• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.30-49
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• 2021

Scholar Byeoksu in a Pavilion by An Jung-sik (1861-1919; sobriquet: Simjeon) was first shown to the public in the exhibition Art of the Korean Empire: The Emergence of Modern Art at the National Museum of Modern and Contemporary Art, Deoksugung. This painting bears poems and inscriptions composed by Kim Taek-yeong (1850-1927; sobriquet: Changgang) and written by Kwon Dong-su (1842-?; sobriquet: Seokun). A rare example of an actual-view landscape painting by An Jung-sik, this painting is significant in that it depicts upper-class houses in Seoul in the early twentieth century. More importantly, it demonstrates an association among intellectuals of the time. Yun Deok-yeong (1873-1940; sobriquet: Byeoksu), who asked An Jung-sik to create this painting, was an uncle of Empress Sunjeonghyo (1894-1966), the consort of Emperor Sunjong. He was one of the most prominent collaborators who promoted the Japanese colonization of Korea. When Emperor Sunjong bestowed Yun Deok-yeong with a hanging board with an inscription reading "Scholar Byeoksu in a Pavilion," Yun requested the production of this painting to mark the event. Kim Taek-yeong, a master of Chinese literature during the late Korean Empire period, sought asylum in Nantong, Jiangsu Province in China with his family a month before the Protectorate Treaty was signed between Korea and Japan in 1905. In 1909, he returned to Korea. His decision to return was greatly influenced by Yun Deok-yeong and Yi Jae-wan (1855-1922). Upon his return, Kim Taek-yeong intended to gather materials for publishing a history book. Also, Kim continuously met his old acquaintances, made new friends, and socialized with them. He built relationships with people from various backgrounds, including those living in regions like Gurye, and even in other countries like Japan. This indicates that intellectuals of the time were still forming networks through poems and prose regardless of their political inclination, social rank, or nationality. Scholar Byeoksu in a Pavilion is of great value in that it shows an aspect of the intellectual exchanges among the learned people of the late nineteenth and early twentieth centuries.

• (The) Research of the performance art and culture
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• no.33
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• pp.243-271
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• 2016

When an aggressive war reached at the climax in 1940, a commemorative event called celebration' was held on a large scale in Japan for 'beginning former 2,600 years. It was performed for the policy that was going to break off the fatigue that was tired for nation dissatisfaction and war for the politics. I considered Urayasu-no-mai Dance played as part of a celebration event in a Shinto shrine of the all over Japan how was created and spread by this article Urayasu-no-mai Dance was created newly and was played in Shinto shrines of the whole country. The Urayasu-no-mai Dance was created based on Gagaku and Miko Mai (shrine maiden's dance) that has been read aloud not to go out of the ancient times. It was created in the situation of the war and spread and was spread. It will be said that Urayasu Dance is a typical example of 'forged traditional'. Urayasu Dance is a tradition made at modern time and remains for an unfortunate inheritance used again by the advertising tool of the national ideology. The Urayasu-no-mai Dance is expanded more now, without enough consideration about the historic procession other words, It played under a strong-arm society atmosphere is placed as new folk performing arts all too soon. In the complicated world situation at the time, Urayasu-no-mai Dance that emphasized a Japanese tradition for the inside and outside were spread. Urayasu-no-mai Dance created in modern times substitutes a traditional shaman dance, and there is even the tendency that ritual performing arts peculiar to each local Shinto shrine is unified to Urayasu-no-mai Dance. Such a movement shows a new aspect of the culture power that social turning to the right in Japan is not unrelated to becoming it. It is a traditional reinvention, or do you forge the tradition? I examined a process of a process and the spread of traditional creation produced consistently.

• (The) Research of the performance art and culture
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• no.34
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• pp.173-214
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• 2017

This study examines and compares music-related records in the mubo (舞譜; choreography notes) written by Sung Gyeonglin (成慶麟, 1911 - 2008), based on the records of 11 kinds of jeongjae (the music and dance performances at the royal court) found in Lee Byungseong's (李丙星, 1909 - 1960) Changsa and Jungjaecheol (呈才及唱詞綴). Even though these records are personal, they provide valuable information about the mubo of the Iwangjikaakbu (the Royal Music Institute) during the period of Japanese colonization. The eleven kinds types of jeongjae-'Cheoyongmu (處容舞)', 'Hyangryungmu (響鈴舞)', 'Mugo (舞鼓)', 'Bosangmu (寶相舞)', 'Chunangjeon (春鶯?)', 'Gainjeonmokdan (佳人剪牧丹)', 'Suyeonjang (壽延長)', 'Mansumu (萬壽舞)', 'Bongraeeui (鳳來儀)', 'Jangsaengboyeonjimu (長生寶宴之舞)', and 'Musanhyang (舞山香)'-can be largely divided into two types: Dangak (Tang dynasty music) and 'Hyangak (traditional Korean music).' The former is distinguished musically by whether or not the jukganja appears. For the appearance of the jukganja in 'Sujeyongjang', 'Bongraeeui' and 'Jangsaengboyeongjimu', the 'boheojaryung (步虛子令)' was used and given the impressive name of jangchunbullojigok (長春不老之曲).' The term punggyungjigok (豊慶之曲)' was used for music that guides a group dance and dancers. For the latter, hamnyungjigok (咸寧之曲) was performed during the development of the dance, and the pungungyeonghoijigok (風雲慶會之曲) was played at the end of the piece. As for the accompaniment for the jeongjae performed by the Iwangjikaakbu, it is significant that various elaborate names were attached to Sangryungsan, Jungryungsan, Seryungsanm, Garakdeoli, Samhyunhwanip, Yeombulhwanip, and taryung (the traditional Korean ballad), which were all parts of 'Samhyunyoungsanhoesang (靈山會上).' Specifically, the 'Hyangdanggyoju (鄕唐交奏)' in 'Jeongjaemudoholgi' was accompanied by various melodies of the 'Samhyunyoungsanhoesang', which were given extravagant names. These are the personal records of the Iwangjikaakbu mubo that were retained by Lee Honggu (李興九, b. 1940), who owns the 'Hakyeonhwadaehapseolmu.' Among them, the ten kinds of jeongjae found in the notes of Sung Gyeonglin are often referred to as 'mueui (舞儀)' and widely used for research on individual jeongjae performances and the history of their development. The notes of Lee Byungseong have not been investigated thoroughly until now and this is the first study that provides a comparative analysis of the notes of Lee Byungseong and Sung Gyeonglin. This investigation is expected to contribute to the further research and knowledge of the jeongjae performance during the period of Japanese colonization.

• Conservation Science in Museum
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• v.29
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• pp.133-152
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• 2023

This study references preceding studies to examine the history of paint application techniques using various paints in the past, with the aim to contribute to the long-term preservation of large military cultural heritage assets situated outdoors. To this end, the study compared the findings of preceding research with the findings of an analysis conducted on a H-13 helicopter housed at the War Memorial of Korea. Upon collecting and analyzing samples from three grounded WWII aircraft from above-ground by preceding studies, it was confirmed from each sample that the various chemical properties of chrome ensured the effectiveness of the protective coating. The compound was first tested as a corrosion-inhibiting pigment in the early 1940s and proved its excellent moisture-resistant properties over the course of 80 years, despite the deterioration of the paint layer and long-term exposure to the natural environment. For this reason, it has been widely used as a corrosion inhibitor for aluminum alloys in the aviation industry. In other word, the most widely-used material for preventing corrosion was an organic primer containing chromate. In this study, based on the paint analysis of a H-13 helicopter operated in the Korean War, it was shown that the second layer, consisting of the primer, contains chromium oxide (Cr₂O₃). In addition, it was estimated that red lead tetraoxide (Pb₃O₄) was used for the vehicle. Analysis results and data from previous studies can help to confirm the continued effectiveness of corrosion prevention function provided by chromate. Meanwhile, the result of infrared spectroscopy analysis confirmed the use of alkyd resin. In the future, comparisons with a more diverse range of artifacts will allow the identification of changes in the manufacturing technology of paints used to protect alloys from corrosion.

• Earthquakes and Structures
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• v.12 no.4
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• pp.397-407
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• 2017

To estimate the structural seismic demand, some methods are based on an equivalent linear system such as the Capacity Spectrum Method, the N2 method and the Equivalent Linearization method. Another category, widely investigated, is based on displacement correction such as the Displacement Coefficient Method and the Coefficient Method. Its basic concept consists in converting the elastic linear displacement of an equivalent Single Degree of Freedom system (SDOF) into a corresponding inelastic displacement. It relies on adequate modifying or reduction coefficient such as the inelastic deformation ratio which is usually developed for systems with known ductility factors ($C_{\mu}$) and ($C_R$) for known yield-strength reduction factor. The present paper proposes a rational approach which estimates this inelastic deformation ratio for SDOF bilinear systems by rigorous nonlinear analysis. It proposes a new inelastic deformation ratio which unifies and combines both $C_{\mu}$ and $C_R$ effects. It is defined by the ratio between the inelastic and elastic maximum lateral displacement demands. Three options are investigated in order to express the inelastic response spectra in terms of: ductility demand, yield strength reduction factor, and inelastic deformation ratio which depends on the period, the post-to-preyield stiffness ratio, the yield strength and the peak ground acceleration. This new inelastic deformation ratio ($C_{\eta}$) is describes the response spectra and is related to the capacity curve (pushover curve): normalized yield strength coefficient (${\eta}$), post-to-preyield stiffness ratio (${\alpha}$), natural period (T), peak ductility factor (${\mu}$), and the yield strength reduction factor ($R_y$). For illustrative purposes, instantaneous ductility demand and yield strength reduction factor for a SDOF system subject to various recorded motions (El-Centro 1940 (N/S), Boumerdes: Algeria 2003). The method accuracy is investigated and compared to classical formulations, for various hysteretic models and values of the normalized yield strength coefficient (${\eta}$), post-to-preyield stiffness ratio (${\alpha}$), and natural period (T). Though the ductility demand and yield strength reduction factor differ greatly for some given T and ${\eta}$ ranges, they remain take close when ${\eta}>1$, whereas they are equal to 1 for periods $T{\geq}1s$.

• Proceedings of the Korea Water Resources Association Conference
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• 2016.05a
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• pp.1-1
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• 2016

Many of the world's large ecosystems are severely stressed due to population growth, water quality and quantity problems, vulnerability to flood and drought, and the loss of native species and cultural resources. Consequences of climate change further increase uncertainties about the future. These major societal challenges must be addressed through innovations in governance, policy, and ways of implementing management strategies. Science and engineering play a critical role in helping define possible alternative futures that could be achieved and the possible consequences to economic development, quality of life, and sustainability of ecosystem services. Science has advanced rapidly during the past decade with the emergence of science communities coalescing around 'Grand Challenges' and the maturation of how these communities function has resulted in large interdisciplinary research networks. An example is the River Experiment Center of KICT that engages researchers from throughout Korea and the world. This trend has been complemented by major advances in sensor technologies and data synthesis to accelerate knowledge discovery. These factors combine to allow scientific debate to occur in a more open and transparent manner. The availability of information and improved communication of scientific and engineering issues is raising the level of dialogue at the science-policy interface. However, severe challenges persist since scientific discovery does not occur on the same timeframe as management actions, policy decisions or at the pace sometimes expected by elected officials. Common challenges include the need to make decisions in the face of considerable uncertainty, ensuring research results are actionable and preventing science being used by special interests to delay or obsfucate decisions. These challenges are explored in the context of examples from the United States, including the California Bay-Delta system. California transfers water from the wetter northern part of the state to the drier southern part of the state through the Central Valley Project since 1940 and this was supplemented by the State Water Project in 1973. The scale of these activities is remarkable: approximately two thirds of the population of Californians rely on water from the Delta, these waters also irrigate up to 45% of the fruits & vegetables produced in the US, and about 80% of California's commercial fishery species live in or migrate through the Bay-Delta. This Delta region is a global hotspot for biodiversity that provides habitat for over 700 species, but is also a hotspot for the loss of biodiversity with more than 25 species currently listed by the Endangered Species Act. Understanding the decline of the fragile ecosystem of the Bay-Delta system and the potential consequences to economic growth if water transfers are reduced for the environment, the California State Legislature passed landmark legislation in 2009 (CA Water Code SS 85054) that established "Coequal goals of providing a more reliable water supply for California and protecting, restoring, and enhancing the Delta ecosystem". The legislation also stated that "The coequal goals shall be achieved in a manner that protects and enhances the unique cultural, recreational, natural resource, and agricultural values of the Delta as an evolving place." The challenges of integrating policy, management and scientific research will be described through this and other international examples.

• (The)Study of the Eastern Classic
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• no.56
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• pp.241-265
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• 2014

This paper looked at the existing situation and the uniqueness of the Hasu(河西) kim Inhu(金麟厚)'s collection of works. As a result, The first edition includes a piece missing in the second edition. For the title of the same work, the second edition differs from the third edition. And in the third edition, The missing piece is found through the annual report. This research found the performance that were found missing pieces. But I did not review for that depth meaning, and postpone it to a later date.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of Preventive Medicine and Public Health
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• v.17 no.1
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• pp.173-192
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• 1984

On the basis of the study intended to research by crosssectional study keeps pace with semilongitudinal study the growthaccelerating phenomena that Maximum Growth age in teenager's body-height. By the random sampling method, the subject of study are 12659 persons(male; 6355, female; 6304) that they are from 7 ages to 17 ages in the whole country including the rural community. The measurement period passed three month days, the statistical data became electronic data processing system with computer. The other side, body-height and MGA of Koreans who had been for during the period from 1925 to 1966 proved transition of the growth-accelerating phenomena by research data reported between 1913 and 1983. The results are as follows; 1. The Growth and Development-Value of Body-height An age bracket the growth and development-value of body-height were, respectively, male is $123.88{\pm}5.05cm$ and female is $123.29{\pm}5.54cm$ for 7 ages group. these indices increased with age. the top-value reach, respectively. $169.08{\pm}5.62cm$ and $157.57{\pm}6.13cm$. The intersecting ages of male and female were the age $8.5{\sim}12.5$, during these periods, female excelled male but after these periods, male excelled female again. In case of body-height, MGA's are 7.0cm for male between 12 and 13 ages, and 7.01cm for female between 8 and 9 ages. As a rule, body-height of male excelled female but intersection phenomena of male and female appeared between 8.5 and 12.5 ages. By reginal groups, it is most prevailing is Seoul, and medium size cities and rural community rome in order. By regional groups, intersection phenomena of male and female are. a region of Seoul; $$8.5{\sim}11.5$$ ages a region of Daejeon; $$7.5{\sim}9.5$$ ages rural community; $$11.5{\sim}14.5$$ ages the whole country's average; $$8.5{\sim}12.5$$ ages By regional groups, the rate of maximum increase in a year are a region of Seoul; male is 7.23cm as 13 ages female is 7.65cm as 9 ages. a region of Daejeon; male is 7.85cm as 11 ages. female is 8.39cm as 9 ages. rural community; male is 7.65cm as 14 ages. female is 6.25cm as 12 ages. the whole country's average; male is 7.0cm as 13 ages. female is 7.01 as 9 ages. 2. Maximum Growth Age (M.G.A.) By reginal groups, maximum Growth Age's are as below in a region of Seoul, MGA's are 12.63 for male and 9.01 for female, which shows that MGA for female appears about 3.5 years earlier than that for male. In a region of Daejeon, MGA's are 9.20 for male and 8.93 for female, which. show that they are all much the same in M.G.A. In rural community, MGA's are 14.00 for male and 11.89 for female, which shows that MGA for female apperars about 2 years earlier than that for male. In the whole average, MGA's are 13.01 for male and 8.97 for femal, which shows that for female appears about 4 years earlier than that for male. For boy, M.G.A. shows fastest-growing in Daejeon, and Seoul and rural commonly come in order. For girl, It shows equal growth in Seoul and Daejeon, rural community comes later. 3. The M.G.A's in body height of male are respectively the age 15.02 in 1913, 14.23 in 1956, 13.86 in 1967, 13.62 in 1975, and 12.82 in 1981, while those of female are the age 12.0 in 1940, 11.52 in 1965, 9.53 in 1975, and 11.16 in 1980; these data show that the MGA of the Koreans has been getting younger. 4. The equation of linear regression of all the MGA's in body height are as follow; Male: Y(M.G.A)=$-0.020{\times}$ (the year)+15.19: female:Y(MGA)=$-0.028{\times}$(the year)+13.2549. 5. The corelation of all the MGA's in body height are as below; male; r=-0.329 female;r=-0.252 6. From the transition of the growth-accelating phenomena in 1980 we can capture the fact that the MGA's has been getting younger by 0.2 year per 10 years. 7. The MGA's in bodyheight are shown in table 4... 8. The future growth-accelating phenomena in body height are expected to show the similar tendency like that of the past, in 1910's but it should by more precisely reviewed after investigating the phenomena of the years directly ahead.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.