• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.2
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• pp.1092-1100
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• 2015

This thesis is a part of a case study conducted in order to understand the trends of the 16th~17th century Cheongju region bigwigs, and has examined the life and academic stream of Seogye Deuk-Yoon LEE (1553-1630) focused on the previous study, "The Great Family Genealogy of Ikjaegong of the Gyeongju LEE Family". Seogye Deuk-Yoon LEE learned from his father Seomgye Jam LEE, and GiSEO, Ji-Hwa PARK from an early age, and based the basic orientation of his studies on one's moral and religious self one's moral and religious self'. This is how he became to emphasize "Sohak" (an introductory book of Confucianism for children), and he made an effort to realize the world of Neo-Confucianism by distributing the 'YEO's Hyangyak(Lue-shih-hsiang-yueeh : autonomic regulations of the district areas)' published on "Sohak". Furthermore, he made great effort in education of the Cheongju by regarding it as his own mission to teach young scholars, continuing on the footsteps of his father. Considering this, Seogye was not only a Confucian scholar that devoted himself to 'Sugi(moral training of himself', but was also a practical scholar that committed his sense of social responsibility in ' teaching' and 'governing the people, who greatly affected the academic world of the regional bigwigs of the Cheongju during the 17th century. Furthermore, Deuk-Yoon LEE was a member of the 'Nangseongpalhyeon(eight wise men of the Cheongju region) together with his disciple Deok-soo LEE, who performed a core role in establishing the 'Gihohakpa(Capital and Chungcheong province School)' and 'Hoseosarim(forest of scholars in Chungcheong province)' of the Cheongju region. As a main figure in establishing the Sinhang Confucian academy, he prepared the socio-economic basis for the 'Gihohakpa' to take place in the Cheongju, and by academically associating with Sagye Jang-Seng Kim without regarding their conflicting parties, he became the bridge in allowing his disciple, Deok-Soo LEE to associate with the academic stream and the 'Gihohakpa'. Through such roles, he allowed the relatively easy establishment of the 'Gihohakpa' and 'Hoseosarim', which continued to Jang-Seng KIM and Si-Yeol SONG, in order to prepare the basis and establish the strength of its basis in the Cheongju region from the late 17th century.

• Journal of the Korean Society of Food Culture
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• v.7 no.3
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• pp.237-244
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• 1992

A total of 9 different names of dried beef were found in the literatures. They were classified in to 4 groups according to their processing method and shape: San pc(about 1cm thick beef salted and dried), Pyun po(ground beef with the seasoning, make small size or large size, dried), Yak po(thin beef or ground beef in the seasoning, dried), Jang po(thin beef in the seasoning, dried until half, again in the seasoning, dried). Most of the po was prepared with beef but phesant was also used for preparation Po in salt, seasame oil, black powder and soy sauce amomg the 19 kinds of seasoning, and chopped pinenut among 3 kinds of decorating were commonly used.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Journal of Conservation Science
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• v.16 s.16
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• pp.104-109
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• 2004

The characteristics and composition of the ancient glasses excavated at Songdong-ri, Sangju, Kyongsangbuk-do were analyzed using Scanning Electron Microscope attached with Energy Dispersive Spectrometer. As the results, the glass beads of Songdong-ri showed that there were changed the composition, the color and types according to the periods. There were appeared potash and soda glass group at A.D.4 century and potash and mixed alkali glass group at A.D. 17 century. The potash glasses of A.D. 4c. were colored blue and contained low $Al_2O_3$ and CaO composition as below $5\%$. The soda glasses of This period were colored blue and red, and contained $Al_2O_3$ composition as upper $5\%$. But the potash glasses of A.D.17c. showed the transparent yellow color and considerably higher CaO, $11.7\%$. 'Coil glasses' typed unique were colored yellow-brown, Cu-blue and colorless, were classified the mixed alkali glass as upper $5\%\;of\;Na_2O\;and\;K_2O$. The composition of coil glasses were presented first at this study.

• Journal for History of Mathematics
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• v.25 no.1
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• pp.15-27
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• 2012

Thomas Harriot(1560-1621) introduced a simplified notation for algebra. His fundamental research on the theory of equations was far ahead of that time. He invented certain symbols which are used today. Harriot treated all answers to solve equations equally whether positive or negative, real or imaginary. He did outstanding work on the solution of equations, recognizing negative roots and complex roots in a way that makes his solutions look like a present day solution. Since he published no mathematical work in his lifetime, his achievements were not recognized in mathematical history and mathematics education. In this paper, by comparing his works with Viete and Descartes those are mathematicians in the same age, I show his achievements in mathematics.

• Korean Journal of Crystallography
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• v.7 no.2
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• pp.105-112
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• 1996

The structure of the tetra-tert-butyl-dipropionyloxy-dihydroxycalis[4]arene (C50H64O6) has been determined by X-ray diffraction methods. The crystal is monoclinic, space group C2/c, unit cell constant a=16.067(2), b=26.391(17), c=10.335(1)Å, β=94.26(1)°, Z=4, V=4370.2(29)Å3, Dc=1.16, Dm=1.2 gcm-3. The intensity data were collected on an Enraf-Nonius CAD-4 Diffractometer with a graphite monochromated Cu-Kα radiation (λ=1.5418Å). The structure was solved by direct methods and refined by least-squares methods. The final R value was 0.07 for 2354 observed reflections. The molecule has the 1, 3-alternate conformation with own two-fold symmetry axis, : two propionyloxy phenyl groups are up and the other two hydroxy phenyl groups are down.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.45-63
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• 2014

In the Taenghwa(Buddhist paintings), the clothing habits of the times can be observed since it depicts the lives of people from all walks of life. These 16th century Taenghwas were drawn based on the understanding of the ritual costumes of early Joseon dynasty appearing in works such as oryeui Se-jong-sil-lok; Sejong chronicles and Gyong-guk-Dae-jon. It shows the perception of various types of clothing such as the Myeon-Bok(King's Full Dress), Won-yu-gwan-bok(King's Ceremonial Dress), and Gon-ryong-po(royal robe at work), and describes the early King's Won-yu-gwan-bok in the early Joseon dynasty that equips Bang-sim-gok-ryong(Round Neck Band). Various officials' uniforms and various men's coats are described. From it, one can visually verify the records of Joong-jong-sil-lok; Joongjong chronicles that describes the appearances of various hats and coats. They also tell us that Chang-ot(light outer coat) was worn prior to the 17th century. It also shows us that the ritual costume of women in Koryo was passed down to early Joseon. Also, in regards to the Buddhist priest costumes, the jang-sam's gray color and ga-sa's red color has been passed down until today. The most representative characteristic for clothing materials were horsehair, silk, ramie, hemp, and cotton.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.241-247
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• 2020

In the late 16th century, the Theatrum Anatomicum or anatomical theatre opened in Leiden in the Netherlands. The theatre was open to a fee-paying audience of students, surgeons, and the public and soon settled down as one of the highbrow cultural activities in the city. This trend soon spread into Amsterdam, and Nicholaes Tulp appearing in Rembrandt van Rijn's was at the center of it. Human anatomy was not just an eyesore but started to get accepted as a cultural event for the civilized citizens of the time. It was with this backdrop that Rembrandt got inspired by this interesting scene of Tulp dissecting human body. Rembrandt well understood the changes of the time and captured them on canvas to attempt convergence between science and art.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Journal of Conservation Science
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• v.31 no.3
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• pp.299-308
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• 2015

Aim of this study is to identify dyestuff of the Dallryeong(official's robe in Joseon Dynasty, 16th century) excavated from Yuryang-dong, Cheonan, in 1996. For this purpose, extracted dyestuffs from Dallryeong fabric and from natural dyestuffs for red color(safflower, Sapanwood, Madder) which are presumed to have been used in the Dallryeong, are analyzed and compared by high performance liquid chromatography(HPLC). As a result, HPLC chromatogram of extracts of the Dallryeong's dyestuff and safflower are showed a peak at 17.5 minutes. The UV/Vis spectra of the samples are showed the maximum absorption wavelength at 519nm. This result is identical with the analysis of the previous studies on red dyestuff of safflower. In addition, the analysis of Mass Spectrometry(MS) showed the identical result of the peak with m/z 910. Following these results, excavated pink Dallryeong were considered to have been dyed with safflower.