• Animal Systematics, Evolution and Diversity
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• v.20 no.1
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• pp.63-71
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• 2004

The clustering analysis and comparison of male genitalia of Silpha perforata complex were carried out to decide the taxonomic status of the population from Jejudo Is., Korea. One hundred and five individuals from Korea, Japan, and China were examined for the present study. Based on the result, the population of Jejudo Is. was treated as intraspecies of Silpha perforata with a morphological variation.

• Mycobiology
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• v.38 no.1
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• pp.65-69
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• 2010

Based on a literature survey and assessment of the important features of lichen genus Buellia (spore shape and size, anatomy of the exciple as well as analysis of the lichen substances), the present paper describes four new records of B. maritima, B. polyspora, B. spuria and B. stellulata from South Korea. Among them, B. maritima and B. polyspora are firstly reported in East Asia including in China, the Korean Peninsula and Japan. Brief description of all the new records along with earlier described species placed under genus Amandinea and Hafellia are provided with their distribution and chemistry. A key to all the Buellia species reported so far from South Korea is also provided.

• Animal Systematics, Evolution and Diversity
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• v.9 no.2
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• pp.229-236
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• 1993

We wish to thank Prof. E. Tremblay and Mr. B. Espinosa(DEAP) for the loan of material, Dr, S. Taiti(Florence) for the arrangment of the loan from DEAP, and Dr. I.K. Jang(Pusan) for the donation of specimens collected at Alishan.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.12 no.9
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• pp.4487-4511
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• 2018

A fast image encryption system based on substitution and diffusion was proposed, which includes one covering process, one substitution process and two diffusion processes. At first, Chen's chaotic system together with an external 256-bit long secret key was used to generate the key streams for image encryption, in which the initial values of Chen's chaotic system were regarded as the public key. Then the plain image was masked by the covering process. After that the resulting image was substituted with the disturbed S-Box of AES. Finally, the substituted image was diffused twice with the add-modulo operations as the core to obtain the cipher image. Simulation analysis and comparison results with AES and some existing image cryptosystems show that the proposed image cryptosystem possesses the merits of fast encryption/decryption speed, good statistical characteristics, strong sensitivity and etc., and can be used as a candidate system of network security communication.

• KOMUNHWA
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• no.68
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• pp.59-75
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• 2006

At the beginning of the 21st century with taking a serious view of the harmony between human and nature, and of keeping an ecological balance, China has tried to reduce the gap in economy between rural districts and the urban city, and to carry out the policies for establishing a harmonious socialism through full-scale cooperation and continuous developments. And in order to preserve their traditional culture and to keep the historical legitimacy of People's Republic of China against urgent economical changes since the reform and openness, China has stressed the importance of training patriotic attitude on their cultural heritages. Thus the Chinese museums started to recognize more ad more the importance of social education as well as their functions of preserving the cultural property and of exhibiting it. And with them they have turned their attentions to an Ecomuseum, a new type of a museum. The ecomuseum in China was first established at a remote place between mountains where the ethnic minority inhabited. This was because of the feeling of some crises on culture native to the minority, followed by the process of China's Western Region Development. And it was recognized that they should participate actively in creating the cultural demand of the minority and in establishing a harmonious society with improving economic condition. Therefore in order to activate the ecomuseum it is localized and sinicized little by little through strengthening the management of cultural heritages of the minority.

• Fashion & Textile Research Journal
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• v.24 no.1
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• pp.95-107
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• 2022

In reality, the distinction between the Korean traditional culture and the cultures of other countries is at a delicate boundary. Additionally in the wake of the recent socio-cultural confrontation between Korea and China, it has become necessary to establish the foundation and area of Korean traditional culture and to actively utilize the importance of improving awareness of Korean traditional culture. To reorganize the reckless use of the gold foil pattern shown in the rental hanbok, data on the museum's collection of gold leaf patterns were collected and analyzed. Based on the gold foil, Gilsang characters such as Phoenix pattern, Crane pattern, Bat pattern, Flower pattern, Fruit pattern and recovery advice were extracted through references. The traditional gold foil pattern was reconstructed and relocated to design the gold leaf patch. Based on the collection and analysis of the museum's relics, the Wonsam & Daedae, Dangeui, Sranchima, Sagyusam, Jeonbok, Bokgun, and Daenggi were produced. Therefore, we present the possibility of producing gold foil and modern methods for producing gold foil using laser cutting techniques that can express refinement and complexity well, and gold foil thermal transfer paper with retouchable effects. Additionally, we would like to reflect upon the practicality and the convenience to modern people by considering the complexity and hassle of the traditional gold foil production process, and the disadvantages of processes that require relatively longer time. It intends to help revitalize the market of Korean traditional clothing and fashion products.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.137-153
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• 2004

We have analyzed the ingredients of 17 pieces of Bronze Age bronze ware, and an additional 22 pieces of Koryo and Chosun dynasty bronze ware. We have also conducted analysis of the extraction sites where these bronze ware items were found. For analyzing the main ingredient the bronze ware items have been divided into 3 groups - Cu-Sn(70?75:20), Cu-Pb-Sn(70:10:10), Cu-Pb-Sn(60:10:20) type respectively. In tile cases of the Cu-Pb-Sn groups the division comes down to differences in the Cu content as the main component, and elements such as Ni, Fe, Co contribute as a micro ingredient. The geographical and periodic characteristics of ancient bronze ware items show that theircompositional element changes from Cu:Sn to Cu:Pb:Sn and the Cu content decreases with the period,while the Pb content increases with the period. Bronze ware items from Suchon Ri, Gongju (that were used in 3 B.C.) form very different categories from 3rd ${\~}$ 2nd B.C.. They additionally formed very different categories from those bronze ware items analyzed in this research. These bronze ware itemsare shown to be geographically close and periodically overlapped, but made of a new elemental composition. This shows an inflow of a production technical culture present in the new bronze wares. The main component content of Cu is lower, and the Co and Fe contents (as microelements) are much higher than that of other bronze ware items. Such facts showthat those bronze ware items used completely different materials from bronze ware items in other cultural areas, or that there were differences in smelting techniques In the places where ancient bronze ware items have been extracted, it is presumed that the materials originated from the southern parts of Korea andnorthern parts and southern parts of China. .As more bronze ware scientific research is compiled one can conclude that that there will be enough scientific evidence to study the Bronze Age culture of Koreasystematically.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.64-87
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• 2020

Copper trihydroxychloride (atacamite, botallackite, paratacamite, etc.), the first green pigment used in Mogao Grotto's mural paintings of China, has been known as "copper green", "green salt", and "salt green", etc. and has been used as an important green pigment with malachite. At first, the natural mineral atacamite was employed, but after the Five Dynasties (907~960 CE), synthetic copper trihydroxychloride was primarily used. In Chinese literature, copper green, green salt, and salt green are recorded as being made via reaction with copper powder, Gwangmyeongyeom (natural sodium chloride), and Yosa (natural ammonium chloride), and the prepared material was analyzed to be copper trihydroxychloride. Copper trihydroxychloride pigment was not found in paintings prior to the Joseon Dynasty (1392~1910 CE) in Korea. In analysis of the green pigments used in paintings and the architectural paintworks in the Joseon Dynasty, copper trihydroxychloride was also shown to have been used as an important green pigment with malachite (Seokrok). In particular, the proportion of copper trihydroxychloride use was high in Buddhist paintings, shamanic paintings, and dancheongs (decorative coloring on wooden buildings). Some of these turned out to be synthetic copper trihydroxychloride, but it is unclear whether the rest of them are synthetic or natural pigments due to a lack of analyzed data. From literature and painting analyses, the pigment name of copper trihydroxychloride in the Joseon Dynasty turns out to be Hayeob, a dark green pigment. It is believed to have first been prepared by learning from China in the early Joseon period (early 15^th century) and its use continued until the late 19^th century with imported Chinese pigment. Round or oval particles with a dark core of copper trihydroxychloride which were used in Chinese literature were similar to the synthetic copper trihydroxychloride pigments used in the Joseon Dynasty and Chinese paintings. Therefore, the synthetic copper trihydroxychloride pigments of Korea and China are believed to have been prepared in a similar way.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.74-95
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• 2024

A vast body of inscribed bricks has been found connected to the mid-fourth-century Tomb of Jang Mui in Bongsan-gun, Hwanghae-do Province. After several inspections of the bricks conducted at the National Museum of Korea in 2023, these inscribed bricks were grouped into ten types. This paper interprets in detail the phrases written on these bricks from the Tomb of Jang Mui in an attempt to understand their characteristics and intentions. This detailed interpretation facilitates a rough understanding of how each phrase relates to the others and in what order the phrases would make full sentences. In terms of their contents, these inscribed bricks are presumed to have been produced to convey information about the construction of the tomb to viewers on the outside. In particular, they relate that a narrator referred to as a Jubu official named Jo was involved in the construction of the Tomb of Jang Mui. They can be compared to the inscribed bricks created in China during the Western Jin and Eastern Jin Dynasties that were produced not by family members of the tomb occupants, but by figures who participated in the construction of the tombs based on political and social connections to their occupants. During the mid-fourth century, funeral practices in the former lands of the Nangnang and Daebang Commanderies followed Chinese traditions with the permission of Goguryeo Kingdom. Many of the artifacts found inside these Chinese-style tombs and introduced to the public, including the murals, ink inscriptions, and inscribed bricks, are related to the desire of the family members of the tomb occupants to strengthen their bonds and to share emotions and goals with settler groups. The contents of the inscribed bricks discovered from the Tomb of Jang Mui can be observed in this context.

• Journal of Conservation Science
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• v.25 no.3
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• pp.273-282
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• 2009

As a result of investigating research papers concerning the metal bound rim decoration on four pieces of 'Bowl, white porcelain with impressed floral design and sliver bound rim' and one piece of 'Bowl, white porcelain with sliver bound rim' from among the Jingdezhen white porcelain, which are Sinan remains that are kept in a National museum of Korea. It was found that the material of the bound rim was not silver but tin, and lacquer was used as glue. Based on such a scientific analysis, this study conducted a reproduction test of the manufacturing technique and the bonding method of the metal bound rim attached to the upper tip of the china ware. As a way of reproducing the bound rim, the study was able to discover the best method in terms of the avoidance of loss of materials and the workability out of various cutting methods for tin plates, and it also discovered that the use of lacquer in mixture with soil showed a better workability than the use only of a lacquer ingredient in a test of the bonding method of a metal bound rim using lacquer. Also, in the test of a drying method, a bonding method after drying within a short time at a relatively high temperature was found to be more effective than the drying method after humidifying at a normal temperature, which is used in traditional lacquer ware preservation treatment.