• Journal of the Korean Association of Oral and Maxillofacial Surgeons
• /
• v.27 no.5
• /
• pp.404-416
• /
• 2001

Purpose : Traditionally, the treatement of choice has been a bone grafting procedure to increase the length of bone in case of actual length discrepancy. But, bone grafting procedure has many disadvantages, for example, graft resorption, donor site morbidity, and so on. So, many trials have been performed to avert the use of autogenous bone graft via introducing new materials or methods. And, one of those trials has been realized by the development of a technique inducing bone lengthening by osteotomy (or corticotomy) and slow gradual distraction of the osteotomized segments. This new technique of bone lengthening dates back to the early 20th century. But, the majority of information concerning the biology of new bone formation during bone lengthening and technical details of the procedure were produced by extensive clinical and experimental studies performed by Ilizarov, a Russian surgeon. According to Ilizarov, with adequate blood supply, preservation of periosteum, rigid fixation of the osteotomized segments, and proper rate and rhythm of distraction, intramembranous bone rapidly develops within the distraction gap in the limb lengthening procedure. In the limb lengthening, many orthopedic surgeons try to observe the biologic and clinical principles recommended by Ilizarov. In the oral and maxillofacial region, however, not a few studies must be performed to apply this surgical technique in the clinical cases. Besides, the mechanism of bone formation in the distraction gap is not clear, yet. The purpose of this experiment was to scrutinize serially the histological changes in the elongated bone affected by osteodistraction of the mandibular body in an adult canine model. In addition, it was performed to confirm the presence of specific region(s) which was important in the bone formation in the gap through the observation of the expression pattern of osteocalcin and osteonectin with the immunohistochemical examination. Materials and Methods : The experimental and control specimens were obtained from seven adult male mongrel dogs weighing over 20kg. The distractors were custom-made linear extraoral devices and bicortical fixation screws were 2.3mm in diameter, 50mm in total length, 15mm in screw length. The distractors were devised to produce a linear gap of 0.75mm between two bony segments every $360^{\circ}$ turn of the rotation rod of the device. The mandibular body of the right side of each animal was corticotomized perpendicular to the occlusal plane and then two bony segments were separated completely by careful manipulation of the segments with bone forceps. The left side of each animal was left intact. This side was served as control. At sixth day after osteotomy and fixation of the segments were performed, distraction of the segments was commenced with a rate of 1.1mm/day and a rhythm of two/day for ensuing 7 days. The animals were euthanized at the 16th. 29th, and 44th day after the osteotomy. The bony specimens were decalcified, embedded in paraffin, sectioned $5{\mu}m$ thick and stained with H&E. The prepared specimens were examined under the light microscope. And, immunohistochemical examinations using anti-osteocalcin antibody (OC1, Biodesign, USA) and anti-osteonectin antibody (Haematologic Technologies Inc., Essex, VT) to locate the expressions of osteocalcin and osteonectin, respectively, were performed. Results : 1. New bone was observed already at the 16th. day after osteotomy. This suggests that new bone formation in osteodistraction was commenced at an early stage of the regenerative process. But, radiologically and microscopically, bony union was not completed in the distraction gap at the 44th. day after osteotomy. Therefore, rigid fixation must be maintained between the bony fragments till the complete bony union is confirmed clinically rather than one month or so after the completion of distraction.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.5
• /
• pp.60-70
• /
• 2017

This study traces the development of physic gardens in Korea and explores their significance in the history of landscape architecture. For this purpose, records related to physic gardens from medical sources from the period of the Three States to the Joseon dynasty, when herbal medicine was systematized as a field, were searched. Physic gardens had been developed by the time of the late Goryeo and early Joseon dynasties, in the 13th and the 15th centuries. Yakpo(kitchen gardens for medicinal herbs) were cultivated by a group of new high-level officials in the late Goryeo dynasty, when an increasing interest in hyangyak(native herbs) emerged under the influence of the Neo-Confucian perspective on nature, which emphasized locality. The sources analyzed in this study confirm that physic gardens called jong-yakjeon(royal medicinal herb gardens) were in operation in the early Joseon dynasty when policies to investigate, discover, cultivate, and research native herbs were put into place. It is likely that the jong-yakjeon were established at the beginning of the Joseon dynasty as subsidiary facilities under its central medical institutions, the Naeuiwon and Hyeminseo, and then declined in the late Joseon dynasty. Jong-yakjeon can be confirmed to have existed in the mid-15th century. Physic gardens were located in several places outside the Fortress Wall of Hanyang, such as Yakhyeon, Yuldo, Yeoudo, and Saari. The total area encompassed by physic gardens was about 160,000 square meters in the early 18th century. In jong-yakjeon, dozens of medicinal herbs were cultivated, including Schizonepeta tenuifolia var. japonica, Rehmannia glutinosa, and Glycyrrhiza uralensis Fischer, and these gardens were operated by physicians dispatched from the Naeuiwon and dozens of provincial slaves. In conclusion, the jong-yakjeon were similar to the physic gardens of Renaissance medical universities in that they reflected the interest in and development of theories about new herbs, and were similar to the physic gardens of medieval castles and monasteries in terms of species types, location, and function. This paper has limitations in that it does not present the specific spatial forms of the yakpo or the jong-yakjeon. Nevertheless, this paper is significant for the field of garden history because it shows that physic gardens in Korea appeared in the late Goryeo and early Joseon dynasties concomitantly with the development of medicine towards native herbs and functioned as utilitarian gardens to cultivate community remedies.

• 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

• 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.

• Journal of Advanced Navigation Technology
• /
• v.18 no.1
• /
• pp.84-89
• /
• 2014

Worldwide Interoperability for Microwave Access (WiMAX) is an efficient technology for 20th century communication system. The technology provides broadband speed without the need for cables and is based on the IEEE 802.16 standard(also called Wireless MAN). Mobile WiMAX is defined as IEEE802.16e which is advanced and efficient technology for mobile telecommunication rather than GSM, CDMA technology. In this work link budget calculation for WiMAX have been done. Cell range have been calculated over digital modulations and they are BPSK, QPSK and QAM. Here different types of models like Cost 231 model have been used for different types of areas like open, rural and urban areas and Erceg-Greenstein model for sub-urban areas. Effect of various parameters like frequency, base station antenna height, transmission power and SNR over cell range have been studied. Analysis have done for both uplink and downlink.

• Journal of Ginseng Culture
• /
• v.1
• /
• pp.28-42
• /
• 2019

What is unknown about Leibniz (Gottfried Wilhelm Leibniz, 1646~1716), a great philosopher and mathematician, is that he inquired about ginseng. Why Leibniz, one of the leading figures of the Enlightenment, became interested in ginseng? This paper excavates Leibniz's references on ginseng in his vast amount of correspondences and traces the path of his personal life and cultural context where the question about ginseng arose. From the sixteenth century, Europe saw a notable growth of medical botany, due to the rediscovery of such Greek-texts as Materia Medica and the introduction of a variety of new plants from the New World. In the same context, ginseng, the renowned panacea of the Old World began to appear in a number of European travelogues. As an important part of mercantilistic projects, major scientific academies in Europe embarked on the researches of valuable foreign plants including ginseng. Leibniz visited such scientific academies as the Royal Society in London and $Acad{\acute{e}}mie$ royale des sciences in Paris, and envisioned to establish such scientific society in Germany. When Leibniz visited Rome, he began to form a close relationship with Jesuit missionaries. That opportunity amplified his intellectual curiosity about China and China's famous medicine, ginseng. He inquired about the properties of ginseng to Grimaldi and Bouvet who were the main figures in Jesuit China mission. This article demonstrates ginseng, the unnoticed subject in the Enlightenment, could be an important clue that interweaves the academic landscape, the interactions among the intellectuals, and the mercantilistic expansion of Europe in the late 17th century.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.3
• /
• pp.22-36
• /
• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.

• The Research Journal of the Costume Culture
• /
• v.16 no.5
• /
• pp.878-890
• /
• 2008

As a pioneer of modem dance, $Lo{\ddot{i}}e$ Fuller($1869\sim1928$) was important because she introduced a free style dance using a new style of stage costumes. Also, $Lo{\ddot{i}}e$ Fuller was an important motif in $fin-de-si{\grave{e}}cle$, French arts, posters, sculptures, and so forth. This study aimed to clarify the characteristics of Fuller's dance and costumes, and to analyze the modernism in both. To better understand Fuller's dance, this article talks about research on Fuller's career, dance, and Fuller's own biography. Stage costumes, letters for patent, and photographs were are also studied. The most important elements of Fuller's dance were her costumes and the electric lights which could make free style expressions a fantastic representation of dance. To clarify the modernity of Fuller's dance, first of all, this study researched Fuller's career in dance and then analyzed representations of Fuller's dances in visual arts; posters, sculptures and lastly, the characteristics of Fuller's stage costumes. As a result, this article analyzed characteristics of Fuller's dance in three points. First, Fuller used sculptures of silk cloth's drapery to express physical movements and actions. Second, Fuller used lighting and electrical effects that had just been developed in the late 19th Century. Third, Fuller made an application for patents against stage costume and stage mechanisms for her original shows. This study focused on $Lo{\ddot{i}}e$ Fuller's stage costumes which played a main role in expressing fantastic sculptures for the first time in costume, visual arts, and dance studies. This study clarifies the characteristics of the stage costumes in Fuller's dance and is estimated as pioneering and fundamental research.

• Journal of architectural history
• /
• v.22 no.4
• /
• pp.7-18
• /
• 2013

Integrated-Salmi can be suggested as a character of Da-po type Kong-po in Korea's traditional architecture. However, only few studies are made on this subject yet. This study is to investigate the integration process of Salmi through cases of certain Kong-po which have the same number of inner and outer Chul-mok and are also known to precede in time. The results of the study are like below. First, Integrated-Salmi is more dominant in inner and outer 3 Chul-mok Kong-po than in inner and outer 2 Chul-mok Kong-po. Second, While inner and outer 2 Chul-mok prevail in Yeong-nam region, inner and outer 3 Chul-mok prevail in Ho-nam region. Third, integrated Salmi of Inner and outer 3 Chul-mok, first appeared in internal Jusangpo to be carried over to internal Juganpo then eventually to outer Salmi. Fourth, the reason why integrated form precede in internal salmi of inner and outer 3 Chul-mok Kong-po is due to 2 main factors. First of which is the impact of integrated Boaji that developed in Da-po type since the early 16th century. The second factor is downward expansion of Cho-gak's Boaji which was adopted to cope with disorders made in structure of Chum-Cha, due to inner and outer 3 Chul-mok type buddhist temples' wide reconstruction throughout Jeolla region following the Japanese invasion of Korea in 1592. This study is to disclose the regularity of development process of Salmi's Cho-gak(草刻) which is a characteristic of Korea's Da-po type Kong-po.

• Journal for History of Mathematics
• /
• v.20 no.1
• /
• pp.1-16
• /
• 2007

In the 19th century, Chosun mathematicians studied the most distinguished mathematicians Qin Jiu Shao(泰九韶), Li Ye(李治) Zhu Shi Jie(朱世傑) in Song(宋), Yuan(元) Dynasty and they established a solid theoretical development on the theory of equations. These studies began with their study on Si yuan yu jian xi cao(四元玉鑑細艸) compiled by Luo Shi Lin(羅士琳). Among those Chosun mathematicians, Lee Sang Hyuk(李尙爀, $1810{\sim}?$) and Nam Byung Gil(南秉吉 $1820{\sim}1869$) contributed prominently to the research. Relating to Si yuan yu jian xi cao, Nam Byung Gil and Lee Sang Hyuk compiled OgGamSeChoSangHae(玉監細艸詳解) and SaWonOgGam(四元玉鑑), respectively and then later they wrote SanHakJeongEi(算學正義) and IkSan(翼算), respectively. The latter in particular contains most creative results in Chosun Dynasty mathematics. Using these books, we study the relation between the development of Chosun mathematics and Si yuan yu jian.