• Journal of Korean Library and Information Science Society
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• v.52 no.3
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• pp.49-72
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• 2021

Based on the analysis of the NDL authority system, this study was conducted to analyze the characteristics of subject authorities related to Korea in the NDL. The results are as follows. First, NDL subject authorities related to Korea are 3,143 in total including 2,205 headings and 938 subdivisions. Among them, social sciences accounted for more than half with 52.4%, and economics by individual discipline accounted for the most with 552 cases, 17.6%. Second, most of the subject headings of historical events caused by or directly related to Japan are described from the Japanese perspective, and terms familiar to Korea are mainly described in reference, not in heading. Third, subject headings representing Korean characteristics or historical events are considerably lacking or nondescript. Forth, when referring the name of the country, the term 'Joseon (朝鮮)' continues to be used to refer to both South and North Korea; however, it is necessary to subdivide the history after 1948 which includes the era of the 'Republic of Korea' and the 'Democratic People's Republic of Korea'. Using the term Joseon to refer North and South Korea may cause the reader to perceive Korea as persisting in the Joseon Dynasty. Furthermore, while 'Balhae (渤海)' is regarded as Chinese history, it is a part of Korean history and should be added to the Korean historical periods.

• The Journal of Korean Philosophical History
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• no.29
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• pp.311-349
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• 2010

This report introduces the papers on Japanese Confucianism and Kokugaku thought written in Japanese, Korean, Chinese language and English during 2008. In this paper the data is based on the periodicals index databases of the digital libraries such as the National Diet Library of Japan, the China Academic Journal of China, the National Central Library of Taiwan and the National Assembly Library of Korea and so on. There were 42 articles published on the Japanese Confucian School. In the articles, 29 ones were written in Japanese, 7 in Korean, 4 in Chinese, and 2 in English. 54 articles were published on Yangming School, 41 written in Japanese, 2 in Korean, 10 in Chinese, 1 in English. 50 ones also published on Kohaku School or Mitogaku School. In the articles there were 32 ones written in Japanese, 7 in Korean, 9 in Chinese, 2 in English. And 58 ones on Kokugaku School were published, 51 were written in Japanese, 4 in Korean, 1 in Chinese, 2 in English. Totally 204 articles were written in Japanese, Korean, Chinese, or English language in 2008 throughout the world. This report is divided into 4 chapters, such as Chapter 1 - Syusigaku School, Chapter 2 - Youmeigaku school, Chapter 3 - Kohaku School and Mitogaku School and Chapter 4 - Kokugaku School. In each chapter, some articles are briefly introduced and some are in detail.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Journal of Conservation Science
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• v.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.