• Journal of Korean Elementary Science Education
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• v.42 no.3
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• pp.467-479
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• 2023

For the successful implementation of education using artificial intelligence (AI) in schools, the perception of teachers is important. This study focuses on elementary school teachers and their perception of the need and teaching efficacy of science classes using AI before and after participating in a research school program. The analysis explores four key aspects, namely, learning, teaching, assessment, and communication. The study recruited 24 elementary school teachers from a school designated by the Gangwon Provincial Office of Education to participate in a year-long research school program. The study collected data using pre- and post-program surveys to explore changes in the perception of teachers regarding AI-based science classes. Furthermore, the researchers conducted individual in-depth interviews with four elementary school teachers to investigate the experience factors that influenced the changes in their perception of the aforementioned classes. The main findings were as follows. First, elementary school teachers were positively aware of the need for science classes using AI even prior to their research school experience; this perception remained positive after the research school program. Second, the science teaching efficacy of the elementary school teachers using AI was generally moderate. Even after the research school experience, the study found no statistically significant increase in efficacy in teaching science using AI. Third, by analyzing the necessity-efficacy as quadrants, the study observed that approximately half of the teachers who participated in the research school reported positive changes in learning, teaching, and assessment. Fourth, the study extracted four important experience factors that influenced the perception of the teachers of science classes using AI, namely, personal background and characteristics, personal class practice experience, teacher community activities, and administration and work of school. Furthermore, the study discussed the implications of these results in terms of the operation of research schools and science education using AI in elementary schools.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Korean Business Review
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• v.21 no.2
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• pp.137-170
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• 2008

This study is presenting the logistics strategy in the international logistics markets which makes competition and corporation among north-east Asian countries to establishing the multi-pass Eurasian railroads. The countries located in north-east area of Eurasia like China, Japan, Russia and Korea are paying higher costs and disutility to the transportations and communications due to repeated conflicts and confrontations causes from the politic problems. They are being used surface transportation for most of all logistics between Europe and Asia except special merchandises because of characteristic of cargo to be air, the Silk Road remains vestige only which was main logistic passage to this area since BC. So far the Trans-Siberian Railway is being used by Russia mostly as north of Eurasian transport because of difficulties of service. The Trans-China Railway built in 1992 is not accomplishing as a international logistic passages. It is expected to take a long lead time because of characteristic of resource development and poor logistic infrastructure to the countries like Uzbekistan, double landlocked country, Mongolia and Azerbaijan, the countries do not be adjacent to the sea, even they have great economic jump-up plans through the development of their own resources. The Shanghai Cooperation Organization(SCO) start to sail officially in 2001 is constructed with China, Russia, Tadzhikistan, Kyrgyzstan, Kazakhstan and Uzbekistan as regular members of 6 countries and Mongolia, India, Pakistan, Afghanistan and Iran as observers 5 countries. It is started as a military alliance to protect terror, but now, it is expended to cooperate with the traffic, transportation, trade and share of energies. The Russia is doing their best to activate TSR as a government target to developnorth area equivalently, and economic develop of far-east Siberia. And also it is agreed provisionally to improve and repair of rail road between Nahjin and Hassan to connect TSR and TKR( Trans-Korea Railroad) by Russia, North Korea and South Korea with Russian's aggressive efforts. The development plan of this area is over lapped with GTI(Greater Tumen Initiative) promoted by UNDP, and is a cooperated project by 5 countries of South Korea, Mongolia, China, Russia and North Korea, subject to review the appropriation of energy, tour, environment, rail road connection between Mongolia and China and establishing a ferry route to north-east Asia. It is Japanese situation to pay attention to Russia and China even they have been supplying large-scope of infrastructure in Mongol area without any charges, target to get East Asia Main Rail Road to connect Mongolia and Zalubino of Russia. In case of the program for the Denuclearization of North Korea is not creeping, it will be accelerated to connect the TKR and TSR, TKR and TCR by somehow attending United States, including developing program promoted by UN ESCAP. As the result, Korean peninsular will continue the central role of competition and cooperation as in the past, now and future of north-east Asia, as of geographical-economics and geographical-politics whether it is requested or not wanted by neighbor countries.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.39 no.1
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• pp.27-37
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• 1994

To catch the relative importance of varietal and environmental variation in various grain quality components associated with palatability of cooked rice, grain appearance, milling recovery, several physicochemical properties of milled rice and texture or eating quality of cooked rice for rice materials of five japonica cultivars, produced at four locations of the mid-mountainous and alpine area of Korea in 1989, were evaluated and analyzed the obtained data. Highly significant varietal and locational variations were detected in 1000-grain weight, amylose content, K/Mg ratio, gelatinization temperature, peak viscosity, breakdown and setback viscosities as compared with variety x location interaction variation. Also, marked locational variations were recongnized in milling recovery from rough to brwon rice, alkali digestibility and protein content, and significant varietal variation was caught in stickiness /hardness ratio of cooked rice. The variety x location interaction variation was especially large in quality components of grain appearance and ripening, palatability of cooked rice and consistency viscosity. One thousand kernel weight was heaviest in Jinbuolbyeo and Odaebyeo, and the unfilled grain ratio was lowest in Jinbuolbyeo. Odaebyeo showed slightly' lower ratio of intact and clear milled rice because of more chalky rice kernels compared with other cultivars. Amylose content of Jinbuolbyeo and Sobaegbyeo was about 1% lower than that of others and K/Mg ratio of Odaebyeo was the lowest one among rice materials. Odaebyeo, Sobaegbyeo and Jinbuolbyeo revealed significantly low gelatinization temperature and setback viscosity while high peak and breakdown viscosities. Cholwon rice showed the greatest kernel weight, good grain filling but lowest ratio of intact and clear milled rice while Jinbu rices exhibited the highest milling recovery from rough to brown rice and ratio of sound milled rice. Amylose content of milled rice in Jinbu rices was about 2-3% lower than those in other locations. Protein content of polished rice was about 1% lower in rice materials of middle zone than those of southern part of Korea. K/Mg ratio of milled rice was highest in Jinbu rice and potassium content was slightly higher in the rice materials of middle region than in those of southern region. Alkali digestion value and gelatinization temperature of polished rice was markedly high in Jinbu rices as compared with other locations. Breakdown viscosity was hightest in Chlown rices and next higher with the order of Hwaso>Unbong>Jinbu rices, and setback viscosity was the quite contrary tendency with breakdown. The stickiness /hardness ratio of cooked rice was relatively higher value in Cholwon rices than in the others and the palatability of cooked rice was a little better in Unbong and Cholwon rices than in Jinbu and Hwaso rices, although variety x location interaction variation was large. The rice materials can be classified largely into two groups of Jinbu and the others by the distribution on the plane of 1st and 2nd principal components (about 60% of total informations) contracted from twelve grain quality properties closely associated with eating quality of cooked rice. Also, Jinbu and the other rices were divided into two and three rice groups respectively. Varietal variation of overall rice quality was smallest in Hwaso. The most superior rice group in overall quality evaluation included Odaebyeo produced at Cholwon, Unbong and Hwaso, and Sobaegbyeo grown at Unbong

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.96-119
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• 2015

This research has studied the changes of Gwi-po(轉角包) by taking the cases of China's medieval wooden buildings as objects. The purpose of the study is to examine the time-periodic transition process of Gwi-po through the cases of 71 wooden buildings which were built from Tang(唐) dynasty(AD 618~690 & 705~907) until Jin(金) dynasty(AD 1115~1234) and also designated as 'Major Historical and Cultural Sites Protected at the National Level'. This research has taken note of various frame types of Jwau-dae(左右隊), which are architectural components of Gwi-po, to study the changes and development process of Gwi-po. The results are as follows. An important factor in the transformations of Gwi-po format is the changes in perception of the craftsmen about Jwau-dae, who took charge in the building process. In the early periods, the principles of Yidou sanshen dougong(一斗三升) in constructing ancons of Gwi-po had been well-maintained, while there appeared many different types of Gwi-po in later periods, due to the usage of Jwau-dae and $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in each Chulmok of Gwi-po. Transitional types of Gwi-po, which were evolved from the earlier ones, are divided into 3 categories by different forms of Jwau-dae, placed on odd number stages. The first one is 'none-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type' of Song(AD 960~1127, 1127~1279) and Liao dynasty(AD 907~1125) buildings, which doesn't have $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s, for the reason that Jwau-dae(左右隊) is in direct contact with Gwihan-dae(耳限大). The second one is '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' of Song(AD 960~1127, 1127~1279) and Jin dynasty(AD 1115~1234), that has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae(左右隊) identical to $Shu{\check{a}}$ $t{\acute{o}}u$(?頭) in form. The last one is '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Jin(AD 1115~1234) and Yuan dynasty(AD 1271~1368), which has $f{\bar{a}}ng$ $t{\acute{o}}u$(枋頭)s of Jwau-dae identical to $Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) in form. The earlier forms of Gwi-po, which appeared between Tang dynasty(AD 618~690 & 705~907) and Five Dynasties periods(907~960) went through transitional forms of 'non-$f{\bar{a}}ng$ $t{\acute{o}}u$(無枋頭) type', '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' and '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' and finally had its form settled between Yuan(元, AD 1271~1368) and Ming(明. AD 1368~1644) dynasty periods. In Liao(遼) dynasty period(AD 907~1125), as the buildings got bigger and the tendency of longer eave-exposure was implemented, there grew a certain need to structurally reinforce Gwi-po, on which load of the whole roof is concentrated. Especially, the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style in this period had a great influence on standardization of Gwi-po, along with None-${\acute{A}}ng$(無仰) style. Furthermore, Wing-type Gong(翼型?), which developed in Liao dynasty(AD 907~1125), is also thought to have had a great influence on the transition from Tōuxīn $z{\grave{a}}o$(偸心造) style to Jì xīn $z{\grave{a}}o$(計心造) style by changing the forms of Gongs(?), such as Gwi-po. However, unlike None-${\acute{A}}ng$(無仰) style, there occurred a gradual change from '$Shu{\check{a}}$ $t{\acute{o}}u$ $f{\bar{a}}ng$ $t{\acute{o}}u$(?頭枋頭) type' to '$Xi{\check{a}}o$ $g{\check{o}}ng$ $t{\acute{o}}u$(小?頭) type' of Gwi-po in $Xi{\grave{a}}$ ${\acute{a}}ng$ style.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.