• Title/Summary/Keyword: Early 18th century

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Wrapping Cloth with Cloud and Treasures Pattern Donated by the Head House of the Descendants of Lee Hangbok at the National Museum of Korea: Dating and Analysis of the Cloud and Treasures Pattern (국립중앙박물관 소장 이항복 종가 기증 운보문단 보자기 무늬의 특징과 연대추정)

  • Hwang, Jinyoung
    • Conservation Science in Museum
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    • v.23
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    • pp.49-60
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    • 2020
  • The wrapping cloth with Cloud and Treasures Pattern donated by the head house of the descendants of Lee Hangbok (1556-1618) at the National Museum of Korea underwent conservation treatment for its protection and display. It was then compared with other ancient fabric objects for dating and analysis of the design. The subjects of Cloud and Treasures Patterns of clothing excavated from tombs dated to some point between the birth and death of Lee Hangbok and with Cloud and Treasures Patterns on the covers of Uigwe copies from the same period from the late 16th and 18th centuries were compared. The results of comparison with relics with clear dating are as follows: First, The Cloud and Treasures Patterns on the late 16th and 17th centuries the differences in the proportion between the head and the tail of the cloud among. Second, the Cloud and Treasures Patterns on the covers of Uigwe copies and fabrics excavated from tombs dated no later than the early 1700s share similarities with the Cloud and Treasures Pattern on the donated wrapping cloth in terms of the arrangement and size of designs and the proportion between each portion of the design. Though the study failed to identify the exact use of the wrapping cloth, it was estimated to be produced in early 18th century when the portraits of Lee Hangbok were copied.

Bedside Education Will Be More Important than Now in the Age of Artificial Intelligence (인공지능 시대에 더 중요해질 침상 옆 교육)

  • Yeh, Byung-Il
    • Korean Medical Education Review
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    • v.18 no.2
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    • pp.58-64
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    • 2016
  • The birth of the scientific revolution, brought forth by Vesalius and Copernicus in 1543, marked the beginning of a new age. However, the changes such as treatment effectiveness, survival rate, prevalence of specific diseases, etc. had not yet become clear during the 16th century. In the early 17th century, Boerhaave emphasized bedside teaching and practice. His attitude influenced numerous students and educators, so many medical students visited hospital wards where he worked. From the late 18th to 19th centuries, Jenner's smallpox vaccination, Pasteur's anthrax and rabies vaccinations, and Koch's four postulates used to detect pathogens were developed using the scientific research method, which initiated big changes for medicine. Flexner, credited for reporting the new medical education system, adopted scientific medicine. He believed medical students must study basic medical science since it could be the foundation of clinical medicine and lead to a revolution in the field. He proposed a new medical curriculum composed of two-years of basic medicine and two-years of clinical medicine, which has been used more than 100 years. During the late 20th century, bedside teaching rounds decreased gradually as scientific medicine has become popular. Many medical educators in many articles have proposed bedside education as an effective method for medical learning. Despite the advent of the age of artificial intelligence and the changing of medical environments in the near future, bedside education will be more useful and important for medical students, educators, and patients as it is a traditional method and essential for patients who desire a more personal approach.

The Stone Buddha Statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province (고양 상운사 석불좌상과 조선 전기 조각 양식의 전통과 모색)

  • Shim, Yeoung shin
    • Korean Journal of Heritage: History & Science
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    • v.52 no.4
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    • pp.246-263
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    • 2019
  • The stone Buddha statue of Sangunsa Temple at Bukhansan in Goyang, Gyeonggi Province, is an excellent example of stone Buddha statues created in the late 15th century. On the base of the figure, there is an inscription, which informs that it was produced in 1497. In recognition of this significance, it was recently designated as a tangible cultural asset in Gyeonggi-do. Thus, this paper tried to evaluate the value of the statue by analyzing iconography and style. The characteristics of a typical 15th-century style that the Buddha statue of Sangunsa Temple shows are the form of ushnisha, the way clothes are worn, the form of a w-shaped chest muscle, and the simple lotus pedestal. On the other hand, the elongation of the waist and the disappearance of the waistband on undergarments are new forms of Buddha statues in the 16th century. Besides, parting the hair in the middle of the head and leaf-shaped short ribbon draped on undergarments are unique features that only appear on the statue of Sangunsa Temple. Sangunsa has been known to be built in the early 18th century based on Bukanji compiled by Seongneung in 1745, and Bongeunbonmalsaji composed in 1943. However, the statue was created in the late 15th century, before the establishment of the temple in the early 18th century. Therefore, this paper briefly reviewed the history of Sangunsa Temple, focusing on the initial period, referring to the historical sites and the relics that were passed on to the temple, as well as the literature records. The data newly referred to in the study are as follows: Sangunsa Stone Pagoda, presumed to be from the Goryeo Dynasty; the Stone Buddha Statue of Sangunsa; Wooden Amita Triad Buddha Statue of Sangunsa. According to the data and contrary to previously-held beliefs, Sangunsa Temple is believed to have been operating since the Goryeo Dynasty. It can be inferred through analysis of the stone Buddha statue of Sangunsa Temple that the size of the Temple before the 18th century was not very large.

Effect of cross-beam on stresses revealed in orthotropic steel bridges

  • Fettahoglu, Abdullah
    • Steel and Composite Structures
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    • v.18 no.1
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    • pp.149-163
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    • 2015
  • Orthotropic steel highway bridges exist almost everywhere in world, especially in Europe. The design of these bridges started very early in 20th century and ended with a conventional orthotropic steel bridge structure, which is today specified in DIN FB 103. These bridges were mostly built in 1960's and exhibit damages in steel structural parts. The primary reason of these damages is the high pressure that is induced by wheel- loads and therefore damages develop especially in heavy traffic lanes. Constructive rules are supplied by standards to avoid damages in orthotropic steel structural parts. These rules are first given in detail in the standard DIN 18809 (Steel highway- and pedestrian bridges- design, construction, fabrication) and then in DIN- FB 103 (Steel bridges). Bridges built in the past are today subject to heavier wheel loads and the frequency of loading is also increased. Because the vehicles produced today in 21st century are heavier than before and more people have vehicle in comparison with 20th century. Therefore dimensioning or strengthening of orthotropic steel bridges by using stiffer dimensions and shorter spans is an essence. In the scope of this study the complex geometry of conventional steel orthotropic bridge is generated by FE-Program and the effects of cross beam web thickness and cross beam span on steel bridge are assessed by means of a parameter study. Consequently, dimensional and constructional recommendations in association with cross beam thickness and span will be given by this study.

A Study on the Stage Costume Design in Natalia Goncharova - Focused on Early 20th Century Ballets Russes - (Natalia Goncharova의 무대의상 디자인 연구 - 20세기 초 러시아 발레(Ballets Russes)를 중심으로 -)

  • Park, Yoon-Jeong
    • The Research Journal of the Costume Culture
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    • v.18 no.1
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    • pp.29-43
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    • 2010
  • The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

Historical Study of Beef Cooking -V. $\{ulcorner}Roasted Skewered{\lrcorner}$- (우육(牛肉) 조리법(調理法)의 역사적(歷史的) 고찰(考察) -V. $\{ulcorner}$산적(算炙, 散炙)${\lrcorner}$-)

  • Kim, Tae-Hong
    • Journal of the Korean Society of Food Culture
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    • v.10 no.4
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    • pp.301-310
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    • 1995
  • The purpose of this study is to survey various recips of the roasted skewered beef (Sanjuk) with twenty three classical cookbooks written before 1943 in Korea. The recipes of the roasted skewered beef are found thirty times in the records, which can be classified into six groups such as the palm-type skewered beef (Sulhamyukjuk), little finger-type skewered beef, mixed skewered beef, juice skewered beef, little finger-type skewered internal organs, and wide-cut skewered internal organs. The palm-type skewered beef and the mixed skewered beef most frequently appeared in the records. The 'Sulhamyukjuk' in the 17th century were inherited while changing its name to 'Sanjuk' in the late 18th century, which is the origin of 'Bulkoki'. There were two types of the roasted skewered beef, the palm-type and the little finger-type; and the palm type preceded the little finger-type. They were used with no change until the 19th century. Actually the roasted skewered beef existed even in the 16th century, but were put down in the early 17th century. In the cooking of 'Sulhamyukjuk' the process of dipping shortly into cold water in the midst of roast seems to absolutely disappeared. Some recipes of the roasted skewered beef were lost, but most have been inherited in the similar way with simplification including little use of internal organs. The main ingredients consisted of parts of cattle such as fresh meat, intestines, heart, liver, omasum, tripe, head, sweet bread, and lung with various vegetables and mushroom. And the main seasonings were mixtures of oil, soy sauce, sesame seed powder, scallion stalk, pepper, sesame seed oil, and salt. And sometimes wine, vinegar, ginger, garlic, and sugar were added.

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Reconsideration on the Origination and Changes of Changbang-anchogongs in Joseon Period (조선 시대 창방안초공의 기원과 변천 재고찰)

  • Lee, Woo-Jong
    • Journal of the Architectural Institute of Korea Planning & Design
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    • v.34 no.9
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    • pp.129-140
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    • 2018
  • The purpose of this study was to reconsider existing hypotheses on the orinination and changes of changbang-anchogongs and their types and suggest an alternative hypothesis. The earliest changbang-anchogongs in $17^{th}$ century is presumed to originate as imitations of chungbang ppaelmoks for ornamental and reinforcing parts for changbangs. They were framed whole sides of buildings equally, and were used in small numbers of extant royal buildings and Buddhist halls. From late $17^{th}$ century, enlarged dragon shape changbang-anchogongs applied to Buddhist halls maily to decorate and strengthen front side of buildings. As a result of exchange between changbang-anchogongs and Ikgong type brackets, combined changbang-anchogongs in Buddhist halls were invented for stronger connection with upper bracketing units and have been spread during $18^{th}$ century. Danpyeongbang anchogongs were originated by the connection between short pieces of pyeongbangs and early type of anchogongs similar to ppaelmoks. They belong to minority subtype, but were drawn in illustrations by mistake, as parts of main halls of royal palaces from $19^{th}$ century, because of painter's confusion about new techniques for changbang-anchogongs. Combined changbang-anchogongs for royal buildings were presumed to be invented in 1790s by stimulation from a Buddhist hall related to royal tomb. However, unlike Buddhist precedence, they were used to reinforce and decorate whole sides, even corners, of buildings, and their frameworks and shapes were imported from Daeryang-anchogongs at flanks of ritual halls in royal tombs and royal shrines from $17^{th}$ century.

The A Literary Investigation on Mandu (Dumpling);Types and Cooking Methods of Mandu (Dumpling) During the Joseon Era (1400's${\sim}$1900's) (만두의 조리방법에 대한 문헌적 고찰;조선시대 만두의 종류와 조리방법에 대한 문헌적 고찰(1400년대${\sim}$1900년대까지))

  • Bok, Hye-Ja
    • Journal of the Korean Society of Food Culture
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    • v.23 no.2
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    • pp.273-292
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    • 2008
  • Among all the ingredients usedin mandu, the following types were used:, 13 types of grains were used (12.38%), 30 types of vegetables, fruits, bulbs,and nuts were used (28.57%), 32 types of marine products, birds, meats, fishes, and shellfishes were used (30.48%), 10 types of functional ingredients were used (9.52%) and. For spices, 20 types of spices were used (19.05%). 2. Cooking Methods offor Mandu. The mMandu eaten at in the early Joseon era had was primarily made ofusedbuckwheat that contained boiled tofu or egg uiijuk in the kneaded dough for the most part and while kneading with buckwheat, the tofu or egg uiijuk has been boiled down to knead the dough, and and starch powder, bean powder, or rice powder, etc were mixed to make the mandu coating. Buckwheat powder was mixed toadded to the flourwer or was used by itself, while meat, vegetables, tofu, and shiitake mushroom, etc were also addedincluded. From the 18th century, the host plant, or cabbage kimchi, were prepared and combined had been sliced to be used as filling together while red pepper powder was mixed combined withto spices or vinegar soy sauce to be used together. Also, Radishes had beenwere also used as filling, but shown as not being used fromafter the start of the 1900's. For the shape of mMandu, it was madeinto different shapes such as as triangle, rectangle, date plum, gwebul, half moon, or pomegranate shapes, and then shapes to be boiled in simmering water, baked, or cooked as soup in clear broth for soup., In the 17th to 18th century, boilingthen in a steamer gradually became a cooking style, assumed the style of boiling in a steamer in $17th{\sim}18th$ century while in the 16th century,the an essay ofn fermenting flour in ‘Food Dimibang’ in 16th century had indicated it was cooked as the style ofby steaming in a rice steamer. Also, Mandu may have also contained the following: the thin-cut and boiled fish was cut out thin to put into the filling and boiled down, made by putting in added pine nuts after making bbeef jerky or boiled- down meat, fish, or shellfish itself to extractsand mold mandu only the ingredients combined withto put on starch powder, and then boiled down and put on pine nut powder finally, after it or cooled it wasdown to be eaten by dipping in vinegar soy sauce. In conclusion, many different types of mandu were made during the Joseon era using a variety ofwhile the ones using such various ingredients. are also one type of mandu.

An aspect of Gagok enjoyment in the early 19th century (19세기 초반, 가곡 향유의 한 단면 - 『영언』과『청륙』의 ‘이삭대엽 우ㆍ계면 배분방식’을 대상으로 -)

  • 성무경
    • Sijohaknonchong
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    • v.19 no.1
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    • pp.235-260
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    • 2003
  • Recently, I presented Gagok(歌曲) Collection Yeong-eon永言 to learned circles. Yeong-eon is very similar to Yukdang-version六堂本 CheongGuYeongeon靑丘永言. Compared with Cheong- Yuk, it is the same age or little bit early time of Cheong-Yuk in culture Icon. This paper paid attention to the considerable difference between Yeong-eon and Cheong-Yuk in the way of the distribution of Yisakdaeyap二數大 葉's Woo mode羽調 and Ke-myeon mode界面調. There was the way of gathering ‘real name’+‘namelessness’ in Yisakdaeyap, which is the feature of the 18th century Gagok Collection. I found this way just put on the 19th century Gagok Collection way which is the distribution of Yisakdaeyap's 'Woo mode and Ke-myeon mode' in CheongYuk. Then I proved in this paper that the way of gathering Yisakdaeyap in Cheong Yuk didn't correspond to an actual singing in the early 19th century when 'Woo mode and Ke-myeon mode' was fixed. In case of Yeong-eon, however, it was not written any writers' names at all, when it was researched retroactively, I knew it was distributed evenly both the works of 'real name' and 'namelessness' in Yisakdaeyaps 'Woo mode and Ke-myeon mode'. Consequently, I found Yeong-eon is the good Gagok Collection for an actual singing at that time. In addition, there was discord in the mode or key distribution among many Gagok Collections. I found this issue of the application had kept on make Gagok Collections edit during 2 centuries. Because the actual Gagok enjoyment in the specific time is connected the way of the mode application directly.

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A Study on The relocation plan and architectural characteristics of 18th century's Jongtaek based on the analysis of Hakbong Gado (학봉종택 가도(家圖)의 분석을 통한 18세기 종택의 이건계획 및 건축적 특성)

  • Ryu, Kee-Weon;Kim, Ki-Joo
    • Journal of architectural history
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    • v.18 no.3
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    • pp.7-25
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    • 2009
  • Hakbongjongtaek(The head house of Uisong Kim family, 鶴峯宗宅), firstly built in the early 17th century, was moved to its neighboring place in the late 18th century. The man who led the relocation(移建) of the house was the eldest grandson of the family, Jong-soo, Kim. He made and overall plan and also participated in building the house. There remain four Gados(family paintings, 가도(家圖)) related to the relocation plan. This paper aims to make an analysis of these Gados, and through analysis, to find what was the essential poing of the relocation plan and how the point was represented in the paintings. The result of analysis is as follows: 1. The main focus of relocation plan was the form of Anchae(the inner house). Anchae was designed as asymmetrical form, and restricted to four kan. Only Andaechung needed to be 6 kan size for religious ceremonies. 2. For the design of Sarangchae, the displacement of large Sarangbang and small Sarangbang was an important issue. There were two ways of layout: parallel type and facing type. The latter was chosen. 3. The representation and techniques of Gado is quite concrete, in spite of differences among them. The expression of doors, windows, attic and kitchen was based on the understanding of space. Also the spatial division, which was expressed line on the grid, was based on the scaled ruler. As we've seen before, painting the relocation plan was a kind of endeavors to make the housing type as a realization of Garye. Also, we can find out that role of the eldest grandson of the family was quite important to carry out the plan. As well as, it was meaningful to examine Sadaebu (the aristocrat of Chosun)'s perception of housing.

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