• Publications of The Korean Astronomical Society
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• v.36 no.3
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• pp.79-95
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• 2021

This study aims to develop a restoration model of an armillary sphere of Tongcheon-ui (Pan-celestial Armillary Sphere) by referring to the records of Damheonseo (Hong Dae-Yong Anthology) and the artifact of an armillary sphere in the Korean Christian Museum of Soongsil University. Between 1760 and 1762, Hong, Dae-Yong (1731-1783) built Tongcheon-ui, with Na, Kyung-Jeok (1690-1762) designing the basic structure and Ann, Cheo-In (1710-1787) completing the assembly. The model in this study is a spherical body with a diameter of 510 mm. Tongcheon-ui operates the armillary sphere by transmitting the rotational power from the lantern clock. The armillary sphere is constructed in the fashion of a two-layer sphere: the outer one is Yukhab-ui that is fixed; and the inner one, Samsin-ui, is rotated around the polar axis. In the equatorial ring possessed by Samsin-ui, an ecliptic ring and a lunar-path ring are successively fixed and are tilted by 23.5° and 28.5° over the equatorial ring, respectively. A solar miniature attached to a 365-toothed inner gear on the ecliptic ring reproduces the annual motion of the Sun. A lunar miniature installed on a 114-toothed inner gear of the lunar-path ring can also replay the moon's orbital motion and phase change. By the set of 'a ratchet gear, a shaft and a spur gear' installed in the solstice-colure double-ring, the inner gears in the ecliptic ring and lunar-path ring can be rotated in the opposite direction to the rotation of Samsin-ui and then the solar and lunar miniatures can simulate their revolution over the period of a year and a month, respectively. In order to indicate the change of the moon phases, 27 pins were arranged in a uniform circle around the lunar-path ring, and the 29-toothed wheel is fixed under the solar miniature. At the center of the armillary sphere, an earth plate representing a world map is fixed horizontally. Tongcheon-ui is the armillary sphere clock developed by Confucian scholars in the late Joseon Dynasty, and the technical level at which astronomical clocks could be produced at the time is of a high standard.

• 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 Korean Society of Archives and Records Management
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• v.1 no.2
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• pp.159-183
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• 2001

The praying sentences of the script of Saddharmapundarika-sutra NO.5 which was made by prayer Bang-Ui, prince Ik-An, was investigated and the cover painting, Byonsangwha(Buddha's preaching painting), and letter style written in the script were discussed in this study. The cover painting on the script is known to be followed to the style of the cover painting as shown in a set of 7 rolls of Saddharma pundarika-sutra of the Horim Museum collection. It is not so difficult to say that the characteristics of cover painting of the script would be suceeded to those of scripts of the end of Koryo and the early Choseon Dynasty. Lotus and its surround was decorated with arabesque figure whose stems were drawn with golden paste and the arabesque figures were done with silver paste. However, for the expression of lotus and arabesque pattern the special feature of drawing style that was originated from the end of Koryo Dynasty to draw the outline with broad line and/or the hardness of drawing line became much more deepened than ever. It is not different to think that this characteristics should be those of Choseon Dynasty. On the Byeonsangwha(buddha's preaching painting) the painting of scattered flowers on stairs of Sumera-Mandala and the scheduled clouds (underseen from heaven) were as similar as to the Byeonsangwha style of the end of Koryo and the early Choseon Dynasty. However, the image of Shakyamuni and/or the halo(光背) is nearly same as the characteristics shown on the Beonsangwha of Saddharma pundarika-sutra of Nesosa' collection, a set of seven rolls which was completed in the 15th year of king Taejong(AD 1415). It is apparent that these characteristics are those of Choseon Dynasty. After king Chungsean in Koryo Dynasty, letter style of Chao Meng-Fu was shown in the script of late Koryo Dynasty as a new letter style.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.1
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• pp.67-85
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• 2004

Four volumes of the script of the Avatamska Sutra written with golden paste on dark blue papers manufactured in Koryo Dynasty which are collected or deposited in every museum of Japan show specific features on their cover paintings. In general 3 or 4 lotus flowers are wound by arabesque patterns in zigzag on the cover paintings of Koryo scripts, whereas 10 lotus flowers painted with golden paste on the 4 volumes of these scripts are same in their style. Though there is no prayer sentences in 4 volumes of the script, it is possible to know that they should belong to a set of 80 Avatamska Sutra by the results of above studies. In this study the contents of Byunsangwha of the script of 4 volumes of the Avatamska Sutra were discussed at first and their manufactured era should be postulated by the results of style analysis of cover paintings and Byunsangwha. First thing that saint hair of Buddha was painted with cobalt color is same as that of Byunsangwha of Munsuchoisangsungmusenggebueob prayed in Tejeong 3rd year, king Chungsuk 13th year(AD 1326). Second thing that the beads in topknot of saint hair and lips were painted completely with pink color, and ears, face outline as well as bosom outline disclosed through monk's cloth were also painted with pink color, furthermore the last thing is that Buddha's face was coated with golden paste. All of these things are same as shown in the characteristics of Byunsangwha of the scripts of Kanezawa Daishoji, Matsue Tenrinji and Haga Tera collection in Japan. However, since the cloud pattern style of Byunsangwha of the script is similar to that of the Byunsangwha manufactured in reinstatement era of king Chungsuk, it is possible to say that these 4 volumes of script should be manufactured in the reinstatement era of king Chungsuk.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.2
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• pp.173-183
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• 2016

Fungi are a major cause of cultural and biological degradation in museum storages and archives libraries. In addition, fungi produce toxins and can cause skin allergies. In particular, fungi coming into contact with the skin through the hands of administrators dealing with cultural properties, archives, and books can lead to secondary infections. To prevent this, applying hand sanitizer, which is readily available in the market, is recommended. However, such hand sanitizer can effectively disinfect against bacteria but not fungi. As such, researching for an alternative is required. In this study, we developed a hand sanitizer composed of active ingredients - geranial, cineol, menthol, and Chamaecyparis obtusa - and performed a disinfection test, which targets 10 kinds of species (Alternaria citrimacularis, Alternaria consortialis, Aspergillus niger, Aspergillus versicolor, Cladosporium sphaerospermum, Coniothyrium aleurites, Penicillium brevicompactum, Penicillium corylophilum, Penicillium paneum, and Penicillium polonicum), of fungi investigated in museums and libraries. It was then confirmed to exhibit excellent disinfecting effects. Thus, this hand sanitizer is expected to prevent skin diseases and secondary infections in administrators dealing with cultural properties, archives, and books.

• Journal of the Korean Society of Earth Science Education
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• v.16 no.2
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• pp.196-209
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• 2023

This study recruited 11 teachers with experience in guiding science exhibitions nationwide to investigate the perception and necessity of teachers as educational consumers of science exhibitions, one of the out-of-school science education activities, and conducted an in-depth written survey. An average of more than 3,600 characters answered a total of seven questions in writing, and through qualitative analysis, the growth of students and teachers due to participation in science exhibitions, difficulties in participating in competitions, and teachers' voices for revitalization were recognized. Teachers offered positive opinions in that participation in science exhibitions improves students' knowledge and attitudes related to science and experiences an open inquiry process linked to career advancement in science and engineering. However, the students who participated in the competition failed to record the contents of the inquiry in their school records, and instructors pointed out the obsession with discovering novel topics, the burden of guiding the inquiry process, and the limitations of their expertise in major knowledge. In order to revitalize science exhibitions, 17 city and provincial education offices called for measures to strengthen the capabilities of instructors and students, improve the promotion and screening methods of the National Science Museum, and improve the Ministry of Education's school records.

• (The) Research of the performance art and culture
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• no.42
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• pp.205-231
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• 2021

Noung-kun(a farmer as a soldier) Parade, one of the Choseon folk plays/dramas, was recorded in its chapter titled of the booklet 'Guk-Geuk-Yo-Ram', which was published in 1932 by Waseda University Tsubouchi Memorial Theater Museum in Tokyo, Japan. The general understanding on the Korean culture of that era was that 'there is no theater in Choseon'. However, a few examples of existence of Korean theater were recorded in the book mentioned above, which was mainly the record of Japanese theater. This study specifically focused on a 'famers' parade' recorded in the chapter 'Traditional theater'. Seok-ha Song, a folklorist, revealed that the Noung-kun parade recorded in that book is a cultural asset of Ulsan. On the basis of these records, this study asserts that the Noung-kunParade is an intangible cultural asset of Ulsan, which had been performed by the local residence of fishing villages during the Japanese Colonial Rule. Therefore, the outcomes of this study would be as follows: First, the clear understanding of Ulsan traditional village festival. Second, the festival is named as 'Ulsan Noung-kun Parade' on the basis of the previous records researched in this study. Finally, I have laid a foundation for full restoration and embodiment of this intangible heritage of Ulsan.

• Journal of the Korean Society for information Management
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• v.34 no.4
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• pp.201-225
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• 2017

In this study, based on the analysis of FRBRoo, we tried to propose suggestions to expand and improve the FRBR family conceptual model. FRBRoo is a plug-in ontology of CIDOC CRM with cooperation of museum field. As FRBR family models also revised and integrated into IFLA Library Reference Model, the additional analysis on IFLA LRM was performed. If bibliographic information is required to support the technical and user services of the library, the way to analyze the bibliographic information should be improved in order to cope with the new challenges faced by the library. To do this, time-related event concepts should be reflected in the modeling of bibliographic information. It is also necessary to expand the creation and exchange unit of bibliographic information to smaller units or larger units than legacy bibliographic records. Using FRBRoo as a linkage tool for the sharing of bibliographic information is also suggested.

• Animal cells and systems
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• v.11 no.2
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• pp.147-153
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• 2007

DNA extracted from ancient bones of Cervidae animals was examined to identify the species and to determine the phylogenetic relationships to those from extant cervids. Abundant ancient bones were excavated from Kumsung archaeological site in Jeju Island, Korea, and were identified as Cervidae animals based on morphological features of their antlers and lower mandibles. Their mitochondrial DNA (mtDNA) control region (CR) was partially sequenced and subsequently compared with those previously reported in database. The results confirmed that the ancient sequences are lineage of Cervidae. On the phylogenetic trees constructed using the sequence diversity of the CR sequences of family Cervidae, the ancient DNA sequences were found on distinct clusters. The ancient sequences were located in the subfamily Capreolinae cluster, and six ancient sequences were closely related to those of extant Korean roe deer in Jeju Island and Korean Peninsula. Consequently, the results of this study suggest that the roe deer inhabited Jeju Island in ancient times. However, there is no evidence for the existence of subfamily Cervinae, including Sika deer, while it has been described in several historical records. The results suggest that this finding could contribute to understanding of the origin and phylogenetic relationships of extant and ancient roe deer on Jeju Island.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.14-22
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• 2007

This study is about the excavated costume representing fundamental "Conservation and Restoration". It's not a report of a specific case, but it is a guideline that contains the costume and textile of museum collection. It is not research based on experiments; however, this paper is basically consists of various reported-documents. Followings are the conclusions of this study 1. These are the factors that we have to know to prevent the causes of fabric's degradation. -Light, -Humidity and temperature, -Microscopic organism, -Insect and rodent animal, -Air pollution, -Ph, -Handling 2. Basic principles of conservation and restoration follows are: -Select the Reversible method, -Represent the easily distinguishable repaired place, -Should be acted by an expert or people with experience, -Before the restoration, accurate and specified records should be completed, -Procedure, treatment method, and materials used should be recorded prior to restoration, -Should be cared minimally, -Be cautious when using the conservation materials, -When caring, make sure nothing is against the principle of aesthetic, historic, and form of preservation 3. The types of restoration are type of straight or curve, type of hole, type of without warp or weft, type of special part damage something like sleeve, collar, type of form that is severely damaged, and type of separated pieces. 4. The method of restoration is sewing, stitching, and the combination of sewing and stitching. 5. The restoration seams are welt seam, plain seam, flat felled seam, french seam etc. And there are kinds of used-sewing, such as, broad stitching, backstitch, half backstitch, basking, hemming, saddle stitching etc.