period of the modernization process. Nevertheless, the principle of "resemblance" and "similarity" between nature/universe and human/humanity, which has been stripped away in modernity, can still be found in oral literature with its mythic power. For this reason, the study of oral literature in the West has attempted to restore the lost magical power within it, particularly in myth. As such, this study delves into the symbolism of the mythic thought of Northeast Asian countries, namely Korea, China, and Japan, which has been lost in the course of their compressed modernization, in relation to the tropic figures of their oral literatures.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.247-259
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• 2019

This study aims to develop Korean film music by using Korean traditional music with proper technique. As of 2019, current Korean film music is mostly modeled after Western music. The usage of traditional music instruments is significantly lower than the usage of western instruments and is merely used in Korean historical movies as embedded music. This supports the many views that Korean traditional music seems too difficult to appeal to the general audience in these modern times. Furthermore, there aren't any such cases to apply traditional music techniques to western instruments whereas there have been many occasions where traditional music instruments imitate western instruments with its tones. The suspected reason for this is due to the lack of proper understanding and techniques of traditional music that Korean film composers have utilized, and its limited exposure in popular music. However, traditions are special and unique way to represent the history, culture, lifestyle and characteristic of countries. Therefore, it is our duty to protect our own traditions. As both a Korean, and as a musician, new film music is needed which uses traditional music instruments and its techniques. When film composers create music with better understanding of Korean traditional music, this unique music will be able to transcend borders and spread throughout the world.