• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.18-53
• /
• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.4
• /
• pp.32-59
• /
• 2020

South Korea's area-based heritage preservation system originates from the "Preservation of Traditional Buildings Act" enacted in 1984. However, this system was abolished in 1996. As there was a need for protection of ancient cities in the 1960s, Japan enacted the Historic City Preservation Act in 1966, and 'Preservation Areas for Historic Landscapes' and 'Special Preservation Districts for Historic Landscapes' were introduced. For the preservation of area-based heritage sites, the 'Important Preservation Districts for Groups of Traditional Buildings' system introduced as part of the revision of the Cultural Heritage Protection Act in 1975 was the beginning. Then, in the early-2000s, discussions on the preservation of area-based heritage sites began in earnest, and the 'Important Cultural Landscape' system was introduced for protection of the space and context between heritage sites. Also, '33 Groups of Modernization Industry Heritage Sites' were designated in 2007, covering various material and immaterial resources related to the modernization of Japan, and '100 Beautiful Historic Landscapes of Japan' were selected for protection of local landscapes with historic value in the same year. In 2015, the "Japanese Heritage" system was established for the integrated preservation and management of tangible and intangible heritage aspects located in specific areas; in 2016, the "Japanese Agricultural Heritage" system was established for the succession and fostering of the disappearing agriculture and fishery industries; and in 2017, "the 20th Century Heritage," was established, representing evidence of modern and contemporary Japanese technologies in the 20th century. As a result, presently (in September 2020), 30 'Historic Landscape Preservation Areas', 60 'Historic Landscape Special Districts,' 120 'Important Preservation Districts for Groups of Traditional Buildings," 65 'Important Cultural Landscapes,' 66 'Groups of Modernization Industry Heritage Sites,' 264 "100 Beautiful Historic Landscapes of Japan,' 104 'Japanese Heritage Sites,' and 15 'Japanese Agricultural Heritage Sites' have been designated. According to this perception of situations, the research process for this study with its basic purpose of extracting the general characteristics of Japan's area-based heritage preservation system, has sequentially spread since 1976 as follows. First, this study investigates Japan's area-based heritage site preservation system and sets the scope of research through discussions of literature and preceding studies. Second, this study investigates the process of the spread of the area-based heritage site preservation system and analyzes the relationship between the systems according to their development, in order to draw upon their characteristics. Third, to concretize content related to relationships and characteristics, this study involves in-depth analysis of three representative examples and sums them up to identify the characteristics of Japan's area-based heritage system. A noticeable characteristic of Japan's area-based heritage site preservation system drawn from this is that new heritage sites are born each year. Consequently, an overlapping phenomenon takes place between heritage sites, and such phenomena occur alongside revitalization of related industries, traditional industry, and cultural tourism and the improvement of localities as well as the preservation of area-based heritage. These characteristics can be applied as suggestions for the revitalization of the 'modern historical and cultural space' system implemented by South Korea.

• International Commerce and Information Review
• /
• v.15 no.2
• /
• pp.3-23
• /
• 2013

In 1997, 180 countries signed the Kyoto Protocol in Kyoto, Japan. The Kyoto Protocol came into force in February 2005. The agreement calls for industrialized nations to cut greenhouse gas emissions by 5 percent from 1990 levels by 2008 to 2012. One of those polices is a modal shift that change from road freight to sea, inland waterway and railroad transportation that is eco-friendly. The increase of road freight brings road congestion, accidents, logistic costs, air pollution and greenhouse gases. Railroads are superior than the other modes of transportation in mass transportability, high speed, timeliness, safety and environmental-friendliness, but the railway industry has been pushed behind in competition. Korean railroads were used by passengers and freight transport popularly until the middle of 20th century, however, by the sudden change of logistics environments, a shaving time efficiency being most important, railroad logistic lost its competitive power against the transportation by truck. From the research which sees consequently investigated a various policy, a system and a law about Chinese logistics industry and present condition of the Chinese goods enterprise and instance analysis of the large Chinese corporation that branch out to undeveloped markets led and a Chinese logistics industry and problem point escape hereafter the heightening of competitiveness plan which is rational under prsenting boil.

• The Korean Journal of Quaternary Research
• /
• v.15 no.1
• /
• pp.21-28
• /
• 2001

The etymology of the Chinese words for “Asian Dust" in Korea. China, and Japan has been investigated using historical records and the research results of Quan (1994) and Wada (1917) The results show that the words for Asian Dust in Korea can be found in $\boxDr$Samguksagi$\boxUl$, $\boxDr$Korysa$\boxUl$ and $\boxDr$Chosunwangjosillok$\boxUl$, which are histrorical books of Korea. In 174 AD, during the reign of King Adalla of the Silla Dynasty, “Dust Fall” was employed to describe a descending substance in the atmosphere other than water droplets (Wada, 1917; Chun et al., 2001). The terms “Dust Fall”, “Dust rain” and “Mud” were commonly used until the end of the 19th century. It was not until Japanese colonial rule (1910~1945) that “Yellow Sand” was used in Korea. The documentation on Asian Dust started far earlier in China. “Dust Fall” records were compiled as early as 1150 BC. At that time, Asian Dust was written as “Dust Fall” or “Mud”. “Yellow Sand” was recorded in 550 AD in China, however, it seems that its use was not as common as “Dust Fall”. In Japan, the first report related to Asian Bust was made in 807 AD : it used the phase “Yellow Rain”. “Mud” was recorded in 1596 and “Dust Fall” was employed in 1633 (Wada, 1917). “Yellow Sand” was used in 1939 as the title of a Japanese research paper.aper.

• Archives of design research
• /
• v.15 no.1
• /
• pp.369-388
• /
• 2002

21th century that is repealing change is making the world that can enjoy human spiritual character and freedom wholeheartedly. Therefore, meet hereupon arid design may have to bring conversion to position of beginning that can be software at position that is hardware look raw and result look who is wrapping last result arts provide cause. Therefore, user supposes that do difficult form in that recognize things form, and that difference about attribution reaction may do differ and contradictory attribution reaction while specially 40s and 50s recognize product form laying stress on external form embodiment of product form meaning by guess and this research compares and investigates attribution process for human's attribution reaction instinct and attribution reaction type through scientific, theoretical considerations about form and things theoretically and defined cause reasoning in design. And designed product that things are recognized whether felt thing in product form is what hearing example relation sex between analysis and form of meaning induction by attribution leading person about subjective estimation reaction through literature arrange, and analyze and defined if cause some effect to designed product because drawing urea about attribution reaction through an experiment. And presented model about design access method and forward pratical use possibility and hereafter subject together with conclusion.

• Journal of Korean Home Economics Education Association
• /
• v.10 no.2
• /
• pp.131-144
• /
• 1998

The lack of characteristical understanding of the Home Economics Education will have difficulty in achieving the goal of the Home Economics Education. To allow the Home Economics Education class in school contribute toward the enhancement of the quality of life, it is inevitable to reinforce the recognition of the importance and necessity of the Home Economics Education and to newly propose a directional guidance forward the coming 21st century. The purpose of this study was to provide basic data for planners of the future Home Economics Education by surveying research administrators in charge of programming the overall school curriculum. This study was conducted under the following procedure to have the outcome as follows ; 1. Answers from respondents of age over 50 or careers over 16 years tended to grasp the goal of Home Economics Education in relation to the enhancement of quality of life rather than to the accumulation of knowledge, skill or capacity. 2. Of all the surveyed, 9.64% regarded Home Economics Education as an essential part of school education and the positive ratio was higher with younger respondents. 3. To the question asking if the high school Home Economics Education could have influence on one's capacity, 97.2% of the answerers said yes. The respondents with career under 15 year showed 100% of positive agreement in this matter and of age under 40 marked much higher ratio of 98.84% than the elders. 4. The overall recognition of the necessity for separate sections in Home Economics Education programmed in accordance with the 6th Revision of High School Curriculum displayed a considerably high ratio, with a little differences among age and job groups. The purpose of this study is to analyze and understand adolescents'culture, thereby to provide fundamental information for Preventive Education for Adolescents'Problems in Home Economic Education. 745 articles collected in computer communication service were used for the analysis. The data were analyzed by frequency and percentage using the SPSS/PC+computer program. The most important results of this study were as follows ; 1) Concerning 'Adolescent's Problems's, problems such as violence, homicide and robbery were treated with the greatest frequency. It was also analyzed that the older generations are highly inclined to understand adolescents'culture as a negative one, for example, 'delinquency'or 'immaturity'. 2) Although the area of 'Adolescents'Education'was treated most frequently reflecting the high educational concern in our society, the significant part of those articles were on wrongful educational administration. As much as 70.6% of the articles analyzed were on 'Education'and 'Problems'. Thereby it may be concluded that the other areas such as health, activities, worries, values and harmful environments ere treated respectively as only a 'subculture'or'fragmentary culture'. The articles containing correlations and interactions among them and certain alternative proposals were very rare. 3) The areas such as 'Worries and Counselling'and 'Health'were occupying only a small portion of the articles. The articles which were treating the practical worries and their resolutions were even rarer. 4) 'Values'of the adolescents tended to be viewed by the older generations very negatively. It was also found that the older generations gave the tendency to see the 'consumption culture'of the adolescents as a kind of 'counter culture'or'subculture'.

• Journal of the Korean Society of Costume
• /
• v.56 no.6 s.105
• /
• pp.1-15
• /
• 2006

The purpose of this study is to present a new viewpoint in look by closely examining fashion and look through the past, present, and future. Specifically, the concept of time is studied and fashion is considered based upon the concept of time, finally, looks in fashion related to time are analysed. For this study, the literature of retro, modern, contemporary, futuristic looks that express the past, present, and future, and the classic look, the popularity of which transcends the concept of time was considered focusing on 20th century women's fashion. Design characteristics of these looks were analyzed utilizing photographs of collection images. The results of the study are as follows: first, although the retro look of different periods regularly rotate and appear, they change and develop in new and various ways depending on the Periodic background of the time they appear in, and thus show simultaneously the cyclical and straight nature of time. Second, the modern look includes not only the moaning of time concept of the present, but also of interpreting anew the formal significance of modernism in the present. In other words, because it cyclically repeats the times of past modern periods, the look can be said to focus on the cyclical nature of time. Third, the contemporary look is a style that expresses current time most exactly as it exists, and it can be said to be the look in which current time is most vividly expressed. Fourth, the time concept in futuristic look is a subjective time that selectively accommodates and expresses the objective time of the future which has not yet come, and that can be the look's most important point. Last, the classic look possesses an objective value that transcends the concept of time, and it keeps returning, showing the cyclical nature of time. The closer this study came to the present, it could be seen that a look communicated more complex meanings, Influenced by periodic phases such as diversification, individualization, and eclecticism, and that while it could not be defined as any one look, various elements were expressed eclectically by being mixed and matched with each other, and it could utilize more natural forms, colors, and materials.

• Korea journal of population studies
• /
• v.13 no.2
• /
• pp.19-47
• /
• 1990

1720년 경상도 단성진 진내면 소재의 390가구를 대상으로 1970년대 초 케임브리지 대학의 역사인구학 연구소에서 개발한 Laslett-Hammel가구 형태 분석법을 적용하여 본 결과 표9에서 제시된바와 같이 전체가구의 48.9%가 핵가족의 형태이며, 42.1 퍼센트가 대가족으로 밝혀지고 있다. 물론 도표3에서 지적되고 있듯이 5세이하의 인구에 대한 자료가 미비한 상태라 호적 자료만으로 당시의 가구 형태에 대한 정확한 분석이 어렵다고 하드라도 이제까지 일반적으로 믿어져 왔던 대가족 형태의 이조 중기의 종가제도나 일반 서민들의 가구 형태 및 유아가구에 대한 보다 구체적인 연구가 호적 자료에 대한 면밀한 분석으로 가능해질것으로 믿어진다. 역촌, 즉 하류계층의 사람들이 주로 많이 주거하였던 단성진 진내면의 전체 조사 대상 가구의 절반이 핵가족의 형태로 보이고 있는것은 당연한 것으로 받아질수 있겠으나 표6에서 나타내고 있듯이 상류계층에 속하는 양소계층의 경우도 평균 가구 규격 16명중에서 약 13명이 율거유아로 실제 가구의 크기는 가족 구성원수 4명을 넘지않는 핵가족의 형태였을 가능성이 짙음을 알수 있다. 한가지 특이할만한 사항은 상류,중류,그리고 하류 계층 다같이 평균 가족 구성원수가 4명을 넘지 않는다는 점이다. 단성진이 독촌들로 구성되어 있는 만큼 앞으로 상류계층이 밀집되어 있었던 경북 월성군의 양동 지역 향방 자료나 호적 초안자료를 단성진의 자료와 비교 분석함으로써 이조 중기의 가구 형태에 대한 보다 신뢰성 있는 결과를 도출해 낼수 이ㅛ는것이다. 단성진의 자료는 이조 중기의 유아 인구와 유아 가구 형태에 대한 연구에는 귀중한 자료로 앞으로 역사인구학의 방법론 개발에 큰 기여를 할것으로 기대된다.의 핑거를 식별, 추적할 수 있었다.는 경도방향의 해구수가 많았으며, 특히 8월은 1년중 경도방향의 분산이 가장 컸고, 어장중심은 5월에는 3888해구, 6월에는 3884해구, 7월에는 4078해구, 8월에는 4154해구, 9월에는 4146해구, 10월에는 4044해구였다. 3. 어획수온과 어획적수온은 5월에는 $14.0~18.5^{\circ}C,$ $15.0~16.0^{\circ}C,$ 6월에는 $13.5~18.5^{\circ}C,$ $14.5~16.0^{\circ}C,$ 7월에는 $14.0~20.0^{\circ}C,$ $14.5^{\circ}C,$ $19.0^{\circ}C,$ 8월에는 $16.0~21.5^{\circ}C,$ $18.0~20.0^{\circ}C,$ 9월에는 $14.5~22.0^{\circ}C,$ $17.0~18.5^{\circ}C,$ 10월 $14.0~18.0^{\circ}C,$ $16.0~17.0^{\circ}C였다.$ 4. 평균CPUE는 5월에는 3.2kg/sheet, 6월에는 4.5kg/sheet, 7월에는 4.3kg/sheet, 8월에는 5.1kg/sheet, 9월에는 6.4kg/sheet, 10월에는 5.8kg/sheet였다. 5. 한국정부의 1990년 북태평양 오징어 어업감시계획과 실제의 어장형성범위를 비교하면 5월에는 어장이 형성된 21개 해구 가운데 12개, 6월에는 24개 가운데 7개, 7월에는 25개 가운데 4개 해구에서

• (The)Study of the Eastern Classic
• /
• no.57
• /
• pp.437-466
• /
• 2014

This paper, is in the focus of the fact that was popular in the Joseon Dynasty, was clearly private background and fashionable aspects of its creation. In Section 2, as the background of the epidemic of of the Joseon Dynasty, and was derived creative situation of . is the "left Order live music" relationship center rather, was that it was created by the Academy belongs is highlighted "Hanlin year". As a result, collapses the relationship between the order raw Korea early left, in conjunction with the boast to debauchery and evaluated surface Shinyoung of successor Geibun of this academy, be epidemic in the Joseon Dynasty it is the could be. In Chapter 3, and two to the original, it was examined the epidemic surface of of the Joseon Dynasty. The epidemic of surface, in the conventional research and are relatively detailed, but in this paper, while accommodating the existing research results, of consideration "Hanlim feast" has led to Geibun of Korea "immune new Feast" was observed a trend surface is placed around the fact. As a result, , the Joseon is that it has been singing on the occasion official four-kan and Geibun center, first Nara are exempt new feast bonds back to the four Hall again in Geibun, usually it can be seen that it is spread in the Scholar-official and gisaeng's. Lower limit has been singing can be up to around the late 17th century it has been speculated through the time of Gimumanjun.

• Journal of Conservation Science
• /
• v.37 no.6
• /
• pp.778-790
• /
• 2021

The Stone Seated Buddha Triad and Stone Standing Buddha in Bijung-ri are state-designated heritage (treasure) statues having the Buddha style of the Goryeo dynasty from the 6th century. Conservation scientific investigations were conducted to understand the preservation status of these stone Buddha statues and to establish a conservation plan. The Stone Seated Buddha Triad and Stone Standing Buddha are composed of fine-medium grained biotite granite, which is considered to be of the same origin owing to their low magnetic susceptibility distribution of less than 0.2 (×10^-3 SI unit) and similar mineral characteristics. The Stone Seated Buddha Triad has highly homogenous mineral composition and particle size, whole-rock magnetic susceptibility, and geochemical characteristics very similar to those of the nearby outcrop. It was confirmed that a combination of physical, chemical, and biological factors affects the Stone Buddha statues. In particular, both the Stone Seated Buddha Triad and Stone Standing Buddha tend to be chipped off from the front and cracked and scaled from the back. The Stone Standing Buddha located outdoors experiences granularity decomposition and black algae formation, which accelerate the weathering under unfavorable conservation environments. The result of non-destructive physical property diagnosis using ultrasonic velocity showed that both the Stone Seated Buddha Triad and Stone Standing Buddha have been completely weathered (CW), indicating very poor physical properties.