• The Journal of Engineering Geology
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• v.7 no.1
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• pp.81-90
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• 1997

The Korean historical 1iteratures describe that great eaathquakes with destructive damages occurred mainly in Kyongju-Ulsan areas during the period of 1 to 8 century and 16 to 17 century. It seems that the Ulsan fault system shows a little curved ttend with N-S strike in the southern part and diverges into three directions from the mid-northern lart of the fault. The dominant trends of the lineaments are NNE-SSW, NE-SW and NS directions. Trench excavation in the mid-northern part of the Ulsan fault shows thrust facies cutting slope deposit containing a compacted laminar structure whose origin may due to severe cryogenic activities of the last cold period(ahout 25OOO B.P.). Detailed observation of the facies gives some evidences related to two earthquake episodes of thrust components along the Ulsan fault system. Fault outcrop and trench study suggest that Ulsan fault seems to he one of the active fault which has reworked several times even in the late Quaternary.

• Journal for History of Mathematics
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• v.19 no.2
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• pp.59-76
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• 2006

This research focuses on the relationship between mathematics and visual art from a perspective of chaos theory which emerged under the influence of post-modernism. Culture and history, which transform dynamically with the passing of time, are models of complexity. Especially, when the three periods of Medieval, Renaissance, and 17-18 Centuries are observed, the Renaissance period is phase transition phenomenon era between Medieval and 17-18 Centuries. The transition stage between the late Medieval times and the Renaissance; and the stage between the Renaissance and the Modern times are also phase transitions. These phenomena closely resemble similarity in Fractal theory, which includes the whole in a partial structure. Phase transition must be preceded by fluctuation. In addition to the pioneers' prominent act of creation in the fields of mathematics and visual an serving as drive behind change, other socio-cultural factors also served as motivations, influencing the transformation of the society through interdependency. In particular, this research focuses on the fact that scientific minds of artists in the Renaissance stimulated the birth of Perspective Geometry.

• Journal of the Korean Society of Costume
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• v.24
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• pp.29-46
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• 1995

This study is on the classification of Chchori forms in Korea in the 16 th and 17 th Centuries by investigating the patterns an construction of excavated clothong. The characteristic features of the Korean Chchori in the period are as follow. 1. The Chchori shows forms. The diversity is accomplished by varing the components pattern is Chchori, such as collar, sleeve, and bodice. The divertification in Chchori pattern represents an attempt to advance the simple Chchori pattern in the 4 th and 5 th Centuries to the mordern one. 2. Mokpankit (목판깃) has a straight construction line but Kalkit (칼깃), Dangkogit(당코깃) have curved one. This suggests a transformation in the construction line of Chchori. 3. Among Chchori pattern, some Mokpankit and Kalkit Chchori show two kinds in size ; 40-50 cm and 60-70 . However, Dangkokit Chchori has only one size of 40-50cm. Considering the difference in body size between man and woman , Mokpankit Chchori and Kalkit Chchori are jueged to be for man and woman commonly, and Dangkokit Chchori is for woman only. After the period , woman wears only Dangkokit Chchori, whichis thought to come from the sex discrimination. Consequently on the viewpoint of rinsiple of Adaptation to Environments, forementioned facts prove the changes in Korean society in the 16 th and 17 th centuries on the historical basis of costume.

• Journal of Korean Library and Information Science Society
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• v.44 no.3
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• pp.447-470
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• 2013

The purpose of this study is to examine how the cultural aspects of the publication of literary collections have been changed from its time throughout the entire Joseon Dynasty. At the royal court in the early Joseon Dynasty, the need for publication of the literary collections has consistently arisen to preserve writings of the noted sages, and the Joseon government was also taking the lead and promoting the publication of the literary collections. From the 16th to the early 18th century, the publication was intensively made at the local governments led by local governors. From the 17th to the early to middle of the 18th century, the finances of local governments were limited with the changed taxation system, and there had been a dramatic decrease in the number of literary publication projects. On the other hand, with the sudden increase of the number of Seowons during the reign of King Sukjong, the focus of the literary publication was moved to Seowon from the 18th to the 19th century. After the enforcement of the Seowon Abolition Decree, the collections were still published at Seowons, however from the end of 19th century, the publication of literary collections had been explosively made by aristocrats who did not belong to the institution of Seowon or could not receive Seowon's support, which spreaded over the entire Yangban culture.

• 보일러설비
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• no.9 s.152
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• pp.100-107
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• 2006

박람회 전문기업 동아전람은 바르고 유익한 건축정보를 제공하고 업체 마케팅 장소 제공 및 관련산업의 활성화를 위해 '2006 제16회 mbc건축박람회'를 지난 8월 17일부터 212일까지 5일간 지하철 3호선 학여울 역의 서울무역전시장에서 개최했다. 박람회에는 200여 업체 참가하여 총 2,000여 아이템을 전시됐다. '동아전람 사이버 건축박람회'와 병행해서 동시에 개최된 이번 전시회는 건축자재전, 인테리어전, 건축Renovation전, 전원주택전, 조명산업전, 건축공구전, DIY산업전, 가구전, 부동산 분양 및 펜션 정보전으로 펼쳐졌다.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.1102-1118
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• 2011

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.37 no.3
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• pp.299-303
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• 1992

Methods for harvesting and storage of rice were also originally introduced from the ancient China like other practices of agricultural techniques. Thus, optimum time or rice harvesting was adopted by appropriate draining to prevent the losses, and efficient tools were utilized for harvesting and manufacturing. In addition, our unique and original techniques for rice storage were learned and handed down, which prevented winds and rains, and allowed good ventilation. In the 15th and 16th centuries, treatment of smartweed extracts as emphasized to prevent insect damage for stored barley and rice cutting immediately at harvest was encouraged to prevent shattering of rice grains. In the 18th and 19th centuries, means for prevention of damages by water, insects and rats when grains stored in the field were suggested. Also, studies for ecology of various rice cultivars and storage techniques for a long period of time were necessarily emphasized to assume the optimum time of harvest regionally and to cooperatively work timely.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.214-230
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• 2022

This paper discusses the characteristics and background of the production of white porcelain with the "Byeol(別)" inscription. Such porcelain was produced by the government-run porcelain kiln, Gwanyo(官窯), in the 16th and 17th centuries (from the 1560s to the 1640s), during the Joseon dynasty. The white porcelain ware, inscribed with either the term Byeol or "jwa(左)" and "u(右)," constituted a dual production system of white porcelain by Gwanyo starting in the 1560s. However, to date, few studies have examined Byeol-inscribed white porcelain. This, therefore, makes it difficult to achieve a comprehensive understanding of the evolution of inscriptions on the white porcelain produced by Gwanyo in the 15th to 17th centuries. Besides a regular annual stock of porcelain(年例進上磁器), Gwanyo also produced and supplied additional porcelain ware, or Byeol-gi, at the behest of the royal family or the court of Joseon. Byeol-inscribed white porcelain is a form of Byeol-gi, produced through extra firing, or Byeolbeon(別燔). According to use, Byeol-gi can be categorized as an item for national use(國用) or an item for internal use(內用). However, if the porcelain only carries the "Byeol(別)" inscription, it is difficult to identify its characteristics. Furthermore, as part of the annual production of porcelain was for the supply of Byeol-gi, and then for other purposes, the white porcelain came to be inscribed with dots indicating a change in ownership. In the 16th century, the royal family increased its consumption of white porcelain based on Shinyu Gongan(辛酉貢案), the government's fiscal reform measures. To guarantee a stable supply of exceptional Byeol-gi in light of Gwanyo's decline in the 1560s, the royal family benefited from the inscription of "Byeol." The white porcelain produced by Gwanyo was divided into annual offerings-those with the inscriptions "jwa(左)" and "u(右)"-and Byeol-gi, those with the inscription of "Byeol." They were managed separately from the commencement of production. Byeol-inscribed white porcelain was produced until the 1640s. During the mid-and late 1640s, Byeolbeon was temporarily suspended. Starting in the 1650s, the white clay used to produce the annual stock of white porcelain was sourced from regions other than those providing the clay for Byeol-gi production. The former used clay from Wonju(原州土) and Seosan(瑞山土), while the latter used clay from Gyeongju(慶州土) and Seoncheon(宣川土). According to the literature, the clay from Gyeongju and Seoncheon was much cleaner than that from Wonju and Seosan. Byeolbeon thus underwent a transformation, whereby production was separately managed, right from the stage of white clay mining. Ultimately, the need for the separate management of Byeol-gi through inscriptions diminished, resulting in the disappearance of Byeol-inscribed white porcelain.

• Journal of architectural history
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• v.2 no.2 s.4
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• pp.50-65
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• 1993

Most of the studies on Yangban Houses dealt with the existing houses which were constructed, in most part, after the 17th century. Therefore it is important to identify the actual process of change from before the 17th century which is critical in understanding the history of residential architecture of the Chosun Dynasty. This study aims to clarify that the architectural condition after the 17th century is the result of the major change in sound the 16th century, and the prime motivation of that change was initiated by the family ritual which become very important social and idealogical base of the change. To be able to practice the family ritual, the spatial arrangement had to be changed, Man's quarter had to be enlarged, which a stone-floored room was added on one side of the centural wooden floor of the lady's quarter. Also, family shrine was erected on eastern side of the site. Thus, unless the major change in the 16th century, which was caused by the practice of family ritual, is understood, the study of historical background of Yangban houses can never be complete.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.71-86
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• 2008

The Purpose of this article is to study the excavated women's costume of the Joseon Dynasty, and to help identify the period of those costumes with the time of the burial unknown. The excavated women's costume is concentrated in 16th to 17th century, and the reason is due to the method of the burial. The characteristics of costumes from each period is as follows. The special features about 15th century costumes are the women's Dan-ryeong(round-collared jacket), Dae-gum style shirt(shirt with the squared collar facing each other), and skirt with horizontal dart. The 16th century costumes are the women's Dan-ryeong, wide Jegori with various length, skirt with horizontal dart, skirt with its hem folded, and pants with shoulder strap. In the 17th century, the formal dress changes to Won-sam from Dan-ryeong. The collar changes from the squared shape to the cut Dang-ko collar, and the skirt with its hem folded is not seen after the early 17th century. The long jacket changes to Dang-ui and gets settled, and the clothes becomes smaller and tighter. In the 18th century, the women's formal dress gets settled to Won-sam and Dang-ui, and the pants with shoulder strap is no longer seen. Jegori becomes shorter and smaller compared to those from the 17th century, and again gets wider and bigger in the late 18th century, and it leads to the change of making a big sized shroud.