• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.96-119
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• 2024

Some inscribed bricks excavated from the western region of North Korea have been found bearing an era name used after 314 when the Nangnang and Daebang Commanderies had been completely ousted from the region. Others have been found with an era name used in the early fifth century. This indicates that the tradition of constructing brick chamber tombs was sustained for a century after the disappearance of the two commanderies. However, brick chamber tombs were never adopted as a burial system for the ruling class of the Goguryeo Kingdom. The Tomb of Jang Mui built in 348 and the Tomb of Dongni built in 353 both departed from the typical brick chamber tomb style of the region, and elements associated with stone chamber tombs were added to them. The Tomb of Dongsu (Anak Tomb No. 3), which is similar to the other two tombs in that its occupant is of Chinese descent, was constructed in 357 not as a brick chamber tomb, but as an earthen mound tomb with a stone chamber. Still, the continuation of brick chamber tomb tradition in the next half century has been somewhat puzzling. Although dated inscribed bricks have served as important evidence for understanding the continuation of the brick chamber tomb tradition, there has been a problem of continually repeating previous studies. It has also been pointed out that there was an error in the interpretation of era names in some of the dated inscribed bricks that had been believed to have been produced in or after 357. For example, "second year of Taean" (Taian in Chinese), which had been understood to correspond to 386 (during the Former Qin Dynasty), in fact refers to 303 (during the reign of Emperor Hui of the Western Jin Dynasty). In the case of "first year of Geonsi" (Jianshi in Chinese), which had been believed to indicate 407 (during the Later Yan Dynasty), it actually refers to 301. "Geonsi" is the era name used during the period when Sima Yun ousted Emperor Hui of the Western Jin Dynasty and briefly occupied imperial throne. Outside these two cases, the remaining dated inscribed bricks thought to have been produced in or after 357 are those dated to the "third year of Wonheung" (Yuanxing in Chinese). However, a reexamination of these bricks reveals that what is really "Yeongheung" (Yongxing in Chinese) has been misread as "Wonheung." The third year of Yeongheung corresponds to either 306 during the Western Jin Dynasty or 352 during the Later Zhao Dynasty, but it is highly probable that it refers to 306. This means that there is no conclusive evidence to support the hypothesis that brick chamber tombs were built in the area until the late fourth century and even into the early fifth. Accordingly, the Tombs of Jang Mui and Dongni should be viewed as the latest known brick chamber tombs to be constructed in the western region of North Korea. Moreover, brick chamber tombs appear to have been no longer built in the area around the time when the Tomb of Dongsu was constructed. These speculations accord with the historical circumstances of the time.

• The Journal of the Acoustical Society of Korea
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• v.20 no.4
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• pp.35-41
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• 2001

This paper describes Linear Discriminant Analysis and common vector extraction for speech recognition. Voice signal contains psychological and physiological properties of the speaker as well as dialect differences, acoustical environment effects, and phase differences. For these reasons, the same word spelled out by different speakers can be very different heard. This property of speech signal make it very difficult to extract common properties in the same speech class (word or phoneme). Linear algebra method like BT (Karhunen-Loeve Transformation) is generally used for common properties extraction In the speech signals, but common vector extraction which is suggested by M. Bilginer et at. is used in this paper. The method of M. Bilginer et al. extracts the optimized common vector from the speech signals used for training. And it has 100％ recognition accuracy in the trained data which is used for common vector extraction. In spite of these characteristics, the method has some drawback-we cannot use numbers of speech signal for training and the discriminant information among common vectors is not defined. This paper suggests advanced method which can reduce error rate by maximizing the discriminant information among common vectors. And novel method to normalize the size of common vector also added. The result shows improved performance of algorithm and better recognition accuracy of 2％ than conventional method.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Asian-Australasian Journal of Animal Sciences
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• v.27 no.8
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• pp.1069-1074
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• 2014

In China and South East Asia, the duck (common duck) is important in egg production for human consumption. Plumage color is a breed characteristic and of economic importance, together with egg production. Our aim in this study was to investigate the inheritance of plumage color in three Chinese indigenous egg-type duck breeds, Shan Ma (S), Putian White (F) and Putian black (P), and some of their crossbreds. These three breeds have different plumage color and are used in crossbreeding. The crossbred laying ducks $F{\times}(P{\times}S)$ and $F{\times}(S{\times}P)$ showed highly improved laying ability but heterogeneous plumage color. Genotypes at four relevant loci were investigated by studying down color and pattern in ducklings after crossbreeding. $F_1$ ducklings from the matings $F{\times}S$ and $S{\times}F$, $P{\times}S$, and $S{\times}P$ were classified into four classes of plumage color (the Shan Ma plumage color, black, white, or multicolored) over three generations. Parents were selected for the Shan Ma plumage color of their progeny. In the fourth generation, P male and P female ducks were selected according to the frequency of the desired class of plumage color (Shan Ma) of their $F_1$ progeny to obtain the so-called "Brown Putian Ma duck". The Shan Ma duck genotype was identified as having the restricted mallard color pattern ($M^RM^R$), full expression of any of the patterns or colors (CC), no extended black (ee) and no brown dilution D (D). The Putian White genotype was recessive white (cc), no extended black (ee) and no brown dilution D (D). The Putian Black genotype exhibited full expression of extended black (E gene) and no brown dilution (CCEE D [D]). It was shown that $F{\times}S$ and $S{\times}F$ tests should be implemented to eliminate the recessive white c allele in the S line and the dominant extended black E allele in the F line. It was also shown that the Brown Putian Ma obtained from Putian Black, with no extended black genotype (ee), could be used to get rid of the black plumage (E gene) in the crossbred ducks. This could provide a solution for producing 3-way crossbred ducks Putian $White{\times}$(Putian-$Ma{\times}Shan$ Ma) and Putian $White{\times}$(Shan $Ma{\times}Putian$-Ma), with the desired Shan Ma feather color.

• Korean Journal of Soil Science and Fertilizer
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• v.41 no.6
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• pp.419-424
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• 2008

Objective of this study was to evaluate the adaptation and the soil conservation effect of improved wild vine in sloped upland of highland about 600m from sea level in Korea. A mainly producing district of the improved wild vine in Korea was distributed 230m to 540m from sea level, and its rainfall ranged 1,200 to 1,700 mm. The lowest temperature was from -19.6 to $-25.4^{\circ}C$. Their soil texture was from sandy loam to clay loam, where drainage class was well drained and the contents of soil organic matter and total nitrogen in the improved wild vine's cultivation area were higher than those of Chinese cabbage's cultivation area in the highland. According to improved wild vine's cultivation methods, the amounts of soil erosion were 25.5,4.1, and $1.8MT\;ha^{-1}$ in clean culture, part sod + mulching, and nature sod, respectively. Those were below 30 to $80MT\;ha^{-1}$ of sloped upland at highland in Korea. The result suggests that it is possible to cultivate the improved wild vine over wintering at 600m of highland above the sea level. We can substitute the improved wild vine for Chinese cabbage in the highland for soil conservation.

• Journal of the HCI Society of Korea
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• v.3 no.1
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• pp.39-47
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• 2008

A mobile phone became the practical necessities of Chinese life that can not be explained without a mobile phone as it is rapidly popularized in China in recent years. As income increases due to economic growth, so did desire to buy better products. And This desire has made consumers in China more concerned about design and consequently leads to artistic design of a mobile phone. And also this trend is getting linked to people's personalisation in that people prefer rather to choose products they like than standardized ones in the middle of a variety of cultural inflows. This study mainly focuses on the development of the characterized mobile phone with a high class brand by use of traditional elements and of design identity of a mobile phone with Chines style that is well harmonized with cultural and personalized identity as consumers' preferences are quite different from each other depending on each country's culture. For this, this study investigates traditional elements such as patterns, colors and characters as well as development and features of the mobile phone design. This will also lead to the development of a mobile phone with traditional elements of China by studying utilization of design with traditional patterns. To do this, the study analyzes to research traditional patterns(Dragon, Phoenix, Peony, Lotus Flower), colors(Red, Yellow, Blue, Black, White) and historical origin and concept of characters. The study also looks into instances and personalisation of mobile phone design by analyzing literatures.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.141-148
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• 2007

As Backje(B.C. 18-A.D. 600) is the whole area of Chungcheong, Jeonra, Kangwon and Gyeongsang provinces, the son of the founder of Goguryeo, King Onjoe, making the castle Wu'irae capital of the nation, founded Backje. The capital was transferred to Hansung by B.C. 5 and then to Gongju by A.D. 475. Backje governed the east of China and the northeastern coast. Due to the effect of Chinese culture there are remarkably Chinese cultural elements in dress and its ornament of Baekje. Therefore on the side of cultural part, the noble culture was formed more polished than that of Goguryeo, which affected the culture of dress and ornament. And also there were class differentiation noticeably. Baekje created splendid culture and affected the culture development of Shinra and Japan. The motive of culture creation could be the top of three countries in the foreign trade because there were geographically the widest vast plain and coastline which stretches out from north to south. Although there haven't been many materials about the cultural heritage and records more than other countries, through the modern visual point its design is fresh and more elegant those of other countries. But the fact is that there are few materials related to Baekje. What is worse, there rarely remains all original form and most of them are broken and lost. According1y, we cannot understand not only an original form of Baekje culture and but also the meaning included in it. It goes without saying that there are few materials about the clothes and fabrics. As understanding the culture of Baekje itself is insufficient, a culture enterprise utilizing it - to improve both the added value and economical achievement while combining the latest culture resources with other fields - hasn't been successful. In this study, the purpose is to improve economic power through commercialization and industrialization of the sources of the culture of Baekje. By reanalyzing a form and an image of Baekje relics, it is designed with new motif and modem preference on the condition of our peculiar cultural heritage. And while using this motif with Jacquard pattern, we made it possible to be applied to real life such as interior trinkets, etc.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.103-113
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• 2002

Heungdukwang'(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shills's(統一新羅) costume. But among the clothing pieces that appeared in Heundukwang'(興德王) costume ordinance, classification of Naeoe(內衣) and Danoe(短衣) is not clear. This study focuses on the categorization of Naeoe(內衣) and Danoe(短衣). Upper garments included among costume ordinance were Pyooe(表衣), Naeoe(內衣) and Danoe(短衣), Pyooe(表衣) and aeoe(內衣) were unisex, while Danoe(短衣) was worn only by women excluding the lower class. Pyooe(表衣) is applicable to Po(袍), Naeoe(內衣) is aplicable to Yu(유). Shilla'(新羅) upper garments appearing in visual records are as follows: -With the exception of Pyooe(表衣), the length of men's upper garments were between hip and knee length. These upper garments featured V-neck and round neck styles with the left side of the garments folded over the right side. -Again excluding Pyooe(表衣), women's upper garments were similar to men's upper garments having V-neck and round necklines. We know this to be true from the relics found during the excavations of Hwangsungdong and Yonggangdong, as well as from the women in the stone reliefs of Sangju. Although we know the shape of necklines. the length of upper garments remained a mystery because women of that tome tucked in their upper garments into the skirts and/or wore an over garment. However a clay doll found around Bulguksa(佛國寺) wearing a knee length garment with V-neck. The upper garment was opened in the front and was worn over another garment with same length and round neckline. At that time, The upper garments found in China and Japan. were not much different than those found in Shilla (新羅). They also included garments that were waist length, had peach-shaped necklines, or were worn over head. Shilla's(新羅) traditional upper garment was between hip and knee length, but with the introduction and influence of Chinese costume. upper garments with a length coming down to the high waist line began to appear. In addition to Chinese influence, because Shilla's(新羅) women wore the upper garment first and then the lower garment, a long upper garment was not necessary. These shorter upper garments came to be known as 'Danoe(短衣)'When we perceive clothing. we look at silhouette first and then the details. Silhouette is much determined by length and neckline or the front of the garment determines the details, So we need to attention to the basis of ancient dress classifications. These classifications were according to first length [Po(袍), Yu(유)] and then neckline [Danryoung(團領), Jingryoung(首領)]. As a result. Naeoe(內衣) and Danoe(短衣) are classified by the length. The length (內衣) was between hip and knee length while Daneoe(短衣) was waist length. Danoe(短衣) was worn by putting the bottom of it inside skirt naeoe(內衣) was worn over a skirt or plant. But both had V-neck and round neck styles, and styles with the left side of the garments folded over the right side.

• Journal of the Korean Society for Library and Information Science
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• v.11
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• pp.147-183
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• 1984

This is an analytical study on Munheongak (文獻閣) and it's catalogue. The major objective of the study is to get a recognition of Munheongak under the culture of Sukjong (肅宗) period in Korean library history. Most of early studies made on such a category have been concentrated on Jiphyunjeon (集賢殿), Hongmungwan (弘文館), Kyujanggak(奎章閣) and their backgrounds. In this study, the author has invest gated Kungwolji (宮闕志), Munheongakseomg (文獻閣書目) and other materials related to this subject. The findings of the study can be summarized as follows: 1. Munheongak was established by king Sukjong in the 26th year of his reign. According to some records of Kungkwolji, the reason of establishment of the library was to arrange the collection in the Sango (相庫) consisted of various kinds of materials. In case of books, most of them turned out to be Korean books. 2. Munheongak was sited to the estern side of Kyunghyundang (景賢堂), which was located on the Kyungdeokgung (慶德宮). After Youngjo (英祖) the place was called Kyungheuigung (慶熙宮) so as to avoid the name of the precedent king. But these days, both the buildings are not to be found. 3. After its establishment, the library could not play the role as a library because of the then political situation and sectionalism. During the period of the revival of the learning from Youngjo till Jeongjo(正祖) the function of the library was in a stagnant state. Kyujanggak played the part in its place. 4. Referring to the collection management, the Munheongakseomog is equipped with 101 titles, 2,525 volumes, which are arranged by means of the traditional Chinese classification system. 5. The classification scheme is based on the traditional Chinese classification system which might divide all subjects into four categories such as: Confucian classics division, Historical documents division, Master's division, and Collection of literature division. Some illustrations reveal that the classification system was directly influenced by Seogoseomg (書庫書目) : the influence reflected in the classes for the translated literature and writings, poems, genealogy about kings, etc. But some subdivisions such as a class of Annals, Historical Epcerpts were omitted in the classification scheme, which did not strike the balance in the system in terms of the present theory of classification. Most of bibliographical descriptions were also influenced by Seogoseomog but some elements were partly omitted. 6. The special feature of the collection building is the absence of books in Collection of literature division except only three kinds of books in examining the Munheongakseomog. Since this is rather a comprehensive study for such aspects as historical backround, catalogue, and cultural environment of Munheongak and its related record, it is advised that further and additional research should be made.