• Journal of Conservation Science
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• v.35 no.6
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• pp.701-708
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• 2019

Animal glue is a natural adhesive made from processed skins or bones of animals. It is widely used in wooden crafts, papercrafts, dancheong painting, and pictures. Accurate evaluation of the quality of animal glues during production and use is difficult because there is no formal method for testing the glue's properties during pretreatment and measurement conditions. Thus, in this study, a series of tests were carried out by changing the conditions of swelling, temperature, and concentration of animal glue and gelatin sold on the market. Twelve types of animal glues were evaluated, having a viscosity range of 12.67 cP to 29.43 cP. The results showed that the physical characteristics of the glues were stable when allowed to swell for six h in distilled water(23℃). When 10%(by weight in distilled water) of the animal glue was measured in the reflective mode of a spectrophotometer, the optical characteristics of the glues were stable. Powdered animal glues have a medium brightness and middle-high chroma. Relative to powdered glues, stick animal glues have a low brightness and a medium chroma. Based on the results of this study, it is expected that the data can be assembled into a form so that animal glue workers can use it as a reference for the preparation of evaluation standards for testing the characteristics of animal glues.

• Journal of the Korean Society of Costume
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• v.15
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• pp.177-194
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• 1990

Koh(袴) was a type of dress worn on the lower part of the body which was commonly used in the Northeast Asia. It was originally used by the Northern race for the need of nomadism or hunting. The origin of the Koh which appeared in the area would be found from the trousers of the Huns who influenced in the Northeast Asia, and became in the part of the Scythian culture. The Scythians are the nomadizing race inhabited in the Northern Caucasas on the wast of the Black Sea and influenced on the inland Eurasian steppe as the first typical horse-riding race. The objectives of Koh which had been worn in the Scythian, Mongolia, Korea as well as Japan as a part of Dongho dress and ornaments and to contemplate the transmission process by cultural exchange among different races for the period from 4th century to 7th century. 1. The Origination of the Koh The Koh was originated by the environmental factor to protect the cold in the North but also from the heat in the South, and was changed and developed as gradually satisfying to the needs of the times. In the Northeast Asia the Koh was in the class of the Northern Chinese garment, and was used widely by the horse riding Scythians who moved widely from the Eurasian inland to Japan. The oldest original which could reflect the type of the Northern clothes was a pair of trousers discovered in the Huns remains of Noin Ula. This showed the exact form of hunting clothes and had a similar form with the Korean female tro-users. Since the same form of trousers drawn on the wall painting of which was excavated 4-5th century ancient Koguryo(高句麗) tomb was the same form the trousers of Noin Ula seemed to be the original form of Koh in the Northeast Asia. 2. The Chinese Trousers It was the time of the King Mooryung(武靈王) in the Cho(趙) Dynasty B.C. 3th century that the trousers used regularly in China. However, the Koh had been used as undergarment which functioned for the protection of the cold not the horseriding garment. The trousers seemed to be not very obviously shown off since the Poh (袍) was long, but mainly used by the people from lower class. As people learned the adapted the trousers. It was essential for the times of war and quarrel. The king himself started wearing the Koh. The Chinese trousers were influenced by the Huns, the Northern clothes of the Scythian culture, and similar to the Korean clothes. 3. The Korean Trousers Korean was a race bared from the Eastern foreign group. It was obvious that the clothes was Baji-Jeogori(바지 저고리), the garment of the Northern people. This had the same form of the Scythian dress and ornaments which was excavated from the Mongolian Noin Ula. The Scythian dress and ornaments were influenced from the Ancient West Asia Empire and transmitted to the Northeast Koguryu by the horseriding Scythian. The trousers were kept in the traditional style by the common people in Korea were transmitted to Japan which were for behind in cultural aspect, as well as got used to the Chinese as the efficient clothes though active cultural exchange. 4. The Japanese Trousers The ancient Japanese clothes were influenced by the Southern factor but not the form of the Koh. As the Korean people group was moving towards Japan and conquer the Japanese in the 4-5th century, however, North Altaic culture was formed and at the same time the clothes were also developed. The most influenced clothes at this time were those of Baekge(百濟) and the trousers form called Euigon became the main form. Because of the climatic regional factor, it was tied not at the ankle but under the knee. From the view the ancient Japanese clothes disappeard about that time, it could be due to the conquest of the culturally superior race but not the transmission of the culture. In the latest 7th century both the Chinese and Japanese dress forms were present, but the Dongho(東胡) dress and its ornament from Korea was still the basic of the Japanese dress form.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.99-108
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• 2008

The paleogenetic analysis has become an increasingly important subject of archaeological, anthropological, biological as well as public interest. Recently, scientific research for human skeletal remains was more activated because of increasing awareness of the valuable archaeological information by the ancient DNA analysis. State of preservation of organic remains vary in different soil and burying environmental condition. Almost all available tissue disappear to analysis ancient DNA of bone in acidic soil caused by climate and geological features in Korea. Many preserved human remains excavated in the 'Heogwakmyo'(limelayered tomb of Chosun Dynasty Period) is able to explain through the relationship between burial conditions and bone survival form the burial method and ceremony. Ancient DNA analysis of excavated human bone form ancient tomb requires to remove contaminants such as microorganism's DNA and soil components that affect authentic results. Particularly, contamination control of contemporary human DNA is major serious problem and should verified by criteria of authenticity. In order to understand migration and culture of ancient population, when possible, ancient DNA studies needs to go abreast both radiocarbon and stable isotope studies because the dietary inferences will suggest ancient subsistence and settlement patterns. Also when the paleogenetic research supported with the arts and humanities research such as physical anthropology and archaeology, more valuable ancient genetic information is providing a unique results about evolutionary and population genetics studies to reconstruct the past.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.192-207
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• 2018

The Hyangwonjeong and Chwihyanggyo located in the back garden of Gyeongbokgung Palace have mainly been investigated by referring to historical records about the reign of King Gojong and various drawings thought to have been made in the late Joseon period. Because the current Chwihyanggyo was rebuilt temporarily after being burned to the ground during the Korean War, its form and the location of its reconstruction are not grounded on any accurate historical investigation. Although there are some photos of the Chwihyanggyo that were taken between the end of the Joseon period and the Japanese colonial era, there is no information about the photographer or when they were taken, and it is hard to see which photos show the original Chwihyanggyo Bridge with them. The Cultural Heritage Administration, which is currently promoting the restoration of the Chwihyanggyo, has recognized this problem and initiated research on the matter. In 2017, an excavation survey successfully identified the original location of the Chwihyanggyo, as well as that of Hyangwonji Gado (假島), and the shape of the first foundation stone in the pier. With these findings it was possible to infer the ways in which the Chwihyanggyo has changed over the years. Moreover, by measuring the AMS (Accelerator Mass Spectrometer) of the samples collected in the mounding layer of the Gado where the Hyangwonjeong is located, it was discovered that the Hyangwonjeong was constructed sometime after the Imjin waeran (Japanese Invasion of Korea in 1592), which means that the theory that 'the late Joseon Hyangwonjeong was not the former early Josenn Chwirojeong' is groundless. Judging by the materials found to date, we can reasonably assume that the Chwihyanggyo and Hyangwonjeong must have been built around the same time that Geoncheonggung Palace was founded in the late Joseon period.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.98-110
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• 2011

Seochon('West Village') is located in the west side of Gyeongbokgung(Gyeongbok Royal Palace) inside the old city wall of Seoul. Seochon has beautiful scenic view surrounding Mt. Inwang and has been known as the representative historical and cultural landscape region in Korea that historical and cultural resources are rich. But when the figure of Seochon which has repeated the changes with the ones of the times is considered, values of beauty of natural landscape that Seochon had and its own placeness have not been gradually recognized as it has been swept away in logic of the development on the strength of economics. This study tries to examine the original form of landscape on Seochon which can be the standard of landscape change, the causes and process of its change and possibility to conserve and restore it to recognize potential value about historical culture of Seochon landscape and conserve and protect it. For this, this study compared and analyzed literature including poems and Yusangi, paintings and names of the scenery of the seasons as the landscape texts with the current status. The study result has found that Pilwundae should rehabilitate cultural assets to secure the prospect right and protect neighboring bedrock, Suseong-dong should expand the restoration areas focusing on the projects to make parks which are now being restored, Cheonghwigak and Cheongpunggye areas should restore waterways including historicity which is connected to figures and Seshimdae and Baekun-dong green zone should set the protective area for conservation.

• Korea Science and Art Forum
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• v.20
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• pp.227-241
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• 2015

As time is rapidly changing, the culture to represent an era is getting more subdivided and complex. Due to cultural diversity, the influence, cause, characteristics which could be understood in individual field centered by space in the past cannot be understood now only by the viewpoint of one field, and it has become difficult to predict and correspond to the change of the future. With the development of information and knowledge delivery system, various cultural contents to form a space are being created and lapsed, but there are a lot of parts which cannot be explained or understood by only one point of view. To inspect these situation, this study is aimed to draw the cultural and technical causes that became the influence with Suwon Hwaseong, a traditional space with historical superiority, analyze the key factors that became the main factor to form the space, and consider the importance of the related factors. Suwon Hwaseong is a new town formed by the order of King Jeongjo. Suwon Hwaseong at that time was a space with the will and effort of many people who dreamed a new era, and it has a meaning of varoius time ans space as historical facts and cultural values as well as the progress and development of scientific technology. The unstructured data technique which is applied as the method of analysis in this study can be said to be a new value judgement and viewpoint in interpreting the space. Therefore, this study is a new trial to provide a frame for multilaterally interpreting the various traditional space and culture of Korea from the past to the present.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.149-168
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• 2016

The Saka were a large group of Eastern Iranian nomadic tribes on the Eurasian Steppe. The sythian figures shown on the Persian reliefs are esteemed as the only empirical material in the range of scythian costume researches. The study of the scythian culture is an important part in the research of possible connections of our cultural roots with this region. The investigation was initiated by the theory, that the korean people emigrated from the Eurasian region, so that their origin can linked to eurasian riding people. The aim of this study is to organize the scythian clothingform in a typological system. This results shall be used as the starting point for research investigating the origin of the korean clothingform. This study refers to data, which has been extracted from reviews of literature, articles and excavation data of German Archaeological Institute. Results of this study are as follows: The basic form of clothing shown on the Persian reliefs is the upperjacket with narrow sleeve and trousers. This basic form is divided into two different types. 1)The median tunicform upperjacket('Sarapis') and median narrow trousers('Anaxsirides'), which is bound with its end shoes. 2)The Scythian 'Cutaway' upperjacket that is cut from the front in the middle to the knee with the diagonal lines and relatively wide trousers. They wore high pointed hats with flaps over ears and the nape of the neck. The first median type is dated from the $6^{th}$ century BC. and the second type can be found on reliefs from the $5^{th}$ century BC. Reliefs. In the meantime appeared a mixed form, namely scythian Jacket and median trousers. From this analysis could be observed that scythian clothingform has changed by median type to the scythian type. The Scythians shown on the Persian reliefs are divided into three group according to the regions where they lived: Saka-paradraya, Saka-tigraxauda, Saka-haumavarga. Clothingstype is different depending on the group. The clothesform is also used as a good parameter to distinguish scythian groups.

• Journal of the Korea Furniture Society
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• v.25 no.2
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• pp.79-86
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• 2014

Furniture can be a product of design and is considered a form of a decorative art. Architectural works are often perceived as cultural symbols and as works of art. Korean traditional architectural form and wooden furniture were improved by adding up an organic coordination in the interior space. Furniture adds beauty of life by being coordinated with the interior space with its particular characteristic in the form of architectural structure. Architecture and furniture are also being improved in a more natural and diverse way. Therefore, in this research, from the choice of the location, Korean traditional architecture is considered to be coordinated with the nature, and the technical skill is lessened to express its beauty. There is a presence of elegance yet robust combination of simplicity and beauty. In addition, the traditional architecture and wooden furniture are completely expressed structurally with coordination of the outstanding design and solid structure according to the thrifty living in the Confucian ideas which influenced the Korean traditional society. The representative of Korean traditional architecture, Baeheulrim pillar, has worked as motive because of its visual comfort caused by optical illusion and formative elements. The small portable dining table (Soban) which reflects the characteristic of Korean unique tradition and the sensitivity of Koreans has been reinterpreted through the motive in this research. As a result, it has shown the possibility as the design element to change the aesthetic structure. In the modern society, cultural identity plays a vital role. Therefore, this research can be used as reference for the new concept of furniture - making. It could be a combination of modern people, lifestyle and living space by creating the Korean image suitable for the modern society.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.212-220
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• 2023

The meticulous figure painting is one of the wonders of traditional Chinese painting and has blossomed in art history with its unique and interesting style. The period from the Warring States period to the Song and Yuan dynasties was a glorious period in its history, after which it tended to decline due to changes in painting materials and many socio-historical reasons. The extensive cultural exchanges in the world today, the penetration of Western values and the expansion of information technology have brought a huge impact on Chinese meticulous figure painting, which has developed an active way of thinking and expression after absorbing certain elements of Western culture and thought on the basis of inherited tradition. Contemporary Realistic Figure painters continue to explore new developments in meticulous figure painting in the contemporary context, and give contemporary meticulous figure painting a new cultural and ideological connotation, forming a new look that meets the requirements of the times, with richer and more lively content, subject matter and formal language. Traditional meticulous figure painting is characterised by a highly refined use of line and coloring composition. Contemporary meticulous figure painting focuses on the use of purely formal language and the expression of the personality of the creative subject, with a new outlook on the world of painting. In the contemporary multicultural context, new formal language and methods of expression are constantly being explored to create a new look. In the process of development, contemporary meticulous figure painting has merged the best qualities of traditional and contemporary culture, making it an art with a subtle language, rich in meaning and with the charm of the times and oriental characteristics. The author in the form of contemporary fine brushwork figure painting language as the research object, explore new form of fine brushwork figure painting, and in the contemporary society and multicultural context factors. Innovation, enrich and develop new forms of art language of contemporary social form and aesthetic temperament and interest.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.259-269
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• 2021

This study examines the legend of 'Grandmother Seolmundae and Five Hundred Generals', the cultural archetypes of Jeju, and analyzes the characteristics of its contents. After analyzing the feasibility of using the analyzed cultural prototype as cultural contents such as games and animations, based on this analysis, we tried to suggest a cultural planning approach based on the cultural prototype to the cultural agency. Therefore, the implications of this study are as follows. First, among the cultural prototypes in Korea, 'Grandmother Seolmundae and Five Hundred Generals', which represent the legends of Jeju Island, are being organized centered on many historical researchers and Chaerokga, but there is no precise establishment of the exact timing of the legend and how it arose. Therefore, when planning and developing content based on the cultural prototype, it is most important for cultural agencies to develop a story after researching historical evidence and opinions of local residents to identify a consistent point of view. Second, although the contents of the cultural archetype are arranged slightly differently by historians and recorders, the main contents and characteristics of the story are found to have a similar form. Therefore, cultural agencies should focus on finding the point of view and characteristics of a story, even if a story is written differently by different people when doing a cultural prototype. Third, when planning a game based on the cultural prototype, the main elements such as the elements to be expressed in the game and the fun elements should be found and presented. In particular, because fun and rules are the most important parts of games, if this part cannot be derived from the story of the cultural archetype or cannot be made, it is difficult to transform the cultural archetype into a game. Therefore, it can be seen that it is important for cultural agencies to set their game plan intentions in consideration of story expression and fun, even if it is the core or non-core of the entire story of the cultural archetype. Lastly, although the cultural prototype 'Grandmother Seolmundae and Five Hundred Generals' was presented as animation content, it is important to develop it considering the story, characters, media, and audience. Therefore, cultural agencies should be able to derive the elements such as stories, representative and auxiliary characters, and viewers that can be adapted from the cultural prototype as much as possible. It will be an important part of raising.