• Title/Summary/Keyword: Colophon

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A Study on the Description Elements of the Colophon in Chinese Books (중국의 도서 판권기 기술요소 고찰)

  • Lee, Myoung-Gyu
    • Journal of Korean Library and Information Science Society
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    • v.44 no.3
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    • pp.359-378
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    • 2013
  • This study arranged the function and role of colophon and looked around the history, relevant laws, and description elements of books issued in China. According to the colophon of books issued from China, all colophon have copyrights and description elements in common. Colophon is that we recorded the bibliographic area of the proper book in special place, namely the inside of the cover. Besides, the colophon additionally includes necessary bibliographic areas depending on the development of publishing technology and transition of publishing environment. This colophon is offered as useful sources of information when librarians want to make up the catalog in the library.

A Study on the Transition of Elements of the Book Colophon in Korea (우리나라의 도서 판권기 기술요소 변천 고찰)

  • Lee, Myoung-Gyu
    • Journal of Korean Library and Information Science Society
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    • v.41 no.3
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    • pp.329-349
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    • 2010
  • Colophon means an element to describe bibliographic areas of the concerned book on the specific space like a back of the title page or the last page of a book. Colophon functioned as an information source when cataloging in a library, an area concerning the copyright and as an useful information to readers. The publication of a new book has begun since early 1900s in Korea. And the element of the colophon is dependent on changes in the social and cultural environment. Among the element of the colophon early 1900s until now, the elements consistently appear on the title and the author, a place of publication, a publisher, the date of publication and the price. Additional the elements according to the change of social environment are the edition, ISBN, the registration of publisher, the address of publisher and an author career. On the other hand, omitted elements are the address of author, the account number and the seal. In the future, the size of the book is additionally wanted to describe in the colophon.

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A Study on the Description Elements of the Book Colophon in Korea (우리나라의 도서 판권기 기술서지 요소 고찰)

  • Lee, Myoung-Gyu
    • Journal of Korean Library and Information Science Society
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    • v.41 no.1
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    • pp.211-231
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    • 2010
  • Colophon means an element to describe bibliographic information of the concerned books on the specific space like a back of title page or the last page of a book, and is used as a useful information source when cataloging in a library. Imprint means an element to describe publication information to a title page or verso of a title page of a book. In addition, institutionally required elements to describe on a book are an author, a publisher, a date of publication, a publishing company, ISBN, and a price when printing publications. The bibliographic elements to describe on colophon are a title, an author, a place of publication, a publisher, the date of publication, a place of printing, a printer, the date of printing, edition, impression, the address and contact point of a publisher, a price, ISBN, a copyright, CIP, and the profile of an author, etc. The necessary bibliographic elements according to the development of publishing technology and changes of publishing environments are additionally described in this colophon.

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Publication Fact of Seonunsa Temple Version of Seokssiwonryu (선운사판(禪雲寺板) <석씨원류(釋氏源流)>의 간행사실(刊行事實))

  • Song, Il-Gie
    • Journal of the Korean Society for Library and Information Science
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    • v.48 no.2
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    • pp.241-257
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    • 2014
  • Seokssiwonryu originally published in China's Ming Dynasty was published twice in our country. While the engraved period of Bulamsa Temple version was clearly known from its obvious colophon indication, that of Seonunsa Temple version was not clearly identified with its colophon mentioning only its publishing temple. Thus, this study examined the relevant data such as Seonunsa Temple's history of its records and collection of the National Library of Korea, and as a result found a new fact that it had been engraved in 1710 not in 1649 as previously known.

Broadening the Understanding of Sixteenth-century Real Scenery Landscape Painting: Gyeongpodae Pavilion and Chongseokjeong Pavilion (16세기(十六世紀) 실경산수화(實景山水畫) 이해의 확장 : <경포대도(鏡浦臺圖)>, <총석정도(叢石亭圖)>를 중심으로)

  • Lee, Soomi
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.18-53
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    • 2019
  • The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

Physical Make-up of Occidental Book in 15-16 Centuries, the Age of Renaissance and Reformation (15-16C 르네상스와 종교개혁시대의 서양 도서의 형태)

  • Lee Hee-Jae
    • Journal of the Korean Society for Library and Information Science
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    • v.31 no.1
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    • pp.215-229
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    • 1997
  • The development of civilization of the book which owed the invention of printing played a prominent part in all fields in IS-16 centuries. In this paper, little attempt has been made to examine the physical make-up of this early printed books: the paper and the parchment as a graphic media; the type mould, the composition and the impression as a tool and a process of the typography: the fold of paper and the format of book; the title page and colophon, the various style of types and writings, the lubrication and decoration, the illustration, and finally, the binding with a leather.

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A Study on the Improvement of the Descriptive Form of the Edition and Impression in the Korean Cataloguing Rule (한국목록규칙에서 판과 쇄의 서지요소 기술형식 개선안 연구)

  • Lee, Myounggyu
    • Journal of Korean Library and Information Science Society
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    • v.52 no.3
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    • pp.217-238
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    • 2021
  • The purpose of this study is to identify the problems of describing bibliographic elements such as edition, impression, and year of publication in the current Cataloging Rules, and to present improvements to the KCR and the KORMARC Format. According to changes in the information technology environment in the library, the level and scope of the cataloging that can be provided to users should be adjusted. As data is diversified and descriptive method of metadata develops, the development of bibliographic elements and the change of the descriptive method are changing the framework of the existing standardization. As a research method, we will examine the concept of edition and impression, examine the transition process of description of edition and impression targeting KCR. And we would like to present the methods of bibliographic description to be added or modified through cataloging examples, and examine the format reflected in KORMARC. This study is intended to be limited to the descriptive form of books. The bibliographic elements of the entry in the library must be fully consistent with the bibliographic elements of the material to be catalogued. This study suggests an improvement to the cataloging rules. First, the edition of the cataloging rules shall describe the edition statement and the impression statement. In addition, the description of the year of publication describes the latest year, not the first year of publication of the edition of the material to be catalogued. The descriptive scope of the year of publication is extended to the month of publication. Second, in the KORMARC format, the description of impression in edition statement is given to the identifier in the 250 field, and is numerically described as the second impression. When presenting the month and year of publication, one identifier in the field 260 describes the year of publication and the other identifier describes the month of publication. The description for the month and year of publication is stated the latest month and year on the title page and the colophon of the publication.