• Journal of architectural history
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• v.23 no.6
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• pp.47-54
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• 2014

Hwangrong Temple was the center of the Buddhist culture of Silla dynasty. It was built in the 14th year of King Jinheung in Silla dynasty, and completely burnt out when the Mongol Army invaded the Korean peninsula during the reign of King Gojong of Koryeo dynasty. 8-year excavation of the site from 1976 as part of the Gyeongju Tourism Comprehensive Plan revealed many things about the Hwangrongsaji. Recently, a book introduced 'Geumdongnanganpyeon' among relics found in the site, but omitted in the Excavation Report published at that time. Though 'Palgak Geumdongnanganpyeon' has numerical signs 六, 七(six, seven), there was no clear explanation of the signs. Thus, this paper examines it. We can guess, through the remaining iron fragment, that the side of Geumdongnanganpyeon is octagonal, and the width of the side S13 fragment belongs to is about 400mm. The overall form of the face is similar to the Geumdong Palgaktop stored in the Museum of Dongguk University, but, in detail, it is similar to the Zhuanlunzang Pavilion of Longxing Temple and the Sakyamuni Pagoda of Fogong Temple in China. And, numerical signs can be understand to designate the numbers of story and face. The reason why the number might indicate the number of story is that fragments which are presumed to be used for the same purpose contain different measurement values, and the basis of the concept of face can be found in efficiency of manufacturing and manufacturing techniques of artifacts of the time. The two aspects mentioned above cannot be confirmed because of not sufficient relics and related researches. But, the overall form may have been multi-story tower of at least two stories. If more studies in various fields are done in the future, it is expected that the original form will be recovered more accurately.

• Publications of The Korean Astronomical Society
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• v.39 no.1
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• pp.1-12
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• 2024

In this study, we investigated the time signal devices of Deungnu (circa 1270) and Gungnu (1354), the water clocks produced during the Yuan Dynasty (1271-1368). These clocks influenced Heumgyeonggaknu (1438) of the Joseon Dynasty (1392-1910), exemplifying the automatic water clocks of the Yuan Dynasty. Deungnu, Gungnu, and Heumgyeonggaknu can be considered as automatic mechanical clocks capable of performances. The Jega-Yeoksang-Jip (Collection of Calendrical and Astronomical Theories of Various Chinese Masters) contains records of Deungnu extracted from the History of the Yuan Dynasty. We interpreted these records and analyzed reproduction models and technical data previously produced in China. The time signal device of Deungnu featured a four-story structure, with the top floor displaying the four divine constellations, the third floor showcasing models of these divinities, the second floor holding 12-h jacks and a 100-Mark ring, and the first floor with four musicians and a 100-Mark Time-Signal Puppet providing a variety of visual attractions. We developed a 3D model of Deungnu, proposing two possible mechanical devices to ensure that the Time-Signal Puppet simultaneously pointed to the 100-Mark graduations in the east, west, south, and north windows: one model reduced the rotation ratio of the 100-Mark ring to 1/4, whereas the other model maintained the rotation ratio using four separate 100-Mark rings. The power system of Deungnu was influenced by Suunuisangdae (the water-driven astronomical clock tower) of the Northern Song Dynasty (960-1127); this method was also applied to Heumgyeonggaknu in the Joseon Dynasty. In conclusion, these automatic water clocks of East Asia from the 13th to 15th centuries symbolized creativity and excellence, representing scientific devices that were the epitome of clock-making technology in their times.

• Conservation and Restoration of Cultural Heritage
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• v.1 no.1
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• pp.39-48
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• 2012

The first twenty-five years of scientific study within Korea on Korean traditional ceramics has been characterized as a bridging effort to understand the rich field of artistic ceramic masterpieces on one hand with analytic results gained from mounds of broken shards and kiln wastes on the other. First shard pieces were collected directly from the waste mounds, but most of the analyzed shards were provided by art historians and museum staffs directly involved in systematic excavations. The scientific study is viewed as one of many complimentary ways in learning about the multi-faceted ceramics culture, ultimately connecting human spirits and endeavors from the past to the present to the future. About 1350 pieces of analyzed shards have been so far collected and organized according to the production location and time period. From the experimental results of the analysis, the compositional and microstructural characteristics of bodies and glazes have been deduced for many kiln sites of Goryeo and Joseon dynasties. Except for a few local kilns, porcelain stone was used as body material in both dynasties. The principle of mixing a clay component with a flux material was used in Korean glazes as was in China. The clay component different from body clay was often used early on. In Gangjin a porcelain material appropriate for whiteware body was mixed for celadon glaze, and in Joseon Gwangju kilns glaze stone was chief clay material. The use of wood ash persisted in Korea even in making buncheong glazes, but in Joseon whitewares burnt lime and eventually crushed lime were used as flux material.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.233-252
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• 2021

The Gwan ceremony (冠禮) is a coming-of-age ceremony that takes place through traditional Gwan (冠: the hat) and clothes in the traditional era. The rite is performed by wearing hats and clothes three consecutive times (三加禮). It was an important rite which meant that underage children were formally recognized as members of society. This study examined costumes of people who participated in various coming-of-age ceremony rites in the Ming dynasty imperial court of China. For the research data, this study mainly used authentic chronicles (正史), codes of law and books on Ming dynasty rituals. This study examined the costumes used in the coming-of-age ceremony for the emperor, Prince Imperial, Emperor's eldest grandson, and emperor's sons. The results of this study were divided into an analysis of the document structure, institutional changes by time, characteristics of costumes, and characteristics of the rite. Of particular note in their ceremony, the emperor is presupposed to be a 'human already full-equipped with virtue', which means that the costume is worn only once. It is a case in which the emperor's absolute identity is revealed through the rite and costume.

• Journal of architectural history
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• v.19 no.4
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• pp.35-54
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• 2010

This study aims to examine the development process of the early stone pagodas of Unified Silla. The history of stone pagodas traces back to both Baekje and Silla in the Three Kingdoms period, but the styles and structures of pagodas began differently. In other words, Baekje attempted to recreate the wooden pagoda style, while Silla attempted to recreate China' brick pagoda style. These different stone pagoda cultures, around the unification of Three Kingdoms, underwent new style changes, and after the mid-7th century, some changes in the five-storied stone pagodas in Tapri appeared, and the milestone perfection of Silla's stone pagodas was achieved through those of Gameusa Temple and Goseonsa Temple. After the mid-7th century, Silla's stone pagodas accommodated some of Baekje's wooden pagodas' elements, shifted from the wooden pagoda style and developed into its own stone pagoda style. This is shown in numerous stone pagodas. However, in Silla's stone pagodas, including the three-storied stone pagoda in Hwagboksa Temple in 692, the size of the pagoda became small and underwent sudden changes. In other words, a new direction of Silla stone pagodas was presented in terms of how massive stones could be reduced, but they differed only in the reduced stone amount; the basic developed style of the Gameunsa Temple stone pagoda and the Goseonsa Temple stone pagoda inherited the traditional style. Thus, the construction of these two pagodas is considered to be significant in the Silla's history of stone pagodas.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.17 no.6
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• pp.73-91
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• 2014

Recently the countries breeding bears such as China and Vietnam are promoting a policy that gives relief to wild animals through agreement with AAF and WSPA. Currently our country has lacking breeding space for the increased number of bred bears due to the prohibition of bear import and export from joining the CITES in 1992. There needs to be a place that treats, protects accepts breed bears in the terms of animal welfare. The bear park was hoped to be designed as a means to give relief to bears and promote harmony with the local society, and is made of parking area, waiting area, visitors center, treatment research management facilities, restaurants, food warehouse, food store, bear museum, sanitation facilities, gondola, plaza, rehabilitation area for wild animals, outdoor exhibition center, direct indirect experience area of wild animals, resting facilities and areas, photo zones, bear playground, bear experiencing facilities, fences, information facilities, tree protection facilities and more. The design can be used as a reference in examining alternative measures following the future change in breeding policy as a bear park example which reflected the ecology of a bear in the term of animal welfare.

• Publications of The Korean Astronomical Society
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• v.39 no.1
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• pp.13-26
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• 2024

The armillary sphere, an astronomical observation device embodying the Orbital Heaven Theory of the Later Han Dynasty in China, holds both historical and scientific significance. It has been produced in various forms by many individuals since its inception in the era of King Sejong in the Joseon Dynasty. A prominent figure in this field was Nam Byeong-cheol (南秉哲, 1817-1863), known for his work 'Uigijipseol' (儀器輯說), published in 1859, which detailed the history, production methods, and usage of the armillary sphere. This text particularly highlights 21 applications of the armillary sphere, divided into 33 measurements, covering aspects like installation, time, and positional measurements, supplemented with explanations of spherical trigonometry. Despite numerous records of the armillary sphere's design during the Joseon Dynasty, detailed usage information remains scarce. In this study, the 33 measurements described in 'Uigijipseol' (儀器輯說) were systematically classified into six for installation, nineteen for position measurement, seven for time measurement, and one for other purposes. Additionally, the measurement methods were analyzed and organized by dividing them into the ecliptic ring, moving equatorial ring, and fixed equatorial ring of the armillary sphere. In other words, from a modern astronomical perspective, the results of schematization for each step were presented by analyzing it from the viewpoint of longitude, right ascension, and solar time. Through the analysis of Nam's armillary sphere, this study not only aims to validate the restoration model of the armillary sphere but also suggests the potential for its use in basic astronomical education based on the understanding of the 19th-century Joseon armillary sphere.

• Journal of architectural history
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• v.16 no.3
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• pp.7-20
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• 2007

A bridge is a space used as a passage. This space should be functional, solid, and beautiful. Since the beginning of human life, bridge architecture has given importance to function as a connection from one place to another. Stepping stones in the stream were the connections between divided spaces in the agricultural life, the bridge on the entrances of a town was the place for separation, expectation, and communication for people gathering around the community. Southern Chinese provinces such as Zhejiang, Hunan, Yunnan, and Guizhon is famous for it's spectacular scenary, and tribes like the 'Miao' and 'Dong' live in a cooperate community. The 'Dong' tribe is one of the 'Yue' genealogy where the people have settled down in this place in the days of 'Qin Shi Huang(Qin dynasty)'. As the population of the 'Dong' tribe growed, they used a bridge to connect town to town. The scale became larger with additional design, giving splendid achievement to bridge architecture. The 'Fungyu bridge' in Tongdao and 'Chungyang bridge' in Sanjiang are some fine examples. The Fungyu bridge could be defined as a bridge which blocks wind and rain, this has the same function as the lounge bridge in Taishun located in southern Zhejiang province. In Taishun, 5 minority races such as the 'Dong' and 'Miao' people have been living together as a clan society for centuries on mountains as high as 1000m following their own tradition. The 'Xiliu river' flowing thorough has a variety of bridges remaining in it's original form, and it is recently known as a museum of ancient bridges. The formation of the bridges in Tongdao and Taishun shows that it is different with the arch and straight bridges remaining in Korea. In this study, it is readjusting the base data, showing plan characteristics and describing the construction of the wooden structure above the bridge post.

• Journal of Fashion Business
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• v.28 no.2
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• pp.50-63
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• 2024

Chinese traditional wedding dress is a unique cultural symbol. It had a deep historical background as it went through different productions in each dynasty. However, with the introduction of Western ideas, an increasing number of people are wearing Western-style wedding dresses when they are getting married. Recently, traditional Chinese culture has been increasingly valued. Demand for traditional Chinese wedding dresses among modern Chinese people is increasing. Following this trend, Chinese designer Guo Pei(1967~) is actively innovating elements of traditional Chinese wedding dresses. This study aimed to analyze changes in traditional wedding dress styles by dynasty in China from 1046 B.C. to 1911 A.D. based on museum data and previous research. Changes in traditional wedding dress styles by Chinese dynasty were analyzed and organized. The meaning of wedding dress patterns was analyzed by type using traditional Chinese patterns. This study focused on Guo Pei's 2012 "Chinese bride" series and "Legend of the dragon" series. Starting from the development and characteristics of traditional Chinese wedding dresses, this study analyzed fashion characteristics of Guo Pei's wedding dress series. Goals of this study were to preserve the essence of traditional Chinese wedding dresses; and to determine how to apply the fusion of traditional Chinese design elements into fashion and modern design to wedding dresses.

• Korean Journal of Ichthyology
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• v.24 no.2
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• pp.101-109
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• 2012

The egg development and early life history of Acheilognathus macropterus from Japan which is an exotic bitterling from China were observed under the controlled water temperature, $20.0{\pm}1.0^{\circ}C$. Fertilized eggs are opaque yellow in color and long elliptic globe shaped measuring $2.78{\pm}0.12mm$ in length and $1.44{\pm}0.04mm$ in breadth. The number of egg averaged 151 per an oviposition. The eggs of this species began to hatch about seventy eight hours after insemination and the mean of total length of larvae were 3.8 mm. S form moving of larvae were observed from three days after hatching. The larvae reached at the heterotrophic stage about twenty-five days after hatching. Morphological character and analysis of cytochrome DNA of this species from Japan were relatively similar to Korean but spawned egg shape was different remarkably. Taxonomical research is necessary in the future.