• The Southeast Asian review
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• v.20 no.3
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• pp.263-297
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• 2010

The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. "Indianization" is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a "selective reception of foreign religious culture." There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an "Indianization" or the "influx of elements of Indian culture," it was closely related to the matter of 'localization.' The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.

• Journal of the Korean Geosynthetics Society
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• v.18 no.4
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• pp.273-286
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• 2019

A derelict bridge called WoljungGyo was restored in Gyeongju, the capital city of ancient Silla. WoljungGyo was originally built in 760AD, and later rebuilt in 1280AD during the Goryeo Kingdom. The bridge lasted in working condition for at least 520 years. The bridge was uncovered to the remains of both abutments and four piers, with only one or two steps remaining. One of the foundation for piers showed evidence of partial settlement. The cause of the partial settlement is important for the successful restoration of the bridge so that an extensive investigation was carried out, which includes layer stratification by boring, 2-D stiffness profiling by surface-wave tests, and large scaled-plate load test for evaluating capacity. In addition to the field studies in the Woljunggyo bridge, 3-D finite element analysis was also conducted. Based on the results of the site investigation and the numerical analysis, it was concluded that the further ground improvement to build the piers was not necessary so that the gravels were placed and leveled underneath the existing pier stones to compensate partial settlement before the restoration.

• Journal of Conservation Science
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• v.30 no.4
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• pp.457-466
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• 2014

Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite($Al_2Si_2O_5(OH)_4$) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite($Cu_2CO_3(OH)_2$) for green and Lead white($PbCO_3{\cdot}Pb(OH)_2$) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively behind compared to that of Koguryo's in the same era.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• Journal of the Korean Wood Science and Technology
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• v.34 no.1
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• pp.15-22
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• 2006

ln order to manage efficiently many ancient wooden buildings, which have been preserved as cultural properties in Korea, the internal state of wood members should be evaluated exactly and periodically by a NDE (non-destructive evaluation) method. A research project was planned to develop an X-ray CT (computed tomography) system as a NDE method for wood, which could be easily applied in field. This paper includes the first part of this project. First of all, to establish a measuring procedure of wood density using X-ray radiography, the correlation between X-ray intensity and the film brightness was evaluated. Also, initial X-ray intensity was quantified with various radiate conditions controlled by the tube voltage and tube current. And then, the effects of density, annual ring angle, and thickness on the mass attenuation coefficient of wood were examined. Finally, Beer's law was modified with the above results and adopted to calculate the density of wood. As a result of this study, the measuring procedure of wood density was established using a portable soft X-ray device and this procedure was verified with some small wood specimens. This results will he used valuably for the following researches to develop a portable X-ray CT system.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.83-92
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• 2019

This study aims to examine at the garden characteristics of salt merchant in Yangzhou, China during the Ming and Qing Dynasties, I looked at the background of garden formation through the literature. In addition, analyzed the garden design method and components of salt merchants. The results were as follows; First, the Yangzhou area in the past has achieved cultural and economic development with the establishment of the ancient Grand Canal. Salt merchants accumulated wealth through trade, and created many gardens under the background of securing materials for create garden through trade, forming political forces through the cultivation of students, and inflow of foreign cultures. Second, salt merchants in Yangzhou asked garden experts to design and create the garden as a place for exchange and relaxation. Also, through the production of landscape changes using Gasan(假山) and a long corridor(長廊), clear classification of spaces using architectural elements, and the placement of buildings in scenic areas adjacent to the water, the gardens with practical and aesthetic functions were owned. Third, the gardens of Yangzhou Salt Merchants have a building-oriented commercial space on the front, and a garden-centered design characteristic on the back. The garden of the commercial zone was built in a simple form using pots, oddly shaped stone, bamboo and fence patterns in the remained space, focusing on the front of the building. The garden at the back formed a curved waterway connected to the canal is refracted across the garden. The garden also features piled stones(疊石), stone bridges and ship-shaped stone building(石舫). In addition, the design reflected the introduction of trees that take into account the climate and color contrast of Yangzhou province, pavement of various materials and patterns.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.134-147
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• 2014

The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.4
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• pp.1-8
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• 2002

The place of South Weol Dynastys authorities exhumed in the region of KangChoWu, China lies adjacent to a stone ditch through which water streams crookedly, and a dark trough of stone pond in the north side. There is a sharply curved stone ditch and a crescent-shaped water entrance made by stones. The place was separated by using stone columns and stone walls. There is a beam of ditch, a crooked entrance, a flat bridge of slate, a stepping-stone, a sluice gate, and a crooked corridor. There are big and small artificial islands, and reinforcing stone drainage way in the palace pond recently exhumed at the building site for the pavilion of Hwang-Yong Temple in Kuhwang-Dong, Gyeongju city, Korea. There are four facilities assumed to be entrance and exits at four corners and an open space on which gravel was spread extensively. A narrow road and a middle road with indefinite curves at the south of Asukakyoseki exhumed by the first, second and third and two stone buckets which one is to fill with water and the other is to drain water off like fountain are there, and besides wave protecting dam and north pond and the part that water pass were excavated. Palace ponds that were extensively distributed at old residential cities are a general phenomenon of countries in eastern Asia. Anap pond of Silla and Gungnam pond of Baekje were in Kroea. We believe that Asutnkyoseki is on the extension. Although more investigations in the background of thought and the genealogical relation about the palace pond are required, it seems that an idea was surely received from China.

• Journal of architectural history
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• v.14 no.3 s.43
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• pp.23-37
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• 2005

The purpose of this study is to clarify the characteristics of the ancient architectures of the Yuan Dynasty(元代). The result is expected to efficient for a basic data to research history of the Koryo(高麗) architectures. This study was focused on the architecture of the Yuan dynasty in Hancheng city, because the buildings of the Yuan Dynasty were remained in Hancheng city(韓城) of Shanxi province(陝西) in the largest numbers through all China territory. And the study was especially analyzed in the angle of the system of wooden structures among various architectural points. It was looked into, in large, views of form of whole structure and, in detail, joining method of detail parts. As a result of the study, the characteristics of architectures of the Yuan Dynasty in Hancheng city were summarized as follow a reduction of the unit size, a shifting of columns, a removal of columns and a simplicity of ornaments. These are different with architecture of other empire periods. Also, these are the characteristics of the Korean tradition at architectures. This study of the Yuan's architectures of Hancheng is expected to be the basis of the advanced study about the relationship between Koryo(高麗) architectures and Yuan(元) architectures.

• Journal of Fisheries and Marine Sciences Education
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• v.18 no.1
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• pp.11-18
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• 2006

Man has always striven to create a thermally comfortable environment. This is reflected in building traditions around the world - from ancient history to present day. Today, creating a thermally comfortable environment is still one of the most important parameters to be considered when designing buildings. It is defined in the ISO 7730 standard as being "That condition of mind which expresses satisfaction with the thermal environment". A definition most people can agree on, but also a definition is not easily converted into physical parameters. Thermal comfort is a matter of many physical parameters, and not just one, as for example the air temperature that is set by air-conditioner. The most important matter Today's common offices and homes are only depending on air-conditioning as a cooling system during the summer. This kind of system tends to be focused on the person who controls it and those who are around the air-conditioner while thermal-comfort is neglected. Futhermore, the people's body conditions are not considered during each time that beginning, middle, last of the air-conditioning which causing displeasure of the residents more and more. This kind of operating system is set for a long time may causes unbalanced air condition and man's psychologic displeasure goes to increase.