• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.104-114
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• 2024

Sheet Music of the National Anthem of Korea with Lyrics in Korean, Chinese, and English is a four-sided sheet of paper folded in half. It was first introduced to Korea on November 12, 1945, by Kim Ku, the president of the Provisional Government. The sheet music was published in three languages and is a valuable document for researching the evolution of the anthem and its history. Although it was published in large quantities at the time, it is currently known as the only in Korea and has been designated and managed as a national registered heritage. The sheet music was not significantly damaged, but discoloration and physical damage suggested raised the need for conservation treatment. A pre-treatment examination of the conservation condition revealed that the artifact was received on archival film and had been folded in half for many years, leaving it vulnerable to tears at the top and bottom of the folds and partial wear and tear at the edges. In addition, the pigments used on both sides of the sheet had discolored and transferred to the opposite side. Portable X-ray fluorescence (XRF) analysis was conducted to investigate the pigments used in the sheet music cover, specifically focusing on red, black, and light blue pigments. Titanium (Ti) was detected in the light blue pigment, characterized by a powdery coloring layer. The remaining colors in the printed form were difficult to sample and could not be analyzed further. The light blue sample underwent additional analysis using X-ray diffraction (XRD), scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDS), and Raman spectroscopy. Cross-validation of the results with the artifact's historical context suggested that the bright blue color observed in the 1945 sheet music is likely due to the use of anatase white pigment, rather than rutile. Furthermore, the bright blue pigment is believed to be a blend of phthalocyanine blue, a synthetic pigment introduced in 1936. Fiber analysis revealed longitudinal striations in the hemp fibers and twists in the cotton fibers, suggesting that the paper was made from a mixture of cotton and hemp fibers. Based on the findings of the condition survey, the conservation treatment for the artifact focused on minimizing moisture to avoid stressing the paper and reinforcing the physically vulnerable areas. The reinforcement paper was dyed to match the base of the artifacts, pre-coated repair paper was used for conservation, and appropriate folders and boxes were made for storage after treatment. This study is expected to serve as an important foundational resource on the materials used in modern and contemporary records.

• Tuberculosis and Respiratory Diseases
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• v.66 no.3
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• pp.192-197
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• 2009

Background: Despite the benefits of home oxygen therapy in patients suffering chronic respiratory failure, previous reports in Korea revealed lower compliance to oxygen therapy and a shorter time for oxygen use than expected. However, these papers were published before oxygen therapy was covered by the national insurance system. Therefore, this study examined whether there were some changes in compliance, using time and other clinical features of home oxygen therapy after insurance coverage. Methods: This study reviewed the medical records of patients prescribed home oxygen therapy in our hospital from November 1, 2006 to September 31, 2008. The patients were interviewed either in person or by telephone to obtain information related to oxygen therapy. Results: During study period, a total 105 patients started home oxygen therapy. The mean age was 69 and 60 (57%) were male. The mean oxygen partial pressure in the arterial blood was 54.5 mmHg and oxygen saturation was 86.3%. Primary diseases that caused hypoxemia were COPD (n=64), lung cancer (n=14), Tb destroyed lung (n=12) and others. After oxygen therapy, more than 50% of patients experienced relief of their subjective dyspnea. The mean daily use of oxygen was 9.8${\pm}$7.3 hours and oxygen was not used during activity outside of their home (mean time, 5.4${\pm}$3.7 hours). Twenty four patients (36%) stopped using oxygen voluntarily 7${\pm}$4.7 months after being prescribed oxygen and showed a less severe pulmonary and right heart function. The causes of stopping were subjective symptom relief (n=11), inconvenience (n=6) and others (7). Conclusion: The prescription of home oxygen has increased since national insurance started to cover home oxygen therapy. However, the mean time for using oxygen is still shorter than expected. During activity of outside their home, patients could not use oxygen due to the absence of portable oxygen. Overall, continuous education to change the misunderstandings about oxygen therapy, more economic support from national insurance and coverage for portable oxygen are needed to extend the oxygen use time and maintain oxygen usage.