• CELLMED
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• v.14 no.2
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• pp.2.1-2.10
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• 2024

Through big data analysis of the 'Joseonwangjosilok', this study examines the perception of ginseng among the ruling class and its utilization during the Joseon era. It aims to provide foundational data for the development of ginseng into a high-value cultural commodity. The focus of this research, the Joseonwangjosilok, comprises 1,968 volumes in 948 books, spanning a record of 518 years. Data was collected through web crawling on the website of the National Institute of Korean History, followed by frequency analysis of significant words. To assess the interest in ginseng across the reigns of 27 kings during the Joseon era, ginseng frequency records were adjusted based on years in power and the number of articles, creating an interest index for comparative rankings across reigns. Analysis revealed higher interest in ginseng during the reigns of King Jeongjo and King Yeongjo in the 18th century, King Sunjo in the 19th century, King Sejong in the 15th century, King Sukjong in the 17th century, and King Gojong in the 19th century. Examining the temporal emergence and changes in ginseng during the Joseon era, general ginseng types like insam and sansam had the highest frequency in the 15th century. It appears that Korea adeptly utilized ceremonial goods in diplomatic relations with China and Japan, meeting the demand for ginseng from their royal and aristocratic societies. Processed ginseng varieties such as hongsam and posam, along with traded and taxed ginseng, showed peak frequency in the 18th century. This coincided with increased cultivation, allowing a higher supply and fostering the development of ginseng processing technologies like hongsam.

• 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.

• Journal of Digital Convergence
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• v.16 no.2
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• pp.1-7
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• 2018

The current study investigates whether artificially intelligent chatbots influence Korean EFL students' vocabulary learning. For eight weeks, 47 college students in Korea participated in this study. They were divided into two groups: one experimental group and one control group. Participants in the experimental group engaged in chat with a chatbot during the eight-week experimental period. Before and after the experiment, pre- and post-tests were administered to see if their English vocabulary improved. Pre- and post- surveys were also performed to understand how the participants perceived chatbot-assisted vocabulary learning. Results show that the experimental group improved their vocabulary skills as a result of engaging in chat with the chatbot. Also, their perceptions of vocabulary learning positively changed, increasing their motivation, interest, and confidence in English. Given that there have been few empirical studies to investigate the effects of chatbots on vocabulary development, the present study can provide insights on the effectiveness of chatbots.

• Journal of architectural history
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• v.14 no.1 s.41
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• pp.57-70
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• 2005

This study is the consideration about Hwaryeong-Jeon that enshrines Joseon Dynasty 22nd king Jeongjo's portrait of a king. Suwon's Hwaryeong-Jeon that accompanied a portrait and performed ritual ceremonies had several formalities and ceremonies which are connected with rituals. therefore, we will try to examine what relation between arrangement of building and plane composition had. And through this, it is thing to observe construction special quality that Hwaryeong-Jeon has. Joseon Dynasty's young-jeon (a hall where the royal portraits are kept) is retaining each other different state according to construction age every moment. Hwaryeong-Jeon among Joseon Dynasty's a hall of royal portraits is the construction form which is equiped well and is known for keeping the form well from the foundation to now And this building is evaluated as the standard form of early part young-jeon building of 19th century. Especially, Hwaryeong-Jeon shows the typical ritual equipments late Joseon Dynasty and at the same time has all kinds of characteristics which only we can find at Hwaryeong-Jeon. Namely, Hwaryeong-Jeon is the building which brings the design concept of the hall of royal portraits to completion as the building which enshrines single portrait of a king. After all, Hwaryeong-Jeon is evaluated as the building which can pass excellent form of late Joseon Dynasty, the hall of royal portraits building just as it is. Therefore, as I study its own style, I expect Joseon Dynasty's mind that enshrined the portrait of a king elaborately to be revealed.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.201-210
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• 2011

Discussion on restoration of Yi Sun-sin's Geobukseon used in sea battles of Imjin War continues. This is because no historical records which we can understand external and internal structure of Geobukseon used in Imjin War do not remain until now. The Geobukseon currently restored based on pictures of woodprint of Jella-jwasuyeong and Tongjaeyeong Geobukseon in Yi-chungmugong Jeonseo published by king's command in the 19th year (1795) of King Jeongjo, but two Geobukseons were built 203 years after Imjin war and not the same as that of Imjin War. Geobukseon that was built by Yi Sun-sin in Imjin War and restored now has many problems in terms of its structure and shape since they do not accord with the records of the literature at that time. Yi Deok-hong's Picture of Hexangonal Ship, drawing Geobukseon in 1593 for the first time was not in it in the study of Geobukseon, but it agrees with Imjin War in terms of the time and in analysis of the structure through picture interpretation and the relationship between Panokseon, Jella-jwasuyeong, and Tongjaeyeong Geobukseon, the center of the upper part of the roof cover is flat, and iron spikes are stuck in the front, back, left and right. The structure and shapes of Geobukseon in the records at the time of Imjin War.

• Journal of Conservation Science
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• v.29 no.2
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• pp.149-159
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• 2013

The painted folding screen of Crown Prince Munhyo at Boyangcheong, Munhyo-seja Boyangcheonggyebyung, was made to record the court ceremony where Crown Prince Munhyo(1782-1786), the firstborn son of King Jeongjo, met his first teacher called Boyanggwan for the first time at Boyangcheong, a government agency specifically founded to provide education for a crown prince, in January 1784. Having never been treated before, this 8-fold screen is still in its original presentation of Joseon Dynasty screen paintings of court ceremonies in the 18th century. The mountings of folding screens in Joseon Dynasty has been researched through the study of the mounting of the Boyangcheong screen and the conservation treatment of the screen has been based on this research. The result of the pigment analysis shows the use of lead white, red lead, vermilion(cinnabar), azurite, malachite, litharge(massicot), carbon black(Chinese ink). The microscopic observation has proved that the painting was painted on verso in most areas and finished on recto to highlight the details or to produce subtle hues by applying light colors.

• Journal of Digital Convergence
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• v.15 no.5
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• pp.71-77
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• 2017

This study examines the effects of in-company English programs on Korean employees' English learning. During the twelve weeks, 68 employees in Korea engaged in an English learning program in the workplace. Before and after the program, pre- and post-tests were conducted to see if their English proficiency improved. Pre- and post-surveys and interviews were also administered to understand how they perceived the program. Results show that the employees improved their English oral proficiency and their attitudes toward English learning positively changed, as a result of participating in the program. Also, the program appeared to be successful, meeting their needs. Given that little research has investigated the effects of in-company English learning, this study provides insights on the effectiveness of English programs in the workplace in Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.767-777
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• 2012

This study analyzed the system and arguments on the light-pink official uniforms and investigated the backgrounds and principles on the changes of the Sibok system. A study on light-pink danryeong in the latter part of the Joseon Dynasty is a de facto study on Sibok since the name of the light-pink official uniforms (implemented at the time of King Seonjo) changed from Sangbok to Sibok. Sangbok is discussed to explain the name change from Sangbok to Sibok and distinguish their usages; in addition, Gongbok is examined to understand the characteristics of the Sibok system. The Annals of the Joseon Dynasty (books written by scholars) and related laws are used as research materials. The research results are as follows. The name of the light-pink uniforms (a custom before the Japanese invasion in 1592) changed from Sangbok to Sibok at the time of King Gwanghaegun and the light-pink uniform was used as a relatively light formal uniform compared to Sangbok. Sibok was added to the law Sok-dae-jeon at the time of King Yeongjo (because the king respected the custom) and its color rank system was denoted from light-pink and red. Sibok was revised to light-pink, blue, and green under the law Dae-jeon-tong-pyeon that was promulgated at time of King Jeongjo. In the development of the Sibok system in the latter part of the Joseon Dynasty, the color rank system of Gongbok was reflected. The sovereign ideas in the official uniforms in the latter part of the Joseon Dynasty (revealed in the study of the system and arguments on the light-pink official uniforms) were the thoughts that respected the custom and the principles that distinguish ranks to establish a Confucian based hierarchy.

• The Journal of Korean Medical History
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• v.22 no.2
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• pp.99-109
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• 2009

Jejung Sinpyeon (New Edition of Medical Prescriptions) is a medical book that was compiled in order to overcome the shortcomings of Donguibogam (Exemplar of Korean Medicine), to improve and offer prescriptions suitable for new diseases according to the changing times, and simply to publish new medical books. As a result of an analysis of Yakseongga of Jejung Sinpyeon (a book of medicine written by Kang Myeong-gil in 1799, the 23rd year of the reign of King Jeongjo of the Joseon Dynasty), it was found that a total of 303 lines had been quoted from Wan-bing-hui-chun of the Ming Dynasty of China] and Dongeui Susebowon and that 83 lines had been newly inserted by the author. Of the 303 lines, 296 were quoted from Dongeui Susebowon, and only seven from Wan-bing-hui-chun. This means that the author of Jejung Sinpyeon chiefly used Dongeui Susebowon as the source of Yakseongga quoted therein. 275 lines, or 76%, of a total of 386 lines of Yakseongga of Jejung Sinpyeon, have their Korean names marked. Medicinal herbs marked as Chinese herbs number 83 out of 386. Among the 83 herbs named, one belongs to the part newly inserted by the author, while the remaining 82 are quoted from Yakseongga. The foregoing suggests that the author expected that the knowledge could be used by people easily based on an effort to make it localized knowledge, although Yakseongga was compiled based on quotations from Chinese literature. Yakseongga of Jejung Sinpyeon has significant value as the country's first State-compiled book of medicine to contain Yakseongga.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.70-85
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• 2016

This study is to search for the significance of Taesil (Placenta Chamber) of royal family in the light of local history by examining the background that Yecheon area had been selected as building site of Taesil of Joseon and Goryeo dynasties and local correlation. In this study, Taesil in Yecheon area was formed at the area between Mt. Sobaek and Geumdangsil village which was promoted with the support of the royal family and given the responsibility of preserving Taesil as soon as Taeju (Owner of Placenta) was enthroned. It is because the formation of Taesil of royal family was an important event in the region, which strengthened the status of the region with the enthronement of Taeju. As shown in the case of Deposed Queen Lady Yun, Taesil of royal family was selected in accordance with the birthplace of Taeju and the relationship between the relevant area and royal family. Also as in the Case of King Jeongjo, this study says that the selection of Taesil site could be considered as the object of filial piety.