• Sijohaknonchong
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• v.26
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• pp.187-222
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• 2007

Out of total 39 documents to research musial theory appearing in the introduction of ancient score and anthology in 19th century, ancient scores including introduction were $\ulcorner$GeumboJeongseon(琴譜精選)$\lrcorner$ $\ulcorner$ChilhyeonGeumbo(七絃琴譜)$\lrcorner$ $\ulcorner$HyeongeumOeumTonglon(玄琴五音統論)$\lrcorner$ $\ulcorner$HyeongaGuebeom(絃歌軌範)$\lrcorner$ and $\ulcorner$JukchwiGeumbo(竹醉琴譜)$\lrcorner$ and anthologies were $\ulcorner$GyobangGayo(敎坊歌謠)$\lrcorner$ $\ulcorner$SeungpyeongGok(昇平曲)$\lrcorner$ $\ulcorner$GagokWollyu(歌曲源流)$\lrcorner$ and $\ulcorner$GeumokChongbu(金玉叢部)$\lrcorner$. The results of this study are summarized as followings ; First, the introduction of ancient score reads that musicians should have inherent character and right mind and harmonious sound exerts influence on human being. It emphasized that the proper expression of music is the stabilized mind and right idea. Second, the introduction of anthology lays stress on proper meaning, that is, lyrics that is not indecent nor loose. It asserted that right lyrics should not be pressing nor frivolous, but rather slow. Lastly, the introduction of both ancient score and anthology commonly present 'recovery of ancient music'. It was confirmed that the ultimate purpose of intellectuals and musicians in 19th century was to aim at slow, but harmonious and right music.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.64-77
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• 2013

In China, archaeological research on Xiongnu started later than in foreign countries. In the late $19^{th}$ century, several Russian archaeologists started to study Xiongnu's archaeological culture. However, since the late $20^{th}$ century, archaeological research of the Xiongnu in China quickly gained speed. The Xiongnu culture has been reported in Mongolia, northern steppe of China and eastern part of Eurasian steppe. Mainly, Xiongnu sites, dated from the late 2nd century B.C. to the 1st century A.D., are reported on the west side of Baikal Lake(Zabaikal), Mongolia and the Inner Mongolia of China. Based on the historical records and the archaeological remains, the North Xiongnu culture is defined to be the remains of Zabaikal, and the South Xiongnu culture the archaeological remains of Northern China. The expelled North Xiongnu, while fleeing to the western part of Eurasia, left traces of their own archaeological remains in southern Kazakhstan, Xinjiang of China, Altai, and finally appeared in the Europe as Huns. In order to adapt to the environment of northern steppe of China, Xiongnu used a nomadic economic system, giving uniqueness to its iron works. The most characteristic iron works of the Xiongnu is the highly-sophisticated iron weapons. Compared with the iron works of agricultural economic society, Xiongnu iron-works are short of production tools and various vessels. The "Nomadic type" iron works found in Xiongnu area date back to the Warring Country period or slightly later. Further research need to be conducted on "Nomadic type" Xiongnu iron works.

• Journal of architectural history
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• v.20 no.6
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• pp.99-114
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• 2011

Namhansanseong fortress (南漢山城) is not Eupchi (邑治) created for ages but the new settlement of public and military administration as Baedo (陪都) to defend capital territory. Namhansanseong has Jinsan (鎭山) that is named Cheongnyangsan (淸凉山) and its government office building was located in the main place, also a periodic five-day market was being held in the center of fortress. This study is find out the transition and its historical background of government office building on Namhansanseong by the relocation of Eupchi in the 17th century. The conclusion of analysis can be summarized as follows; The main change of government office in the late Choson dynasty is to move Yi-a, administrative complex (貳衙) around Yeonmugwan (演武館). Since 1795, the 19th year of King Jeongjo (正祖), this was fixed by the end of the Choson dynasty on the unification of Magistrate which is also Defense Commander. In the second place, the military office on Jungyeong (中營) that is Junggun's (中軍) place of work was abolished by the reform of Junggun system. Thirdly, transition of the end of the Choson dynasty is the abolition of Sueoyeong (守禦營) and the realignment of government offices. Namely, the administrative agency was moved to Haenggung (行宮) after the collapse of unification in 1895. Also former military offices was changed to police administration on Gwangju-bu (廣州府), Gwangju county level unit.

• The Journal of Art Theory & Practice
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• no.8
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• pp.89-119
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• 2009

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.37-47
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• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.

• Journal of Educational Research in Mathematics
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• v.10 no.2
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• pp.263-277
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• 2000

mathematics holds a key position among the subject-matters of school education. Nevertheless, beyond Its Instrumental one, humanity-educational value of mathematics for the general public has been under estimated. For the past fifty years, in the our country there has not been enough systematic and profound examination and discussion concerning the goals of mathematics education in order to establish the philosophy of mathematics education. Thus, in this thesis we argue how mathematics education could contribute to the humanity education. For this, we examine how western educational theorists have emphasized the value of mathematics as humanity education and how their theories have been reflected in the goals of the modern mathematics education. First of all, we discuss Platonism as a philosophical basis of the traditional mathematics teaching mainly with Euclid's "Elements" since the ancient Greece and the relationship between mathematics education and humanity education in the light of this traditional thought. Next, we examine the thoughts of Pestalozzi, Harbert, Froebel who provided the theoretical basis for the public education since 19th century, and discuss the value of mathematics teaching in their humanistic educational thoughts. Also we examine the humanistic value of mathematics education in Dewey's educational philosophy, which criticized the traditional western ethics and epistemology, and established instrumen talism. Further, we analyze how such a philosophy of mathematics teaching is reflected mathematics education of 20th century, and confirm that the formation of Dewey's rational intelligence is one of the central aims of mathematics education of late 20th century. Finally, we discuss the ideals of humanistic mathematics education ; develop ment of the rational intelligence via 'doing knowledge'and change of mind via 'looking knowledge'. In this paper identify the humanistic values of mathematics education through the historical examination of the philosophies of mathematics education, and we could find significance as a fundamental study for one of the most important problems which Korean mathematics educational society confronts, that is establishing the philosophy of mathematics education.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• Journal of Conservation Science
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• v.31 no.3
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• pp.193-214
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• 2015

The green pigments of shamanic paintings (83 items) in the 19~20th century were analyzed with X-ray fluorescent spectrometer(XRF), scanning electron microscopy (SEM) and fourier transform infrared spectroscopy (ATR-FTIR). In 60 items, copper and arsenic were detected in green pigments of the paintings by XRF spectra. Cu $K{\alpha}$/As $K{\beta}$ (peak intensity ratio of copper and arsenic) of shamanic paintings of Bokgaedang (shrine), solemn paintings (romance of three kingdoms) of Donggwanwangmyo and unknown enshrined place were 5.93~12.04 and higher compared to 5.67-6.26 of standard emerald greens and 4.01~7.89 of remaining shamanic paintings. The SEM images of crystal forms of copper-arsenic green pigments were various. Crystal forms were divided into oval and round spherulite with intersecting plate crystals and spherulite with agglomerate plate crystals. The crystals of the latter were found in shamanic paintings of Bokgaedang (shrine), solemn paintings (romance of three kingdoms) of Donggwanwangmyo and unknown enshrined place and the former were found in the rest of shamanic paintings. Copper-arsenic green pigments of shamanic paintings were identified as Scheele's green from shamanic paintings of Bokgaedang (shrine) and romance of three kingdoms. Emerald green from the rest of shamanic paintings by ATR-FTIR. From analytical results, it is confirmed that Scheele's green of shamanic paintings of Bokgaedang and romance of three kingdoms was used in the 1850s~1870s and emerald green had been widely used from late 19th century to 1970 in the rest of shamanic paintings.

• (The) Research of the performance art and culture
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• no.23
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• pp.159-183
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• 2011

Pansori has both the features of drama and music. In 19th century, prime time of pansori, it had balance of the features between drama and music. But after the late 19th century, pansori has lost the features of drama, and it has been changed into a music centered art performance. This is the phenomenon came from that the upper class accepted and dominated the pansori which had been a performance art of the lower class. The Korean upper class people tend to disdain drama, but to revere music. Nerremsae is dramatic action and ballim is musical gesture in pansori. In 19th century, pansori had plenty of nerremsae, which provided a elaborative symbolic system after the conventional rule of drama. However current pansori actors use only ballim except nerreumsae. Chuimsae like 'ulssigu' is the way to participate in pansori by audience. The actor provides the space for the audience to fill it after inducement by drummer. Through the chuimsae, actor, drummer, and audience share the sympathetic emotional experiences. However the audience in these days do not do chuimsae, but do applause like in western dramas. In western dramas, distinction between tragedy and comedy is relatively clear. The tragedy is constantly tragedy, and the comedy is also constantly comedy. However joy and sorrow are coexisted in Korean pansori. These two contradictory emotions are collided and produce a new strong emotion in a pansori. This is one of very important feature of pansori. Even though each of tragedy and comedy reveals the only one side of life, pansori comprehensively reveals a total human life. However these strong emotions have been much weakened nowadays. Currently pansori has been much declined. For restoration of pansori, it is necessary to revive the drama side in pansori performances.

• Industry Promotion Research
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• v.5 no.4
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• pp.91-100
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• 2020

In the U.S.A. from the late 19th to the early 20th century, the big business system emerged surpassing the British Empire economy. Such growth resulted from the realization of the "American-productive mode' being derived from the continuous immigrants inflow, renovative development of transportation, national markets formation and R&D of the science·technology. During 10 years after 1895, American economy was prevalent with the combination trends by the vertical or horizontal integration and these both mixed systems. As such big business was recognized, the American domestic citizens expressed the strong doubt to the revolutionary change and its public benefits and inaugurated the anti-big business campaign with deep concern that the American traditional symbol 'land of the wealth and opportunity' would be threatened. Although the governmental organizations controlling big business were established and the control laws were enforced, the American society accepted the new economic order. This situation resulted from the American economic prosperity, material affluence and managerialism of the big business.