• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.54-65
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• 2019

China government recently tries to preserve not only the famous national historic-culture cities, but also the small and medium-sized cities due to the damages and destruction of the cities by the rapid economic development, urban expansion and the development of tourism industry. Hence, this study chose 'Zhoucun ancient mall' which is one of the hotness of cultural heritage located in a mid-sized city named 'Zhoucun district Zibo city Shandong province' that has continuously cared historical landscapes by the protective policy regarding the city as a historic-culture resource from '80s, and considered the character of the city's development process on how the historical landscapes were well protected. In fact, the protection policy in Zhoucun ancient mall had been started in early '80s, however, the viable plan was established in 2001 entitled 'Historical block protection planning of Zhoucun Da street'. And then, 'Regulatory plan for the ancient mall site of Zhoucun Da street' established in 2008 has expanded the area of the blocks for protection. However, this plan organized area only block-by-block so that the small blocks couldn't have the unity when expanded. Later in 2015, 'Regulation Organization Plan' hastried to expanded the protect-area to solve the unity problem. As a result of the study, the historical landscape management plan of Zhoucun in Zibo city has been systematically changed in 2001 after. In other words, this 2001's plans established buffer zones for the maintenance of protected areas and the surrounding environment. And then the detailed regulatory plan for 2008 led to a concrete urban management plan. After that, in 2015, it was found that the expansion plan to protect and manage the whole area of Zhoucun disrict is to manage the landscape of the surrounding area including the historical landscape of 'Zhoucun ancient mall'.

• Journal of Korean Tunnelling and Underground Space Association
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• v.20 no.6
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• pp.899-915
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• 2018

In this study, in order to construct an eco-friendly advanced road transportation network, the multi-layer tunnel, which is a small-sized car road, is designed to have a height of less than 60 cm. However, the shape of the tunnel is low and the height of the traffic sign is small. In order to solve these problems, traffic sign characters were designed in three dimensions, and the possibility of applying the design of the three - dimensional sign that can obtain greater visibility than the existing signs at the same distance and the possibility verification through virtual simulation were performed. The three-dimensional sign is horizontally installed on the ceiling of the multi-layer tunnel. To be seen vertically, it is enlarged by a certain ratio by the perspective, and the width and height are enlarged. Respectively. In addition, 3D simulation was performed to verify the visibility of the stereoscopic signs when the driver ran through the stereoscopic sign design specifications. As a result of the design and experimental study, it was confirmed that the stereoscopic sign could be designed through the theoretical formula and that it could provide the driver with a larger traffic sign character because there is no limitation of the facility limit compared to the existing vertical traffic sign. Also, we confirmed that it can be implemented in the side wall by using the stereoscopic sign design principle installed on the ceiling part. It was confirmed that the design of the stereoscopic sign can be designed to be smaller as the distance that the driver visually recognizes the sperm is shorter, the height of the protrusion vertically at the lower part of the stereoscopic sign becomes higher. As a result of 3D simulation running experiment based on the design information of the stereoscopic sign, it was confirmed that the stereoscopic sign is visually the same as the vertical sign at the planned distance. Although the detailed research and institutional improvement of stereoscopic signs have not been made in Korea and abroad, it is evolved into a core technology of new road traffic facilities through various studies through the possibility of designing and applying stereoscopic signs developed through this study Expect.

• The Korean Journal of Archival Studies
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• no.1
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• pp.23-76
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• 2000

In this paper, I examined what have been researched and determined about preservation strategy and selection of preservation media in the western archival community. Archivists have primarily been concerned with 'preservation' and 'use' of archival materials worth of being preserved permanently. In the new information era, preservation and use of archival materials were faced with new challenge. Life expectancy of paper records was shortened due to acidification and brittleness of the modem papers. Also emergence of information technology affects the traditional way of preservation and use of archival materials. User expectations are becoming so high technology-oriented and so complicated as to make archivists act like information managers using computer technology rather than traditional archival handicraft. Preservation strategy plays an important role in archival management as well as information management. For a cost-effective management of archives and archival institutions, preservation strategy is a must. The preservation strategy encompasses all aspects of archival preservation process and practices, from selection of archives, appraisal, inventorying, arrangement, description, conservation, microfilming or digitization, archival buildings, and access service. Those archival functions should be considered in their relations to each other to ensure proper preservation of archival materials. In the integrated preservation strategy, 'preservation' and 'use' should be combined and fulfilled without sacrificing the other. Preservation strategy planning is essential to determine the policies of archives to preserve their holdings safe and provide people with a maximum access in most effective ways. Preservation microfilming is to ensure permanent preservation of information held in important archival materials. To do this, a detailed standardization has been developed to guarantee the permanence of microfilm as well as its product quality. Silver gelatin film can last up to 500 years in the optimum storage environment and the most viable option for permanent preservation media. ISO and ANIS developed such standards for the quality of microfilms and microfilming technology. Preservation microfilming guidelines was also developed to ensure effective archival management and picture quality of microfilms. It is essential to assess the need of preservation microfilming. Limit in resources always put a restraint on preservation management. Appraisal (and selection) of what to be preserved was the most important part of preservation microfilming. In addition, microfilms with standard quality can be scanned to produce quality digital images for instant use through internet. As information technology develops, archivists began to utilize information technology to make preservation easier and more economical, and to promote use of archival materials through computer communication network. Digitization was introduced to provide easy and universal access to unique archives, and its large capacity of preserving archival data seems very promising. However, digitization, i.e., transferring images of records to electronic codes, still, needs to be standardized. Digitized data are electronic records, and st present electronic records are very unstable and not to be preserved permanently. Digital media including optical disks materials have not been proved as reliable media for permanent preservation. Due to their chemical coating and physical character using light, they are not stable and can be preserved at best 100 years in the optimum storage environment. Most CD-R can last only 20 years. Furthermore, obsolescence of hardware and software makes hard to reproduce digital images made from earlier versions. Even if when reformatting is possible, the cost of refreshing or upgrading of digital images is very expensive and the very process has to be done at least every five to ten years. No standard for this obsolescence of hardware and software has come into being yet. In short, digital permanence is not a fact, but remains to be uncertain possibility. Archivists must consider in their preservation planning both risk of introducing new technology and promising possibility of new technology at the same time. In planning digitization of historical materials, archivists should incorporate planning for maintaining digitized images and reformatting them in the coming generations of new applications. Without the comprehensive planning, future use of the expensive digital images will become unavailable. And that is a loss of information, and a final failure of both 'preservation' and 'use' of archival materials. As peter Adelstein said, it is wise to be conservative when considerations of conservations are involved.

• Journal of Plant Biotechnology
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• v.45 no.4
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• pp.375-381
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• 2018

The consumption of oats (Avena sativa L.) with high nutritional utility is accelerating due to the increased consumers' demand for functional foods. In Korea, naked oats are used as food, while covered oats are used for animal feed. However, it is difficult to distinguish naked oats from covered oats when the husk is removed from the grains by a special process. The present study was carried out to investigate experimental methods that would be beneficial in the segregation of different types of oats after husk removal. Grain quality-related biochemical compounds were analyzed in a bid to differentiate the oat dehulling characteristics. In addition, 61 SSR markers were examined for genetic relationship and variety identification of oats using five naked and seven covered oat varieties. Results showed that, the contents of protein, lipid, and ${\beta}-glucan$ were not significantly different among the oat varieties and this could not be used as an index for distinguishing oats husk character. However, in the fatty acid composition ratio,, naked oats had a higher ratio of stearic acid (C18:0) and oleic acid (C18:1) than covered oats, and covered oats had a higher ratio of linoleic acid (C18:2) and linoleic acid (C18:3) than naked oats. The assessment of SSR marker genotype revealed that 33 polymorphic bands among 12 oat varieties and 1 variety could be distinguished through the combination of polymorphic markers thus indicating the usability of these markers for variety identification in oats.

• Cross-Cultural Studies
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• v.45
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• pp.295-324
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• 2016

This essay attempts a contrapuntal reading of Thomas More's Utopia. Contrapunctual reading, proposed by Edward Said. attempts to make a text speak across temporal, cultural, and ideological boundaries to a topic of present. I examine two opposite readings of Utopia around 2011 by both pro- and anti-Occupy Wall Street positions. On the one hand, the opponents of Occupy find its limits as a utopian social movement echoing in the fictional character of Hythrodaeus and the alternative society verbally sketched by him in Book Two of Utopia. On the other, Occupy's advocates read More's text as embodying its radial possibility. However, each shares the tendency to denounce Book Two, praising Book One in which Hythrodaeus vehemently criticizes England; they read Hythrodaeus not as an utopian idealist but as a social critic. The Occupy, as a result, is seen here as having an ambivalent relationship to utopianism. I reinterpret the radical possibilities of Book Two criticized by both pro- and anti-Occupy invocations of Utopia. Book Two provides a utopian space in which the existing social contradictions are cancelled, revealing the limits of the three partial utopias proposed at the end of Book One. Following Louis Marin's argument, I argue, the "utopic" space does not lie in the so-called ideal society described in the text but in the inconsistencies between the text's description(discourse) and topography(map). In Book Two the existence of a king is described, yet his space is not found in the topography of utopia; likewise market is described as existing at the center of a city, yet its space is not found either. These inconsistencies create a neutral space in which the ideological contradictions of the text are cancelled, and the space opens up the possibility of communal society beyond modern sovereign power and capitalism I argue this utopian dream needs to be summoned once again in our time as a compelling alternative to the corporate, capitalist order.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.208-227
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• 2013

Twenty-seven bronze bowls excavated from the Goryo burial complex at Deobu-gol were examined for their microstructure and chemical composition to characterize the bronze technology practiced by commoners at the time. Results showed that the objects examined can be classified into four groups: 1) objects forged out of Cu-near 22%Sn alloys and then quenched; 2) objects cast from Cu-below 10% Sn alloys containing lead; 3) objects cast from Cu-10%~20% Sn alloys containing lead and then quenched; 4) objects forged out of Cu-10~20% Sn alloys containing lead and then quenched. This study revealed that the fabrication technique as determined by alloy compositions plays an important role in bronze technology. The use of lead was clearly associated with the selection of quenching temperatures, the character of inclusions and the color characteristics of bronze surfaces. It was found that the objects containing lead were quenched at temperatures of $520^{\circ}{\sim}586^{\circ}C$ while those without lead were quenched at the range of $586^{\circ}{\sim}799^{\circ}C$. The presence of selenium in impurity inclusions was detected only in alloys containing lead, suggesting that the raw materials, Cu and Sn, used in making the lead-free alloys for the first group were carefully selected from those smelted using ores without lead contamination. Furthermore, the addition of lead was found to have significant effects on the color characteristics of the surface of bronze alloys when they are subjected to corrosion during interment. In leaded alloys, corrosion turns the surface light green or dark green while in unleaded alloys, corrosion turns the surface dark brown or black. It was found that in fabrication, the wall thickness of the bronze bowls varies depending on the application of quenching; most of the quenched objects have walls 1mm thick or below while those without quenching have walls 1mm thick or above. Fabrication techniques in bronze making usually reflect social environments of a community. It is likely that in the late Goryo period, experiencing lack of skilled bronze workers, the increased demand for bronze was met in two ways; by the use of chief lead instead of expensive tin and by the use of casting suitable for mass production. The above results show that the Goryo bronze workers tried to overcome such a resource-limited environment through technological innovations as apparent in the use of varying fabrication techniques for different alloys. Recently, numerous bronze objects are excavated and available for investigation. This study shows that with the use of proper analytical techniques they can serve as a valuable source of information required for the characterization of the associated technology as well as the social environment leading to the establishment of such technology.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.198-221
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• 2009

Royal tombs of Joseon dynasty are the crystallization of history, ideology, culture, art, architecture, and ritual ceremony of Joseon dynasty, all mingled in one. So, they are very significant symbols showing 500 years of dynastic history as a whole. Among various factors comprising a royal tomb, stone figures surrounding grave mound are special factors as a symbol protecting it. Further among them, twelve zodiac images arrayed nearest to the grave mound represent the core of the function. Images of twelve zodiac signs originated from the tombs of the Unified Silla Kingdom are certain to hold important role and position in the construction of royal tombs, judging from huge scale and excellent sculptural art of them. However, both their scale and form had been gradually simplified in Goryeo and Joseon dynasty, thus the importance of them has been underestimated compared to other stone figures Images of twelve zodiac signs were very important factors which decorated royal tombs both as a protective role and as a concept of direction. Their historicity and symbolism cannot be neglected in that they had been transmitted to the royal tombs of Joseon dynasty. In this paper, images of twelve zodiac signs expressed in the royal tombs of Joseon dynasty are classified into 3 forms, and reviewed the origin and development of them for each period. They could be classified into 3 forms ; civil vassals with human body and head, civil vassals with human body and head wearing hat decorated with zodiac animals, Chinese characters of either zodiac signs or either a combination of 10 calendar signs and 8 trigrams. The above 3 forms originated from China and became a favorite motif to decorate the royal tombs from early Joseon period until late Joseon by replacing each other and thus changing along the course of the dynasty. In the meantime, we can see a unique character in the images of twelve zodiac signs of royal tombs of Joseon dynasty. In some cases, 24 directions are expressed in which 10 calender signs and 8 trigrams are composed altogether. Images of twelve zodiac signs in the royal bombs of Joseon dynasty are very significant as evidences by which we can confirm uniqueness and tradition of Korean tomb system transmitted from Unified Silla period.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.445-469
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• 2004

The Avatamsaka Sutra copied in ink on the white paper of Shilla Period is the oldest manuscript in korea. This Avatamsaka Sutra is volume 1-10 and 44-50 of the 80 volume's transcription. According to the postscript, written with 528 letters at the end of the volume 10 and 50, this sutra is made during A.D. 754-755, for six months by the order Master Yon-gi(綠起 法師) who founded Hwaumsa Temple(華嚴寺.) It explains the procedure of the ritual and production method of the sutra-copying, and also shows the 19 participants with their name, address, official title, and etc. When the sutra was founded, volume 1-10 were so congealed that we could not open the volumes. And volume 44-50 was prohibited to take photograph for preservation. According to the recent examination, it proved that this sutra is the treasure for the study of the characters made by Empress Wu Zetian(則天武后.) The characters made by Empress Wu Zetian(A.D. 625-705) are new shape of chinese characters which is different from the traditional characters. After the demise of the Queen, the characters were not used any more officially, but privately some people used the characters for personal tastes and interest. The characters in the sutra includes 512 characters of 13 kinds of Empress We Zetians'. Compared to the Tun-huang version of the sutra, this is far better treasure for the study of Empress We Zetians' characters in terms of the number of the character and the their use of frequency. The Avatamsaka Sutra of Shoso-in(正倉院) in japan copied in A.D. 768 does not use the Empress We Zetians' characters. In this respect, this Shilla Avatamsaka-Sutra is a unique one preserves the original forms of Chinese translation at that time.