• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.62-79
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• 2017

The principle of repairing the architectural heritage in China was first presented by Liangsicheng of Society for Research in Chinese Architecture in the 1930s, and it was stated as "Restoration of Historic Condition or Preservation of Existing Condition" in 1961 in the "Provisional Regulations on the Protection and Management of Cultural Relics" after various repair experiences under the social and political background of the 1950s. Restoration of historic condition generally means restoration to original shape, and because architectural heritage was often repaired based on similar principle in Korea and Japan in the early and mid 20th century, it can be said that the restoration of historic condition was a universal and leading principle in this period in Northeast Asia. In China, however, the preservation of existing condition is equally specified along with the restoration of historic condition. When considering the leading trend of the time, it seems to be rather unexpected, which leads to questions about the formation process and meaning. The research on Liangsicheng, which first suggested the principle of repair, is very important, but there is a lack of three-dimensional analysis of his principles compared with active research on international principles in China. In order to understand the process of formation and its meaning of the principle of repair in China, we first need to analyze the principle proposed by Liangsicheng, and it is necessary to comprehensively examine how the principle have changed under the social background surrounding architectural heritage conservation after the founding of the People's Republic of China(PRC). In this paper, we first show that Liangsicheng has proposed a principle of restoration of historic condition with important values in the originality, and at the same time he opened the possibility of preservation of existing condition for the result of value judgment or realistic reason. In addition, we examine the process of equalizing preservation of existing condition with a restoration of historic condition as a realistic principle due to the influence of Soviet architectural heritage conservation system and Chinese economic development oriented policy after the founding of PRC.

• The Journal of Art Theory & Practice
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• no.9
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• pp.59-91
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• 2010

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

• Korean journal of communication and information
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• v.26
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• pp.83-104
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• 2004

Most studies of Korean Newspaper in historical view have focused on the news writing form and editorial practice. Those studies have much rely on the memories of ex-journalist or the impression of scholars. So this study aims to give the concrete figures of news writing forms and editing practices in 1920-30's by investigating Kim Dong-Seong's activities as a journalist. He was a first journalist who studies journalism. He studied journalism during his stay in the Ohio State University as an english department student. After he came back to Seoul, he worked at the Dong-A Il Bo as an one of the first publish members. His activities as a journalist have much important meanings because of his varied works and careers. He also wrote a practical affair book for reporters which was the first book in Korea. As a result of research about Kim Dong-Seong's activities in 1920-30's, the feature of edit practice in 1920's had much emphasis not only on the headline but on the relation between type and print, and at the same time the combination of news or the change of typography was one of methods which make the editing more variety. News materials were collected varied news sources and legworks by reporter. These results show us that such a news reporting practice in 1920-30's is similar co the contemporary.

• Journal of Fashion Business
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• v.15 no.5
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• Journal of the Korean Society of Food Science and Nutrition
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• v.42 no.12
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• pp.1930-1939
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• 2013

It has been reported that Chungkukjang, one of Korean traditional fermented soybean products, may improve hypertension, diabetes, and hyperlipidemia. In this study, we sought to investigate the immunoenhancing effects of Chungkukjang in ovariectomized mice. For the first period, female SLC ddy mice were either sham-operated (Sham; n=27) or ovariectomized (OVX; n=27). As a basal diet, ovariectomized mice were fed low-calcium diet for faster induction of osteoporosis for six weeks, and those in the Sham group were fed AIN-76 diet. For the second period, half of the OVX group (n=9) and the Sham group (n=9) were fed a Chungkukjang-based diet (CKJ); whereas the other half (OVX; n=9/ Sham; n=9) were fed a casein-based diet (CSI) for 8 weeks. After a second period, we collected the blood via heart puncture and measured the splenocytes proliferation, T lymphocyte subsets by flowcytometry, and levels of serum cytokines (IL-2, IL-4, IL-6, IL-10, IFN-${\gamma}$ and TNF-${\alpha}$) by ELISA assay. The OVX+CKJ group showed higher splenocytes proliferation, higher ratio of CD4/CD8, and lower levels of IL-6 and TNF-${\alpha}$ cytokines compared to the OVX+CSI group. The Sham+CKJ group showed cytokine productions, such as higher levels of IL-10 and IFN-${\gamma}$, and lower levels of IL-6 and TNF-${\alpha}$ compared to the Sham+CSI group. The result of this study suggests that Chungkukjang may lower the proinflammatory cytokine levels in both the OVX and Sham groups. In addition, Chungkukjang could make a balance of T cell subset proliferations and enhance the splenocyte proliferations in the OVX group.

• Economic and Environmental Geology
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• v.44 no.1
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• pp.83-94
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• 2011

Extra heavy oil reservoirs are distributed over the world but most of them is deposited in the northern part of the Orinoco River in Venezuela, in the area of 5,500 $km^2$, This region, which has been commonly called "the Orinoco Oil Belt", contains estimated 1.3 trillion barrels of original oil-in-place and 250 billion barrels of established reserves. The Venezuela extra heavy oil has an API gravity of less than 10 degree and in situ viscosity of 5,000 cP at reservoir condition. Although the presence of extra heavy oil in the Orinoco Oil Belt has been initially reported in the 1930's, the commercial development using in situ cold production started in the 1990's. The Orinoco heavy oil deposits are clustered into 4 development areas, Boyaco, Junin, Ayachoco, and Carabobo respectively, and they are subdivided into totally 31 production blocks. Nowadays, PDVSA (Petr$\'{o}$leos de Venzuela, S.A.) makes a development of each production block with the international oil companies from more than 20 countries forming a international joint-venture company. The Eastern Venezuela Basin, the Orinoco Oil Belt is included in, is one of the major oil-bearing sedimentary basins in Venezuela and is first formed as a passive margin basin by the Jurassic tectonic plate motion. The major source rock of heavy oil is the late Cretaceous calcareous shale in the central Eastern Venezuela Basin. Hydrocarbon materials migrated an average of 150 km up dip to the southern margin of the basin. During the migration, lighter fractions in the hydrocarbon were removed by biodegradation and the oil changed into heavy and/or extra heavy oil. Miocene Oficina Formation, the main extra heavy oil reservoir, is the unconsolidated sand and shale alternation formed in fluvial-estuarine environment and also has irregularly a large number of the Cenozoic faults induced by basin subsidence and tectonics. Because Oficina Formation has not only complex lithology distribution but also irregular geology structure, geological evolution and characteristics of the reservoirs have to be determined for economical production well design and effective oil recovery. This study introduces geological formation and evolution of the Venezuela extra heavy oil reservoirs and suggest their significant geological characteristics which are (1) thickness and geometry of reservoir pay sands, (2) continuity and thickness of mud beds, (3) geometry of faults, (4) depth and geothermal character of reservoir, (5) in-situ stress field of reservoir, and (6) chemical composition of extra heavy oil. Newly developed exploration techniques, such as 3-D seismic survey and LWD (logging while drilling), can be expected as powerful methods to recognize the geological reservoir characteristics in the Orinoco Oil Belt.

• Economic and Environmental Geology
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• v.39 no.1 s.176
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• pp.63-74
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• 2006

In order to identify the Pb pollution and its sources in continental shelf and slope areas, Pb concentration and Pb isotope ratios ($^{207}Pb/^{206}Pb\;and\;^{208}Pb/^{206}Pb$) were determined far 6 box corer sediments collected from the southern East/japan Sea. Pb concentration, and $^{207}Pb/^{206}Pb\;and\;^{208}Pb/^{206}Pb$ ratios were constant at around $25\pm5 ppm$ and 0.842 and 2.092 from 1700 to 1930 year, respectively and increased steadily up to $40\pm5 ppm$ and 0.867 and 2.123 at the beginning of 1990s', respectively. The increase of concentration and isotope ratios in the labile fraction (leached by 2M HC1+0.5M $HNO_3$) explains their increase in bulk sediments, while Pb concentration and isotope ratios in the residual fraction were nearly constant during 300yrs. Temporal variation of Pb isotope ratios was explained by simple two end-members mixing of geo-genic and anthropogenic sources because isotope ratios and the inverse of Pb concentration showed the good linear relationships. Using Pb isotope ratios, we can constrain two Pb sources in the study area. The one is atmospheric particulates, compared with mean values of isotope ratios in atmospheric particulates collected at Jeju and Oki ;stands, based on the history of Pb emmission in Korea and China, and judged by oceanographic processes capable of homogenizing many sources. The other is local sources related to iron mills, refineries of Pb ore and of petroleum located at the coast of the study area. Isotope ratios of anthropogenic Pb can be estimated using two end-members mixing equation and were $0.879\pm0.005\;and\;2.144\pm0.008$ before 1950s' while they increased up to $0.900\pm0.008\;and\;2.162\pm0.011$ after 1980s', respectively.

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.1-36
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• 2000

Periodic markets of the later Choson dynasty had undergone fundamental changes during the late Chosun dynasty and Japanese colony period. This paper aims to analyse the spatial distributions and changes of the periodic markets in the middle stream of Han-River in this era in the use of the survey of documentary records and fieldwork. Before the early 1910s, long distance transportation was made by riverboats, short distance transportation was done by porters and pack animals. Because goods such as rice, soybean and salt were very heavy and needed long distance transport, they were mainly transported by riverboats. Accordingly, riverports on the shore of river played important roles in exporting and importing goods as nodes of long distance transportation. The opening of railroad Seoul-Busan, the construction of new roads(Sinjakno) of 1910s and the use of oxcarts produced striking changes in the spatial distribution and hierarchy structure of periodic markets. These changes also had influence on the outflow and inflow of goods in the middle stream of Han-River. In the parr of outflow of goods, it seems that the line linking Icheon city-Yongin city-Anseong city played a role in making the boundaries of the marketing areas between goods trams ported by the rail road Seoul-Busan and goods done by Han River river boats. Anseong, Osan and Suwon periodic markets located around railroad stations occupied the higher positions than those of other regions in the hierarchial structure of periodic markets. Their marketing areas could nearly overwhelm those of riverports located in the middle stream region of Han River and extend to the middle stream region of Han River as a result of decrease of transport cost through using of oxcarts and railroads. the opening of railroad Suwon-Yeoju(Suryoson) and railroad Cheonan-Janghawon(Cheonjangson) brought about changes of the structure of long distance trade again. In a part of outflow of goods, it seems that as a result of the new opening of their railroads periodic markets around railroads seized a large portion of the marketing area of the southern part of Yoju and Ichon area and therefore made extreme change in rivershipping of Han River. In the inflow part of goods, goods transported by riverboats from the downstream of Han River before the opening of railroad were imported directly from railroad stations. Accordingly, rivershipping and riverports declined. And because goods were imported by way of great periodic markets and supplied to small periodic markets and consumers before the opening of railroad, but supplied from railroad stations to small periodic markets and consumers after the opening of railroad. The volume of turnover of such great periodic markets as Anseong, Osan and Suwon periodic markets therefore declined. On the other hand, because Yangpyong area had not been yet included within the sphere of influence of railroad until 1930s, it heavily depended on rivershipping of Han River as before. But the opening of railroad Seoul-Wonju(jungangson) brought about decline of rivershipping in Yangpyong and Wonju area.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.10-23
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• 2021

During the Japanese colonial period, the palaces of Joseon were damaged in many parts. Changgyeonggung Palace is the most demolished palace with the establishment of a zoo, botanical garden, and museum. During the Japanese colonial period, the palaces of Joseon were damaged in many parts. This study examined the construction process of Jangseogak(Yi Royal-Family Museum), located right next to the Jagyeongjeon site, which was considered the most important space in the Changgyeonggung residential area of royal family zone, through historical materials and field research. Built in 1911, Jangseogak is located at a location overlooking the entire Changgyeonggung Palace and overlooking the Gyeongseong Shrine of Namsan in the distance. Changes in the surrounding space during the construction of Jangseogak can be summarized as follows. First, in the early 1910s, the topography of the garden behind Jagyeongjeon and part of the Janggo were damaged to create the site of Jangseogak. The front yard was built in the front of Jangseogak, and a stone pillar was installed, and a staircase was installed to the south. In the process, the original stone system at the rear of Yanghwadang was destroyed, and it is presumed that Jeong Iljae and other buildings were demolished. Second, in the 1920s, many pavilions were demolished and the zoo and botanical gardens and museums were completed through leveling. After the Jangseogak was completed, the circulation of the Naejeon and surrounding areas was also changed. Cherry trees and peonies were planted in the flower garden around the front yard of Jangseogak and the stairs, and a Japanese-style garden was created between Yanghwadang and Jibbokheon. Third, in the 1930s, the circulation around Jangseogak was completed in its present form, and the museum, Jangseogak, Zoological and Botanical Gardens, and Changgyeonggung, which became a cherry tree garden, were transformed into a Japanese-style cultural park. After that, the surrounding space did not change much until it was demolished. The restoration of the present palace is a long-term, national project of the Cultural Heritage Administration. The results of this study will provide important data for the restoration plan of Changgyeonggung Palace in the future, and it is expected that it will provide additional information to related researchers in the future.