• Journal of the Korean Society of Environmental Restoration Technology
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• v.20 no.6
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• pp.117-131
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• 2017

This study was conducted to draw vegetation landscape elements in the ancient literature, investigate plant community structure, understand vegetation structure, and suggest reasonal conservation management methods. As a result of analyzing ancient literature, geomorphological landscapes in Guryong valley were canyon landscape and valley surrounded in Mt. Chiak. Plant landscape factors were as followed. Rhododendron spp. spread around valley. Also, Pinus densiflora communities were distributed in Guryong valley around. Especially, the entrance zones of Guryong valley were described as covered with Pinus densiflora and Whangchangkumpyo(黃腸禁標). Therefore, it was estimated that entry of Guryong valley was covered with Pinus densiflora community landscape. As for current vegetation result, the main vegetation was divided into mixed deciduous broad-leaved trees community and Pinus densiflora community. As a result of analysis by TWINSPAN for community classification, five communities(Deciduous broadleaved trees, Pinus densiflora, Pinus densiflora-Abies holophylla, Abies holophylla, and Pinus koraiensis community) were classified. To maintain historic plant landscape and conserve crucial resources, Pinus densiflora community was classified as concentrated conservation management area($105,472m^2$). To maintain Pinus densiflora landscape which has high historical and cultural value of Guryong valley, it was considered that active density control of lower layer vegetation would be necessary. Accordingly, to conserve P. densiflora landscape, Whangchangkumpyo(?腸禁標), that area was separated into Pinus densiflora lower layer forest management area($84,029m^2$) and Pinus densiflora seedling conservation management area($21,443m^2$). In understory of Pinus densiflora lower layer flora, the target tree species for elimination and management were Quercus serrata and Quercus mongolica. They were $4{\sim}6trees/100m^2$ and their average diameter was 7.1cm. To preserve Pinus densiflora seedlings, areas with Sasa borealis, the ground vegetation of Pinus densiflora community, rate of 80% or more should be selected as priority management areas and concentrated elimination and management of Sasa borealis should be implemented. Likewise, traditional Pinus densiflora forest is a historically cultural heritage to preserve with sustainable interest and survey. Efficient management method through systematic monitoring system should be made.

• Journal of Conservation Science
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• v.36 no.5
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• pp.315-325
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• 2020

The Daetongsa temple is the earliest temple to be constructed during the era of the Three Kingdoms in ancient Korea. The main architect, purpose, and name of the temple have been confirmed through ancient literature and archeological materials carved in the Chinese letter, Daetong, excavated around Gongju. However, the location and range of the temple have remained elusive and were discussed in various studies. In this study, we examine the roof tiles obtained from the presumed site of the Daetongsa temple. The tiles were found to contain traces of red paint (red pigments) on their surface and analyzed using nondestructive techniques. The results imply that roof tiles were made using clay tablets and wooden cylinders, with latticed cloth in between. Additionally, some wooden cylinders appeared to comprise numerous wooden plates tied together by strings. The clay tablets used to make the roof tiles were produced from the source clay via the sorting process. The traces of red paint on the surface of the roof tiles were verified to be traditional pigments used for painting wooden buildings. These pigments were extracted from red ocher or red clay (Seokganju), mainly consisting of iron oxide. In the literature, the location of provenance sites for Seokganju is estimated to be far from Gongju. However, the materials for extracting the red pigments were relatively easy to source because most rocks comprised iron oxides. Therefore, it is necessary to discuss the provenance of the red pigments around the presumed site of Daetongsa.

• Journal of English Language & Literature
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• v.54 no.2
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• pp.301-322
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• 2008

Pauline Hopkins's Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of "black nationalism" of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of "the hidden self" which unfolds the complex nature of Hopkin's position on race, "blood," and African-American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel-such as "of one blood," "the hidden self," and incest-exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken AfricanAmericans with the legacy of the African 'pure' bloodline. Hopkins's vision here necessitates the reevaluation of black women's role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.140-159
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• 2013

The wooden stupa of Hwangyongsa temple - which was designed and constructed by master craftsman Abigi of the Baekje Dynasty during the Silla Dynasty between the 12th year of Queen Seondeok (AD 643) and AD 646 - can be regarded as a typical Korean wooden stupa. However, it was destroyed by fire during an invasion by the Mongolians in AD 1238 during the Koryo Dynasty. In spite of progress in research for the restoration of the wooden stupa, there are some remains to be re-considered in regard to ruins, relics and literature previously discovered. In particular, research conducted on frame construction and structure can be considered an important basis for restoration. However, previous studies seem to have not attempted to establish structural and formative characteristics of the wooden stupa based on the indigenous techniques and styles of traditional Korea, but general characteristics of the wooden stupa biased toward cultural interchange with neighbouring countries. As such, in this study the frame construction and structure of the wooden stupa of Hwangyongsa temple were analysed and considered in detail based on the re-interpretation of literature which can be a clue about the structure of the stupa, related ruins of the 7th century period, and previous studies. As a result, this paper supposed and presented a model picture for the plane arrangement of pillars, structural methods for Dwibburi (뒤뿌리) of Haangjae (하앙재), Shimju (심주), and other key areas. The author hopes that this study contributes substantially to research on the wooden stupa of ancient Korea and to the establishment of construction and structural methods.

• Acta Via Serica
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• v.3 no.2
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• pp.49-72
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• 2018

The extensive maritime trade network between the Harappan and Mesopotamian civilizations as early as the $3^{rd}$ millennium BCE is a testimony to the long maritime trade history of India. From the dawn of the historical epoch, the maritime trade network of India expanded extensively. The findings of a large number of coins, pottery, amphorae and other materials from Italy and various other European countries, west Asia, China, Korea, Africa, the Arabian Peninsula, Sri Lanka, Southeast Asia and Far-East countries in India, particularly in the coastal regions, are a testimony to the dynamic maritime trade of India with other countries in the early period. Similarly, pottery, sculptures, inscriptions and other materials of Indian origin are also found in those countries. The depiction of different types of ships on the coins, paintings, sculptures, seals and sealing, exhibit the variety of vessels used for navigation and other purposes in the early period. The over 7500 km-long coastline of India is well known for its seaports located at river mouths or outlets to the sea. The Periplus Maris Erythraei, Ptolemy, and Indian literary sources mention many seaports on the western coast of India. Interestingly, archaeological investigations in many of these port towns have yielded material evidence exhibiting their dominant role in transoceanic trade and commerce with many countries in the early period. This paper discusses in detail all the major ancient seaports on the western coast of India and their maritime trade activities. At the outset, the paper briefly deals with the Harappan's maritime network, their seaports and the type of ships of that period. Following this, the maritime trade network of India during the historical period with various countries in the east and west, the traces of Indian influence and materials abroad and foreign materials found in India, the products exported from India, the trade winds and navigational devices and the depiction of ships on the coins, paintings, and sculptures of the period are discussed in detail. After briefly highlighting the coastline of India and its favourable nature for safe anchorage of ships and the strategic position of the seaports of western India, an extensive account of the major ancient seaports of western India like Barygaza, Ashtacampra, Gundigar, Kammoni, Khambhat, Bardaxema, Suparaka, Calliena, Semylla, Sanjan, Naura, Tyndis, Muziris, Nelcynda and other seaports, and their maritime trade activities are given based on archaeological excavations and explorations, literature, epigraphy, foreign accounts, and numismatic evidence.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.1-11
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• 2011

Located in Namwon-si, Jeonlla Bukdo, Gwanghallu Garden is created around Gwanghallu, which was a government office in the period of Joseon Dynasty and shows its looks as a government office building of the times. However, Gwanghallu Garden is recognized rather as a background site of Chunhyangjeon, representing a local culture, than the features and picture as a government office garden in the period of Joseon Dynasty because Gwanghallu appeared as the background of Chunhyangjeon in its Chinese character script and, after 1930s, Chunhyang Sadang was built up and Chunhyang Festival held, and it's recognized rather as a site for arousing national consciousness and cherishing Chunhyang for its integrity in the Japanese ruling era of Korea than as a government office building in the period of Joseon Dynasty. With it being more recognized as the background of Chunhyangjeon than an ancient government office building, Gwanghallu has been managed as a private house garden or event place of folk festival as the background of Chunhyangjeon than preserved and managed as ancient government office building, and now the looks and features as a garden of government office are hardly seen because of indiscriminate trees and making of structure and spaces. Therefore, to preserve and maintain Gwanghallu Garden as the garden of government office in the period of Joseon Dynasty, it's required to survey the trees, structure and spaces created in Gwanghallu Garden and compare the true condition with its original looks by studying its literature and it's suggested that the garden area created around Gwanghallu should be repaired and managed by separation from as the background of Chunhyangjeon. Such means of management may keep the looks of Gwanghallu as the ancient office garden while Chunhyangjeon can also settle down as a local culture in the background.

• Industry Promotion Research
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• v.7 no.1
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• pp.59-74
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• 2022

There are three main ways to interpret Zhouyi(周易). The first is to interpret it as a number, the second is to interpret it as an image symbolized by the Gwae(卦), and the third is to interpret it as the moral reason contained in it. Although YulRyeo(律呂) is not as widely known as Zhouyi, its use in ancient times was the same as that of the main character. First, the mathematical analysis method using the three-pronged method for tuning musical instruments, second, the symbolic interpretation using the musical meaning symbolized by YulRyeo, and third, the applied interpretation method that expands to the moral reason contained in YulRyeo. The purpose of this thesis is to organize the dictionary meaning of YulRyeo and various meanings of ancient YulRyeo. In addition, by studying ancient literature on the meaning of YulRyeo's magic spell mechanics(術數易學) and Naepeum and Five Elements(納音五行), which is the origin of Gobeop Myongriology, I classify and interpret them in detail. and to find ways to apply it to Myongriology. It is hoped that this study will give a more in-depth understanding of YulRyeo and will be of little help to related studies such as the mechanics of magic and Myongriology studies in the future.

• Journal of the Korean Society of Food Culture
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• v.23 no.1
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• pp.73-89
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• 2008

Muck (Korean traditional starch jelly) is very unique and the one of the oldest starch processing traditional food. The typical ingredients for making muck such as acorns, mungbean and buckwheat have been eaten since the new stone age or even before that era. This study was for investigation on the history of muck and its processing methods in the ancient and the modern culinary literatures from the 1400’s to 1900’s. The summary of the reviews was as follows. In the ages from the 1400’s to 1700’s, using starch powder, Se-myon and Chang-myon were made and their shape were like noodles instead of cubical shape. It was after the 1700’s that muck making methods were revealed in the literature, like ${\ulcorner}Gyeong-do-jabji{\lrcorner}$ (1730) and${\ulcorner}Go-sa-sib-e-jib{\lrcorner}$ (1737). The naming of muck might be from the time after 1800’s, in${\ulcorner}Myoung-mul-kiryak {\lrcorner}$ (around 1870) the basis of the names of Choeng-po (white mungbean jelly) and Whang-po (yellow mungbean jelly) could be found. One of the most well-known muck dish, Tang-pyeong-chae, was recorded many old literatures, so it was found that Tang-pyeong-chae was very popular and governmental policy of Tang-pyeong-chak influenced the food of the common people. In ${\ulcorner}Shi-eui-jeon-seo{\lrcorner}$ (late 1800’s) there were records of several types of muck and starch powder making methods in detail which were handed down to the modern ages.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.223-257
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• 2017

For a long time, it has been claimed that there is no tradition of tragedy in Asian Literature. This is because researchers have regarded Ancient Greek tragedy, which is an imitation of an action and has dramatic structure, as the only parameter of tragedy. The purpose of this paper is to examine the features of Korean tragedy in order to revise the parameters of tragedy. In chapter 2, by examining the generic features of 'drama' and 'lyric poetry', we obtained following hypothesis consisting of two elements: First, we can classify as lyric poetry that which has the dramatic device of the separation between the suffering character and the observer as a tragedy. Second, since in lyric poetry the character observed by the poetic self is eventually the alter ego of the poetic self, the observer in lyric poetry can only have pity towards the character. In Chapter 3, we examine lyric songs created from the third to fourth century B.C. to more modern lyric poetry to analyze the features of Korean lyric tragedy. They all depict a state of deadlock where the poetic self cannot move forward, and they are all structured in a similar way. In this common structure, the poetic self plays two roles: a character who is deadlocked and an observer who feels pity toward the character. By examining these features of Korean lyric tragedy, we suggest a new parameter of tragedy. Korean lyric tragedy can also provide a new perspective on modern tragedy that conflicts with traditional theories of tragedy.