• Korean Journal of Fisheries and Aquatic Sciences
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• v.24 no.3
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• pp.153-166
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• 1991

Laver is sea weeds that might have been eaten by Korean people since ancient times. The begining of laver culture is not known exactly, but it appears to be prehistoric age. Some laver culture complexes have been built in southern coastal sea of Korea around 1910. This paper was considered about the origin and development process of Korean laver culture industry by investigating Korean and Asian old books concerned. The results are as follows. 1. According to the Korean old books ralated, the name of laver is classified into 10kinds. Gim and Hae-I were called by Korean. Gim means weeds and Hae-I means the manufactured laver by cutting and drying like paper sheet. Ja-Chae and Hae-Tae are come from Chinese, however they are commonly called by Korean, Japanese and Chinese. Rest six names are come from Chinese botany. 2. As Chinese used laver as medicine for wen, scrofula, fever, vomiting, diarrhoea and. so on, they didn't regard it as foods and took into account an warning by Chinese botany that they could take ill when overeating it. On the other as Korean people have eaten it with pleasure nevertheless the Chinese warning, various foods using laver have been developed. The typical food is rice covering laver sheet. It is also popular to Japanese. 3. Laver culture can be carried out in all coastal seas around Korean peninsula, the best sea area for it is the middle west of south sea. 4. Seopkkoji type is a laver culture method that when branches of tree are put in tidal flat laver sporules are attached and gronm on them. It was begun by Hae-Jak Kun(a group of fishery slaves) on Kwang-Yang bay the most suitable for. laver growth at the beginning of King $Sung-long(1469{\~}1481)$. It is assumed that when Hae-Jak Kun set Oe-Jeon(a sort of fixing fishing gear) to catch tributary fish for king, they could find grown laver attached on Oe-Jeon and invent Seopkkoji type for exclusive laver culture. That was carried out 200 fears earlier than in Japan. Dde-Bal type is more advanced and productive laver culture method with thinly spilt bamboo tied like screen(one end fixed on bottom and other end set free in water), It is assumed that Dde-Bal type was begun in Wan-Do county in King Chull-Jong(1830). All laver culture methods developed were transfered to Japan.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.1
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• pp.93-109
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• 2003

Finding aids have existed from the time when ancient archives appeared, With this long history, they have been used in most of Western archives, and thus, it is one of the most familiar tasks generally performed by archivists. However, ironically, this accustomed concept has not been an academic object to many researchers. Especially, in this electronic age, finding aids are even more complicated in their forms and meanings. This paper intends to address the concept(s) of finding aids as reflected in the archival literature in North America. The paper will attempt to illustrate how the concept of finding aid has evolved both conceptually and practically in archives and archival science and how circumstantial and social elements affect this concept. It Seems that the concept of finding aids has developed from the broad and integrated concept of provenance and pertinence to the narrower and practical sense considering the use by the public. It also turns out that the concept has advanced from a mere technical tool for describing records to an access tool for maximum availability. Not surprisingly, the concept of finding aids have changed as archival science and the profession has advanced and diversified. It is crucial for the archival community to understand changes in the practice and the concept of finding aids that will enable the preparation of higher quality finding aids enabling the optimum use of archives.

• Geophysics and Geophysical Exploration
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• v.13 no.4
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• pp.349-356
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• 2010

Analysis of high-resolution seismic profiles acquired from the southeastern continental shelf of Korea reveals that the late Quaternary transgressive deposits consist of six seismic units created in response to sea-level rise. These units with different seismic facies and geometry can be grouped into two distinct depositional wedges (paralic and marine) bounded by a ravinement surface. The paralic component underlying the ravinement surface consists of the sediment preserved from shoreface erosion and contains incised-channel fill, ancient beach-shoreface deposit and estuarine deposit. The top of paralic unit is truncated by a ravinement surface and overlain by marine component. The marine component consists of the sediment produced through shoreface erosion during landward transgression and contains mid-shelf sand sheet, mid-shelf sand ridge and inner shelf sand sheet. Such transgressive stratigraphic architecture of six sedimentary units is controlled by a function of lateral changes in the balance among rates of relative sea-level rise, sediment input and marine processes at any given time.

• Journal of Korean Medical Ki-Gong Academy
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• v.2 no.2
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• pp.185-199
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• 1998

Going back to long chinese medical history, there were many different methods of treatment according to the origin of local chinese areas, such as Bian-Shi(?石) from east, herbal therapy from west, acupuncturing from south, moxibustion from north, and mainpulating therapy from middle china. In the midst of these therapies, acupuncture needling had developed very much both in theories, shapes, usages and also in theraputic boundray. Historical books dealing with acupuncture had introduced and used Jiu-Zhen as a tool for acupuncture needling in common. But there are some differences between each texts about in shape, use, and there are also another different point of view about the interrelationship between Bian-Shi and Ji-Zhen. So the author, in this research, tried to look for how Jiu-Zhen had took on its real kinds, adaptive usages, theraputic boundaries, many different skills of needing. By researching over ${\ulcorner}$ Ling-Shu, Jiu-Zhen(靈樞,九鍼)${\lrcorner}$, ${\ulcorner}$ Ling-Shu, Jiu-Zhen-Shi- Yi-Yuan(靈樞,九鍼十二原)${\lrcorner}$, ${\ulcorner}$ Ling-Shu, Guan-Zhen(靈樞,官鍼)${\lrcorner}$, and by compar- ing them with the contents of Jiu-Zhen in ${\ulcorner}$ Zhen-Jiu-Yi-Jing(鍼灸甲乙經)${\lrcorner}$ ${\ulcorner}$Zhen-Jiu-Da-Cheng (鍼灸大成)${\lrcorner}$, the author discovered small conclusions such as following. 1. Taking Jiu-Zhen in a narrow sense, it only repesents nine different needle used in different cases. But in large sense, this means nine different deedling methods using each different needles which is represented in the form of Wu-Ci ( 五剌 ), Shi-Yi-Ci ( 十二剌 ) in ${\ulcorner}$ Ling-Shu, Guan-Zhen ${\lrcorner}$ 2. Jin-Zhen has been first originated from stone age as a substitute for Bian-Shi and through bronze and iron age, it followed a process of it's own shape and applicating functions. As an example, the moxibustional therapies shown in ${\ulcorner}$ Zu-Bi-Shi-Yi-Mai- Jiu-Jing ( 足臂十一脈灸經 )${\lrcorner}$ ${\ulcorner}$ Yin-Yang-Shi-Yi-Mai-Jiu-Jing ( 陰陽十一脈灸經)${\lrcorner}$ in ahead of ${\ulcorner}$ Nei-Jing ( 內經 )${\lrcorner}$ era, was relationship in acupuncturing skills and shape. So Jiu-Zhen had been originated on the base of Bian-Shi in ancient times to develop into delicate shape, skill, and theraputic foundation of modern oriental medicine.

• Cross-Cultural Studies
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• v.35
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• pp.123-154
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• 2014

In the 17th and 18th centuries, when the Ryukyu kingdom had been invaded and controlled by Japan, some official texts about 'history' were documented. In that texts, there are some myths about the kings-Syunten(舜天), Eiso(英祖), Satto(察度), Syouhasi(尙巴志), Syouen(尙圓)-who founded dynasties of Ryukyu kingdom. This study attempts to delineate the features and meaning of those founder myths as a polotial discourse for kingship. The results of this study are as follows. 1. The founder myths are discourses to describe the genealogy of the Ryukyu kingdom as the result of Mandate of Heaven(T'ien Ming, 天命). 2. In ancient okinawa, the sun was a symbol of ruler. The king of Ryukyu kingdom was thought as 'son of the sun', 'Tedako(てだこ, 太陽子) in the time of Syou dynasty(尙王朝). But in the founder myths, the only one Tedako is Eiso. 3. In the myths, the 'historical' founders are described as the king for agriculture. They were said to make the farming instruments with iron and rule the spring water for farming. The iron and water for fariming was thought to represent the power of king and the kingship. 4. The writers of myths aimed to be separated from the mythical kingship of past Ryukyu(古琉球). So, they threw the idea of Tedako(=mythical kingship) into the prison of mythical ages by rewriting myth of King Eiso. Instead of it, they built up the new image of agriculture-king who rules and controlls the iron and water for good farming. The meaing of this change, from 'shiny sun' to 'cultural king', is that the abstract and general power of kingship was turned into a concrete and restricted power of kingship. On the bases of it, there was the confucian political ideas from China, T'ien Ming thought(天命論). Under the influence of not only China but also Japan, the writers of myths attempt to find a new way for their kingdom by reconstructing kingship with ruminating over the kingship of past. The myth of founders in the 17th and 18th Centuries shows the aspects of kingship of Ryukyu kingdom and tells us that those myths are the political discourses identifying kingship and Ryukyu kingdom.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.212-223
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• 2012

Pigments used paintings, ornaments, weapons and various objects have been recognised as important elements to ascertain the history, manufacturing technique and cultural migration. Since the understanding of composition of pigments by analysis began in 1963, its technique and methodology has much advanced in recent years; recent study used the portable X-ray Fluorescence as non-destructive analysis has been practiced in particular. However the study on pigments necessitates overall and systematic research because it is difficult to understand periodical and regional use of pigments. by fractional studies. Therefore this research investigates the coloring materials and painting techniques of the scroll painting depicting preaching scene of Sakyamuni Buddha in Daeungjeon Hall, a main hall of Bulguk temple, through scientific analysis and comparison of various pigments which had been applied to the buddhist paintings of Joseon Dynasty. Consequently, it is confirmed that the scroll painting used pigments of white lead[$2PbCO_3{\cdot}Pb(OH)_2$] for ground layer and used mixture of different pigments such as cinnabar (HgS) minium($Pb_3O_4$) malachite($2CuO{\cdot}CO_2{\cdot}H_2O$) hematite($Fe_2O_3$) gold(Ag) for presenting various colors on the painting layer. It has been also believed that mineral pigments were applied to the scroll painting, yet it is difficult to confirm whether it is natural or synthetic pigments because the crystal structures of pigments were not analyzed. The results of this study, however, provide useful reference data for the understanding of the components of pigments and manufacturing techniques of buddhist scroll paintings, in particular, of Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.104-121
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• 2016

Royal tombs in Neungsan-ri had been studied several times during the Japanese Colonial era. But, conceiving the general complexion of them is difficult for lack of data and analysis of previous studies are still insufficient. Thus, necessity of new approach and understanding in Royal tombs in Neungsan-ri are emphasized by the reviewing existing studies and conservation history. The Serial numbers of the Royal tombs in Neungsan-ri has been registered arbitrarily without clear guidelines from Japanese Colonial era until present time. It means previous studies were devoid of consideration for serial number changes. And, research has shown that Royal tombs in Neungsan-ri counts at least twenty, taking No.8 tomb of recent study into consideration. Moreover, in case of eastern tombs it needs changes in the existing perception that Royal tombs in Neungsan-ri consist of only six-tombs because there was no difference between eastern tombs and central sixtombs considering the burial chamber and lacquered wooden(koyamaki) Coffin. Ultimately, current state of Royal tombs in Neungsan-ri doesn't have authenticity because they had been found and regulated in the Japanese Colonial era. Consequently, it is required to overall study into entrance to burial chamber and covered burial stone marker and exaggerated mounds, ignored another tombs other than six-tombs in the center.

• Industry Promotion Research
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• v.6 no.1
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• pp.23-31
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• 2021

The Calendar(曆法) has been a very important concern in every dynasty of history.『Hyupgiltongui』 written in the Joseon Dynasty included many contents related to the Calendar. In particular, the ancient rule of the Calendar(曆律) shown in the text of 『Hyupgiltongui』 Bonwon chapter one is meaningful in the process of creating the necessary Calendar for selection and reading fortune. Accordingly, we tried to analyze the rule of the Calendar(曆律) that is the fundamental principle of the Calandar(曆法) and the almanac which can be used in real life, based on comparative analysis of 『Hyupgibyeonbangseo』, 『Sanggiltongseo』 and 『Cheongidaeyo』, which are the basis of 『Hyupgiltongui』. Saju Myung-ri is the scheme of time change by the combination of Ganji (Celestial Stems). Therefore, the core of the calendar system is to make four pillars by the year, month, day, and time. For doing this, 『Hyupgiltongui』 provides basic principles and materials for making four pillars using constellations like 28 Fixed Stars, as well as does simple composition principle for telling fortune such as Ten Celestial Stems, Twelve Zodiac Signs, the order of four seasons(四序), Yukjin(六辰) and Sexagenary Cycle (甲曆). However, despite the limitations of the results produced by the rule of the Calendar(曆律), we came to the conclusion that if reading fortune in Saju(四柱簡明) is to find good one(吉) in terms of understanding it as the rule of predicting future(術法) not science, its usefulness cannot be ignored.

• Journal of Korean Historical Folklife
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• no.44
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• pp.7-37
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• 2014

The people of Silla was described as the descendants of Hwagwan(official of fire) on the tombstone of King Munmu(文武王), and Gim Yusin(金庾信) was described as the descendants of Shaohao Jintian(少昊 金天) and Huangdi Xuanyuan(黃帝 軒轅) on his tombstone. It says that the royal households of Silla and Gaya had common ancestor. Hwagwan was the official who took charge of fire management and the ritual for Antares(${\alpha}$ Sco) in ancient China. Hed founded State Ra(羅國). The name of Silla(新羅) means new State Ra, so he could become the ancestor of the people of Silla. He was the son of Zuanxu Gaoyang. State Gaya(加耶), the fatherland of Gim Yusin had been called Geumgwan-gug(金官國) which means the state of official of metal. Geumgwan was the son of Shaohao Jintian. Silla was the state of Hwagwan and the Gaya was the state of Geumgwan. Hwagwan, the founder of the royal household of Silla was the son of Zuanxu and Geumgwan, the founder of the royal household of Gaya was the son of Shaohao. Zuanxu and Shaohao was the descendants of Hwangdi, so Hwangdi was the common ancestor of Silla and Gaya. Finally Hwangdi became the same ancestor of Gim Yusin and King Muyeol(武烈王) who was the father of King Munmu. The tombstone of King Munmu and Gim Yusin manifests the union of the blood of Gim Yusin and King Muyeol. But it was not the fact but the rhetorical fiction.