• Title/Summary/Keyword: Folding Screen

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A Study on the Material of Furniture in Goryeo (고려시대 가구재료 연구)

  • Cho, Sook-Kyung
    • Journal of the Korea Furniture Society
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    • v.25 no.1
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    • pp.19-27
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    • 2014
  • This paper studied the materials of the furniture which the noble men used in Goryeo, based on the furniture material category of solid wood furniture, lacquerware inlaid with mother-of-pearl and hardware. As for the solid wood furniture, the wood and furniture types are inferred based on the documents. The trees used for the wood furniture were zelkova, korean willow, pine, royal paulownia, maidenhair tree, korean pine, chinese juniper and elm. The furniture types were table, chair, wooden bench, small portable table, writing table, and folding screen. As to the types of lacquerware inlaid with mother-of-pearl, most of them were hams with top, which were made of abalone shells. The features of the lacquerware inlaid with mother-of-pearl were in detail and elaborate like the pattern of the full bloomed chrysanthemum. Writing tables were also made of lacquerware as pieces of furniture. Distinctively, the mother-of-pearl furniture material was popular enough to be used even in a horse saddle. Regarding the metal feldspar used as both a practical use and decoration, there are drop handle, hinge, the front basis, and lock seen in the artifacts, which were made of cast iron, bronze, and brass. Their manufacture techniques were eojamoon, bratticing and sheet metal. Through this study of the furniture materials used in Goryeo, it seems that Goryeo furniture focused on the functions rather than on the decorations, and in turn the forms were simple and basic. The technique of mother-of-pearl, a bit elaborate one, was used in the props furniture like kitchen wares, hams, or writing talbes. Probably, the solid wood is inferred to be used in a low wooden bench, a chair, and a table based on the documents.

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Proteomic Analysis of the Aging-related Proteins in Human Normal Colon Epithelial Tissue

  • Li, Ming;Xiao, Zhi-Qiang;Chen, Zhu-Chu;Li, Jian-Ling;Li, Cui;Zhang, Peng-Fei;Li, Mao-Yu
    • BMB Reports
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    • v.40 no.1
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    • pp.72-81
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    • 2007
  • In order to screen the aging related proteins in human normal colon epithelia, the comparative proteomics analysis was applied to get the two-dimensional electrophoresis (2-DE) profiles with high resolution and reproducibility from normal colon epithelial tissues of young and aged people. Differential proteins between the colon epithelia of two age groups were found with PDQuest software. The thirty five differential protein-spots were identified by peptide mass fingerprint (PMF) based on matrix-assisted laser desorption/ionization time-of-flight mass spectrometry (MALDI-TOFMS) and database searching. Among them there are sixteen proteins which are significantly up-regulated in the colonic mucosal epithelia of young people group, which include ATP synthase beta chain, electron transfer flavoprotein alpha-subunit, catalase, glutathione peroxidase 1, annexin A2 and heat shock cognate 71 kDa protein, etc.; There are nineteen proteins which are significantly up-regulated in the colonic mucosal epithelia of aged people group, which include far upstream element-binding protein 1, nucleoside diphosphate kinase B, protein disulfide-isomerase precursor and VDAC-2, etc.. The identified differential proteins appear to be involved in metabolism, energy generation, chaperone, antioxidation, signal transduction, protein folding and apoptosis. The data will help to understand the molecular mechanisms of human colon epithelial aging.

The Artistic Expression of European Paintings of the $19^{th}$ Century and Kosode Design in Edo Era, Focusing on the Influence of Ukiyo-e (우끼요에를 중심으로 본 19세기 유럽회화와 에도시대 고소데 디자인의 예술적 표현)

  • Lee, Keum-Hee;Lee, So-Ryoung;Byun, Jee-Yeon
    • Journal of the Korean Society of Costume
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    • v.60 no.4
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    • pp.76-97
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    • 2010
  • The purpose of this study is to review the influence of Ukiyo-e on the design of European Paintings of the $19^{th}$ century and the expression of the design of Kosode design in Edo-era. We collected data from the actual study of visiting Museums and other theories and visual materials through literature review. Then, we analyzed the data. The result came out that Ukiyo-e, which is the genre painting of Edo-era, provided the new vision and the new way of expression to the European Paintings of the $19^{th}$ century. In the same way, the result also indicated that Ukiyo-e similarly influenced on the design of Kosode. For example, the study showed that the patterns of Kosode, such as flower, bridge, fun, wave, Lotus flower, stripe, oval, plaid, were used in the works of European artists in the $19^{th}$ century. The Ukiyo-e styles include Kan Bun style, Dan-Gawari style, Back facing style, Two-Section Segmentation style, and Folding screen style, with the identity of Japan and Japanese unique nature and landscapes. Thus, this study proved the design of Kosode to be the frontier of both European and Japanese arts, by examining Ukioyo-e's plastic characteristics, its composition & arrangements, and its subjects & objects which were samely revealed in Kosode design and European Art in nineteenth century.

A Study on Stone Figures of the Goryo Royal Tomb Placed in Ganghwado (강화 고려왕릉의 석물 연구)

  • Han, Na Lae
    • Korean Journal of Heritage: History & Science
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    • v.41 no.1
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    • pp.79-97
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    • 2008
  • Since now, the study on the Goryo royal tomb has been insufficient because of the realistic restriction. Goryo royal tombs are mostly located in Gae-sung, the capital of the Goryo Dynasty and we don't have possibility to see them actually. And also the Study on stone figures which has been closely related with the structures of the royal tomb has limited in Unified Silla and the Choson Dynasty period. So in this paper I have examined Stone figures of the royal tomb in Gangdo period with the target on five Goryo royal tombs of that period. In the result of this study, the royal tomb system in Gangdo period was more streamlined than that of the previous period. For example, facilities such as the railing stone or a folding screen stone were simplified. And sculpture Came to be smaller than after that perial. Also Icon of sculpture changed. It is presumed that this change was because of the anxious situation of Gangdo period with politic and social.

Images of the Landscape and Society of Haeju during the late Joseon Dynasty (조선 후기 해주의 경관과 세태 이미지)

  • Park, Jeong-Ae
    • Journal of architectural history
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    • v.32 no.5
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    • pp.81-94
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    • 2023
  • Haeju was home to the Hwanghae-do Provincial Office and a hub for supporting the northwestern regions of Korea. Local commerce expanded in Haeju during the late Joseon period based on its abundant resources and regional products, leading it to evolve into a large city. King Seonjo temporarily resided in Haeju while seeking refuge from the Japanese Invasions of Korea, and Yi Yi (sobriquet: Yulgok) secluded himself in Seokdam in Haeju in his later years. King Seonjo's residence in Haeju and Yi Yi's retirement there boosted interest in the city among the literati and influenced its places of scenic beauty. The development of its local history and literary achievements were documented in a wide variety of historical records and visual materials. Eight scenic views in Haeju became famous through a poem written by Seong Su-ik in the late sixteenth century. Around the mid-eighteenth century, eight new scenic views became popular. Local officials and travelers from other regions produced a vast body of prose and poetry focusing on the landscape and society of Haeju, playing a crucial role in raising awareness of its scenic attractions. Most surviving visual materials related to Haeju were created in and after the nineteenth century. Many of them illustrate both landscapes and the everyday lives of people. Among them, paintings of scenic spots created by Jeong Seon (sobriquet: Gyeomjae), who never actually visited Haeju in person, raises some of the issues posed by relying on indirect materials. In contrast, Eight Scenic Views of Haeju, which is presumed to have been produced by a local painter, appears to have accurately highlighted the characteristics of each scenic spot. Moreover, Haejudo, a folding screen presenting a panoramic view of Haeju, incorporates content from paintings depicting eight scenic views, in this case Eight Scenic views of Haeju. This practice can be observed in visual materials of other provincial cities.

The Influx of Four Wangs' Landscape Style Reinterpreted in Jiangnan Circle(江南) in the 19th Century Focused on An Geon-yeong(安健榮)'s Six-fold Landscape Screen (19세기 강남(江南)에서 재해석된 사왕풍(四王風) 산수화의 유입 안건영(安健榮)의 <산수도> 6폭 병풍을 중심으로)

  • Choi, Kyoung Hyun
    • Korean Journal of Heritage: History & Science
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    • v.41 no.2
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    • pp.79-97
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    • 2008
  • Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

A Study of Costumes lllustrated in the Ten folding screens on Queen Myong-hun's 70th Birthday Celebration(헌종왕후 칠순 진찬도병) and Described in the Prospectus of the Celebration Ceremony(신축진 찬의궤) (헌종왕후 칠순 신찬 10곡도병과 신축신찬의궤에 나타난 복식연구)

  • 유송옥
    • Journal of the Korean Society of Costume
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    • v.32
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    • pp.31-43
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    • 1997
  • The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

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A Study on the Characteristic of Garden through Okhojeong Garden(玉壺亭) And Seokpajeong Garden(石坡亭) in the 19th Century Seoul (19세기 서울 옥호정(玉壺亭)과 석파정(石坡亭)을 통해 본 정원 특성)

  • Lee, Won-Ho;Kim, Dong-Hyun;Kim, Jae-Ung;Shin, Hyun-Sil
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.3
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    • pp.21-31
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    • 2014
  • This study aims to comparison of spatial composition that Okhojeong garden and Seokpajeong garden. Construct background and space structure in both of Okhojeong garden and Seokpajeong garden is analyzed. The results were as follows. First, Okhojeong garden and Seokpajeong garden of the nobles gardens in late Joseon dynasty. They had the advanced techniques of contemporary based on their political power and wealth, and therefore could built garden and enjoy the garden culture of the upper layer. Furthermore, composition of the Okhojeong garden can be assumed that it is related to construction of the Seokpajeong garden through analysis of the relationship between builders. Secondly, Space structure of Okhojeong garden and Seokpajeong garden is divided into pavilion unit of small gardens with living space as the center. Construction pavilion in each garden space imbues certain landscape theme. In addition, authorization of characteristics of a place in each area is attempted through boundary establishment and selective garden culture of varied seasonal landscape. Thirdly, In Seokpajeong garden, most of construction characteristics of Okhojeong garden are appeared. This indicates that Seokpajeong garden was affected by space-configuration-technique of Okhojeong garden such as acceptation or modification recreation. Fourth, In many cases, fanciers regarding floriculture are expanded to enthusiasts in late Joseon dynasty. In Okhojeong garden and Seokpajeong garden, herbaceous ornamental is considered to be precious and garden materials such as water tray, stone couch, oddly shaped stone, potted plant, artificial hill, wisteria trellis are diversified at the time.

A study in pigment analysis and original mounting of the decorative painting at court (궁중 장식화의 채색 분석과 장황 고찰)

  • Ahn, Ji Yoon;Kim, Soo Yeon;Cheon, Ju Hyun
    • Journal of Conservation Science
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    • v.30 no.1
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    • pp.39-53
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    • 2014
  • The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

Structural Characteristics of Expression Module of Unidentified Genes from Metagenome (메타게놈 유래 미규명 유전자의 발현에 관련된 특성분석)

  • Park, Seung-Hye;Jeong, Young-Su;Kim, Won-Ho;Kim, Geun-Joong;Hur, Byung-Ki
    • KSBB Journal
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    • v.21 no.2
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    • pp.144-150
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    • 2006
  • The exploitation of metagenome, the access to the natural extant of enormous potential resources, is the way for elucidating the functions of organism in environmental communities, for genomic analyses of uncultured microorganism, and also for the recovery of entirely novel natural products from microbial communities. The major breakthrough in metagenomics is opened by the construction of libraries with total DNAs directly isolated from environmental samples and screening of these libraries by activity and sequence-based approaches. Screening with activity-based approach is presumed as a plausible route for finding new catabolic genes under designed conditions without any prior sequence information. The main limitation of these approaches, however, is the very low positive hits in a single round of screening because transcription, translation and appropriate folding are not always possible in E. coli, a typical surrogate host. Thus, to obtain information about these obstacles, we studied the genetic organization of individual URF's(unidentified open reading frame from metagenome sequenced and deposited in GenBank), especially on the expression factors such as codon usage, promoter region and ribosome binding site(rbs), based on DNA sequence analyses using bioinformatics tools. And then we also investigated the above-mentioned properties for 4100 ORFs(Open Reading Frames) of E. coli K-12 generally used as a host cell for the screening of noble genes from metagenome. Finally, we analyzed the differences between the properties of URFs of metagenome and ORFs of E. coli. Information derived from these comparative metagenomic analyses can provide some specific features or environmental blueprint available to screen a novel biocatalyst efficiently.