• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.8
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• pp.1288-1300
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• 2006

Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.

• Korean Journal of Ecology and Environment
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• v.42 no.4
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• pp.413-421
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• 2009

Eleven lake sediment core samples were obtained and analyzed to develop a chronology using $^{137}Cs$ (in 1963) and two tephra layers (Ko-c2 in 1694 and Ta-a in 1739). Sedimentation rates estimated for the past ca 300 years in Lake Shirarutoro indicated that catchment development has influenced the shallowing process in the lake by increasing sediment production. The sediment yield under initial land-use development conditions for the first two periods was estimated as 514 tons $yr^{-1}$ from 1694 to 1739 and 542 tons $yr^{-1}$ from 1739~1963. The development of the Shirarutoro catchment intensified in the 1960s with deforestation and agriculture activity leading to an increased sediment yield of 1261 tons $yr^{-1}$ after 1963. The sediment yields after intensified land use development, such as forestry and agricultural development, were about 2 times higher than that under initial development conditions, leading to accelerated lake shallowing over the last ca 50 years. Sedimentation rates differed with location in the lake because of spatial variation in the sediment flux from the contributing rivers and their catchments. The sedimentation rates before 1963 were low in all sites except for one site close to the Shirarutoroetoro River. The sedimentation rate in 1739~1963 was accumulated mostly at the inflow of the Shirarutoroetoro River by sediment production associated with forestry for charcoal production and initial agricultural development. The sedimentation rate after 1963 increased. In particular, the southern zone of the lake near the conjunction with the Kushiro River had a high sedimentation rate, which is attributable to sediment inflow back from the Kushiro River during floods.

• Journal of The Korean Astronomical Society
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• v.56 no.2
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• pp.201-212
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• 2023

The inscription of Cheonsang Yeolcha Bunyajido (天象列次分野之圖) has the sun's locations at the equinoxes, which must have been copied from the astronomical treatises in Chinese historical annals, Songshu (宋書) and Jinshu (晉書). According to the treatises, an astronomer Wang Fan (王蕃, 228-266 CE) referred those values from a calendrical system called Qianxiangli (乾象曆, 223 CE), from which it is confirmed that it adopted the sun's location at the winter solstice of the $(21{\frac{1}{4}})^{th}$ du of the 8th lunar lodge Dou (斗) as the reference direction for equatorial lodge angles. This indicates that the sun's locations at equinoxes and solstices in the calendrical system are the same as those in Jingchuli (景初曆, 237 CE). Hence, we propose that the sun's location at the autumnal equinox in Cheonsang Yeolcha Bunyajido should be corrected from 'wu du shao ruo' (五度少弱), meaning the $(5{\frac{1}{6}})^{th}$ du, to 'wu du ruo' (五度弱), meaning the $(4{\frac{11}{12}})^{th}$ du, of the first lunar lodge Jiao (角), as seen in Jingchuli. We reconstruct the polar coordinate system used in circular star charts, assuming that the mean motion rule was applied and its reference direction was the sun's location at the winter solstice. Considering the precession, we determined the observational epoch of the sun's location at the winter solstice to be t_o = -18.3 ± 43.0 adopting the observational error of the so-called archaic determinatives (古度). It is noteworthy that the sun's locations at equinoxes inscribed in Cheonsang Yeolcha Bunyajido originated from Houhan Sifenli (後漢 四分曆) of the Latter Han dynasty (85 CE), while the coordinate origin in the star chart is related to Taichuli (太初曆) of the Former Han dynasty (104 BCE).

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.52-69
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• 2012

This paper attempts to analyze the inner and outer structure of royal tombs that were built during the Joseon Period. This analysis is based on the relevant historical records and they were restored through visual composition in order to compare the features of Joseon royal tombs with those of Goryeo royal tombs and common tombs of the Joseon Period. Royal tombs of the Joseon Dynasty are structurally solid and contain a variety of artistic ornaments that symbolize guardian deities both inside and outside to protect the owners of the tombs for a long time. According to historical records such as Sejong sillok oryeui (Five Rites of State from the Annals of King Sejong) and Gukjo oryeui (Five Rites of State), it is presumed that the inner structure of royal tombs dating back to the early Joseon Period consisted of a stone chamber and that the byeongpungseok and nanganseok were built outside of the tomb. However, ever since King Sejo left it in his will not to make a stone chamber in his tomb, the royal tombs began to follow a new pattern, a burial pit outside the coffin filled with lime powder. Gukjo sangnye bopyeon (Supplement Book of the State Funeral Rites), which was compiled during the reign of King Yeongjo, is a book that shows how the royal tombs were formed in the late Joseon Period. The book explains in detail how lime powder was used to fill the burial pit of royal tombs. The byeongpungseok used during the late Joseon Period were engraved with peony flowers, while those previously made were engraved with twelve spirit warriors. Peony designs were frequently used to decorate the items of royal families, and the use of peony designs in tombs reflects the idea of regarding the royal tombs as an everyday living space for the deceased.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• The Journal of the Petrological Society of Korea
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• v.23 no.3
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• pp.273-277
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• 2014

This paper presents a brief historical review of various attempts to estimate the age of the Earth, and reappraises the study of Patterson (1956) which revealed for the first time that the age of the Earth is $4550{\pm}70Ma$ by measuring Pb isotope ratios of several meteorites and a marine sediment. The standard model for the planetary formation of early solar system is: formation of solid particles condensed from the cooling of hot nebular gas -> formation of planet-sized bodies by accretion of those solid particles. The Moon is supposed to have formed from the accretion of the relicts produced by the collision of proto-Earth with Mars-sized body. It is not easy to pinpoint the age of the Earth, considering the series of events related to the formation of the Earth. So, I propose that the collision age as that of the Earth, since the present status of the Earth is thought to be the direct product of the collision. According to the previous studies, the collision age can be broadly constrained between the age ($4567.30{\pm}0.16Ma$) of the earliest condensates (CAI, calcium-aluminum rich inclusion) of the nebula gas, i.e., the age of the solar system, and the oldest age ($4,456{\pm}40Ma$) among rocks and minerals of the Earth and the Moon. We need more precise estimation of the collision age, since it is important in estimating time scale for the formation of planet-size body and in revealing thermal evolution of magma oceans of the Earth and the Moon presumably developed right after the collision.

• Economic and Environmental Geology
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• v.54 no.2
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• pp.187-197
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• 2021

The Hyeongjeseom (Islet) is an erosional remnant of volcano which is located about 2 km northeast of sea shore of the Songaksan tuff ring, and is composed of volcaniclastic deposit, agglomerate and scoria deposit, ponded lava, aa lava flows, reworked deposit and beach deposit in ascending order from the base. The volcano is formed by volcaniclastic deposits and lava flows that recorded a transition from initial phreatomagmatic to magmatic explosions followed by lava effusion. It is interpreted that the outcropped volcaniclastic deposit may be a remaining portion of outer ring of a tuff cone. A bomb and a ponded lava yield geochemically basaltic trachyandesite compositions (SiO2 51.3 wt%, Na2O+K2O 6.0 wt%) and belong to olivine basalt with scarce (<5 %) phenocrysts of olivine, petrographically. By incremental heating Ar-Ar dating method, the plateau age of lava flow in the Heongjesom is 9.2±3.6(2σ) ka, implying that the volcanism of Heongjeseom may have occurred earlier than the Songaksan tuff ring which erupted ca. 3.7 ka. It still remains a task to find a volcano which matches with a historical record of volcanic activity that occurred a thousand years ago.

• Journal of the Korean Orthopaedic Association
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• v.55 no.1
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• pp.29-37
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• 2020

Manual therapy has undergone parallel development throughout many parts of the world dating back to ancient times for at least 2,500 years. The earliest historical reference to the practice of manual therapy in Greece, dates back to 400 B.C. Over the centuries, manual medicines have fallen in and out of favor with the medical profession. To truly understand the principle, it is important to know that manual therapy was initially the mainstay of the three leading alternative health care systems, osteopathy, chiropractic, and most notably physical therapy. These were all founded in the latter part of the 19th century in response to the shortcomings in allopathic medicine. Although it has been around for a long time and has been used all over the world, there are a few reports on manual therapy treatment, and most papers provided a low level of evidence. Despite the controversies over manual therapy, its use appears to be increasing gradually. This article reviews the history of manual therapy from ancient times to the present including Korean history, discusses the current state of knowledge on manual therapy, and informs physicians who manage musculoskeletal pain.

• Journal of Conservation Science
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• v.38 no.2
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• pp.96-108
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• 2022

To understand the process of publication and distribution of ancient Korean novels under the Joseon dynasty and Japanese occupation, collecting information on the publication of various printed materials and estimating their publication date through various methods is extremely important. In this study, the characteristics and differences that appeared in the woodblock printing process were investigated using image comparison among editions of the Honggildongjeon (Tale of Honggildong) of Wanpanbon (完板本) (published in the Jeonju region) with other commercial editions of the ancient Korean novels. Additionally, the publication year of each edition was estimated. Printed images of different versions were compared with those of a recently discovered original series version and the changes in the process of carving replacement woodblocks were investigated and summarized. Various phenomena, such as differences in fonts, borderline shapes and integrity of printed characters, appearing in woodblock prints provided useful information for determining chronological relationships between the prints and estimating the approximate publication year for each edition. The various characteristics of woodblock printing obtained through this study are expected to serve as a reference for estimating the relationship between the printing method and the approximate publication date of old books and paper-based printed historical records.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.