• Journal of Korean Home Economics Education Association
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• v.30 no.1
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• pp.43-63
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• 2018

The purpose of this study is to examine the various contexts affecting life culture through practical reasoning process and to select the goal and contents system of unification education in middle school home economics to form healthy unification community and to develop teaching and learning process. Based on the Unification Education Guidelines, Unification Education Pre-Study, Pre-Study on North Korean Defectors, and Analysis of the 2015 Revision Home Economics Curriculum in Korea, Goal and content system. Based on this, we developed a teaching and learning process and a student activity place applying practical reasoning process after extracting practical problems, and prepared a final development plan based on the results of two expert group evaluations. The results of this study are summarized as follows. First, the goal of unification education in the middle school home economics class is to 'Based on the social-cultural context, we develop the ability to cultivate healthy reunification by respecting the differences between the cultures of the two Koreas and discovering common values in a unified society and resolving practical issues in a unified society.'. Second, the content system of middle school home economics unification education was selected as the core theme of 'Unification Education Focused on the Living Culture'. The content elements were comprehending the socio - cultural context that affects the life culture of the two Koreas, Related language, maintenance of diversity of dietary culture in each region including North Korean food, social norms and attire, correct housing value and common living etiquette. Based on the goals of unification education in the middle school home school curriculum, we selected practical issues as 'What should we do to create a healthy unified community?'. Third, the teaching and learning process of unification education in junior high school home economics education is to recognize the problem of unification, to analyze the factors affecting the life culture of the two Koreas, to grasp the effect of the action and the ripple effects, to select alternative methods, And 4 subjects for 8 teaching learning course plan, and 35 teaching materials.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.90-103
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• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.142-153
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• 2019

The Joseon Dynasty (1392-1910) left behind a wealth of documentary heritage, including collections of literary works, personal letters, and journals, as well as public documents such as Veritable Records of the Joseon Dynasty (Joseon Wangjo Sillok), Diaries of the Royal Secretariat (Seungjeongwon Ilgi), and State Protocols (Uigwe). Such heritage also includes personal diaries that have been highly regarded for their frank and vivid records of people's lives in the Joseon period. There have been great diaries published and intended for reading by the Korean public, including War Diaries (Nanjung Ilgi, 1592~1598) by Yi Sun-sin and Diaries of Jehol (Yeolha Ilgi, 1780) by Park Ji-won. Unfortunately, a great majority of these personal records remain unknown to the world. Such great records have not been given an opportunity to be documented properly, but are left outside public attention, abandoned to be damaged and destroyed. Few personal diaries of the Joseon period were written on good-quality paper. After the death of their authors, these diaries were left to be kept by their descendants; this explains why many of these records have been in poor condition, particularly when compared with the public records published by the government of Joseon, such as Sillok and Uigwe, even when these were lucky enough to be taken care of by the authors' descendants. Even after surviving a long time, many of these personal records remain in the form of manuscripts, written in semi-cursive and cursive scripts of Chinese characters, thus making it even more difficult for the people of the current generation -- most of whom have not been given an opportunity to learn Chinese characters at school -- to take care of their documentary heritage properly. Meanwhile, it is also true that, as the value of the public records published by the government of Joseon as historical materials has grown, they are used more often as content for TV dramas such as Daejanggeum. At the same time, there have been increasingly louder voices citing the need for the study, preservation, and management of the personal diaries from Joseon. Considering the situation, this study provides a general overview of the personal diaries of Joseon as recently surveyed by the National Research Institute of Cultural Heritage, as well as their characteristic features, subjects, and backgrounds. This study is expected to contribute to future research on the preservation and management of the personal diaries of Joseon.

• Journal of Conservation Science
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• v.27 no.1
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• pp.101-114
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• 2011

The rock-carved Buddha statue at Dosolam (Korea Treasure No. 1200) of the Seonunsa temple in Gochang is unique style sculptured on natural rock cliff of 13.0m height. The Buddha statue is composed of volcanic complex with tuff, dacitic tuff breccia, tuff bereccia and lithic tuff. Especially, the Buddha statue is characterized by hydrothermal alteration and fragmentation on the upper and lower part. As a result of damage diagnosis, exfoliation and detachment of physical weathering are high of 11.3% and 9.3%, respectively. Infrared thermography analysis, exfoliation and micro-cracks occurred in the measuring parts that have not been confirmed by naked eyes. Chemical index of alteration and weathering potential index of host rock for the Buddha statue are 55.16 to 64.01 and 6.14 to 9.92 which are represented within highly weathering degree. In surface, dark black, reddish brown and white discoloration are observed prominently in the lower. Brown discoloration 6.9% is highest. According to the P-XRF measurements, high concentration of Fe in common, in part of dark black discoloration was Mn, white and brown discoloration in part of S and Ca content were higher. Biological weathering that yellowish brown and dark gray crustoes lichenes appeared by 20.8% and 13.3%, respectively. Therefore, comprehensive deterioration rate of Buddha statue show physical damage by 21.2%, discoloration for inorganic contaminants by 10.8% and biological damage by 39.4%. Ultrasonic velocity measurement carried out of Buddha statue on the surface by 555 points. Measured value of ultrasonic velocity was about 2,273m/s(1,067 to 3,215m/s, and weathering coefficient is 0.5(0.4 to 0.8) that progress on MW(moderately weathered) to HW(highly weathered) grade of rocks.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.108-125
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• 2013

This study examined the actual reconstruction drawing, composite mineral, particle size and property test, fine organic matters, color differences and main ingredients of the earthen mold excavated in Dongcheon-dong, Gyungju. The cross-section of the inner mold and outer mold divides into inside (1st layer) and outside (2nd layer), with organic matters mixed outside. The cross-section has been altered due to heat and form removal agent. X-ray analysis revealed that the layer was made of minerals with high transmissivity and only quartz particles were observed through a polarizing microscope. The inside of cross-section in SEM observation identified enlarged air gap, with crack developed in the center, but no changes observed on the outside. The particle size of the composites is almost the same for the inner mold and outer mold and is silt clay loam. The ratio between silt clay and silt clay loam was about 2.7:1 and 2.9:1 respectively. In the property test, the density and absorption rate of inner mold and outer mold were similar, but porosity was different, with inner mold of 27.36% and outer mold of 31.09%. The color difference of cross-section seems to have been caused by the spread of soot on the 1st layer surface for removal of form or by the covering of ink to protect the 1st layer. Composite mineral analysis revealed the same composition for the inner mold and outer mold, except for the magnetite that was detected in the inner mold alone. As for the main ingredient analysis, the average content of $SiO_2$ was 71.64% and that of $Al_2O_3$ was 14.59%. As for the sub-ingredients, $Fe_2O_3$ was 4.51%, $K_2O$ 3.06%, $Na_2O$, MgO, CaO, $TiO_2$, $P_2O_5$ and MnO was less than 2%.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.4-23
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• 2013

Songsalli Ancient Tombs of Gongju consists of seven tombs. King Muryeong's tomb, the seventh tomb, is a brick chamber tomb discovered during the drainage works for the fifth and the sixth tombs in 1971. The excavation at the time focused on topographic surveys of the tomb entrance and the inside of the burial chamber as well as collection of the remains. The burial mount survey confirmed the status of some stone slab remaining and lime-mixed soil layers, but the survey did not examine the exterior structure of the whole tomb as the mounds were removed even more deeply. The excavation revealed damages to the bricks and mural damages due to moisture and fungus in the sixth and the seventh tombs. Between 1996 and 1997, Gongju National University conducted a comprehensive detailed survey of Songsalli Ancient Tombs including a geophysical survey, with an aim to identify the root causes of such degradation. Based on the results, repair took place in 1999 and the fifth, sixth and seventh tombs were placed under permanent conservation to conserve the cultural assets. General public is currently denied access. The purpose of this study was to conduct a three-dimensional resistivity and GPR surveys on the ground surface of the fifth, sixth and seventh tombs of Songsalli Ancient Tombs in order to understand the underground status after repair. The study also aimed to understand the thickness of all the tomb walls and exterior structure based on GPR inside King Muryeong's tomb. The exploration on the ground surface found that the three tombs and soil adjacent to the tombs had resistivity as low as 5 to $90{\Omega}m$, which confirmed that the soil water content was still as high as that prior to the repair work. Additionally, GPR found that the wall construction of the burial chamber of King Muryeong's tomb was approximately 70cm in thickness, while the structure was of 2B with two bricks, about 35cm in length, put together longitudinally(2B brick masonry). The pathway to the burial chamber was of the 2B structure just like that of the burial chamber walls, while its thickness was 80cm with an eyebrow-type arch connected to it. Also, the ceiling exterior appears to have an arch structure, identical to the shape inside.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Economic and Environmental Geology
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• v.56 no.1
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• pp.103-114
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• 2023

The Christian Museum of Gongju Jeil Church was first built in 1931 and was largely damaged during the Korean War, but the walls and chimneys have been preserved. This building has a high architectural values in that the chapel was reconstructed in 1956, and maintains its original form through repair of damaged parts rather than new construction. The stained glass windows were as installed in 1979 and has a great significance in the Dalle de Verre method using lump glass. However, some of the stained glass damaged partially, such as various cracks and splits, and vertical and horizontal cracks in the joint fillers of supporting the colored glass. As the structural materials of the stained glass window, an iron frame and cement mortar filled with it were used, and corrosion of iron, cracking of mortar and granular decomposition appear partially due to weathering. In the joint fillers, the content of Ca and S is very high, indicating that gypsum were used as admixtures, and the gypsums grow in a rhombohedral and forms a bundle, which is investigated to have undergone recrystallization. As a result of modeling the ultrasonic velocity at the joint fillers, the left and right windows at the entrance show relatively weak in the range of 800 to 1,600m/s, and the lower right corner of the altar window and the upper left corner of the center window were also 1,000 to 1,800m/s, showing relatively low physical properties. And gypsums produced during the neutralization of lime mortar were detected in the joint fillers and contaminants on the surface. Such salts may cause damage to the joint material due to freezing and thawing, so appropriate preventive conservation is required. Also, since various damage types are complexly appearing in stained glass window and joint filler, customized conservation treatment should be reviewed through clinical tests.