• Korea journal of population studies
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• v.32 no.1
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• pp.113-137
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• 2009

This article uses genealogical information to estimate fertility, mortality, and population growth in Korea during the eighteenth and nineteenth centuries. Upper class males' probability of dying as estimated from genealogies was converted into that for the whole male population drawing upon information on colonial mortality and model life tables, which indicated male life expectancy at birth was 23 years. Age-specific marital fertility rates for upper class females as calculated from genealogies were combined with estimates of age at first marriage and information on colonial fertility to derive age-specific fertility rate for the whole female population, which implied a total fertility rate of 6.81. Finally, the estimated indices of mortality and fertility were inserted into equations describing stable populations to find that the Korean population grew 0.62% p.a. during the eighteenth and nineteenth centuries.

• Acta Via Serica
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• v.7 no.2
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• pp.65-88
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• 2022

With the expansion of the Russian Empire southward in the nineteenth century, connoisseurs, art historians, and scholars in Russia began to pay attention to carpet traditions in the new territories of the Russian Empire in Turkestan. In journals and other specialty publications, they underscored a need to establish claims to authority over the knowledge of the traditional craft. They were highly attuned to parallel accounts of carpet weaving from regions that had a longer history of research and collecting of carpets. In contrast to the situation in Western Europe or the United States, commentators bemoaned the fact that the public and even professed experts in Russia did not properly appreciate carpets from the Caucasus and Central Asia. These scholars articulated a need to establish authority over the carpet weaving traditions of Russia's colonial possessions, resulting in a push toward a serious study of carpet weaving as a legitimate field of inquiry. This paper uses published sources on early carpet scholarship from the late nineteenth and early twentieth centuries to examine how carpet weaving traditions in Central Asia entered an imperial discourse of knowledge. It argues that attempts to understand and categorize carpet weaving as an art form occurred along two fronts. Intellectuals and scholars attempted to wrest control over the locus of knowledge from experts in the West as well as from local weavers. In the process, they established a distinctly imperial vision of carpet weaving in contrast to competing imperial discourses and over traditional forms of knowledge.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.3
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• pp.49-59
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• 2019

This paper examines the background and content of Thomas Jefferson's botanical garden plan for the University of Virginia. When Jefferson promoted the establishment of a botanical garden, European botanical gardens were evolving from physic gardens, and American botanical gardens were in their infancy. Accordingly, this paper compares the Botanical Garden Plan for the University of Virginia with contemporary botanical gardens. This is examined by outlining the trends of botanical gardens in Europe and the United States around the nineteenth century, analyzing their function and spatial structure. Also, Jefferson's perspective on botany, his plan, and botanical gardens are reviewed. This study found that Jefferson's project had its background in the social recognition of the importance of botany as a practical science, advancing the national economy, which was a prominent goal in late eighteenth-century Europe, and in developing networks of exchanging plants and information concerning botany and botanical gardens. Based on the botanist Correia's opinion on the role of a public botanical garden, the Botanical Garden Plan for the University of Virginia was developed by Jefferson as an action plan, including its site creation, space organization, and supplying of plants. Compared to the other contemporary botanical gardens, the University of Virginia's Botanical Garden Plan has the following characteristics. First, like European gardens in the late eighteenth century, it evolved from being a physic garden to a botanical one. As such, it emphasized botanical research and education over medicine, creating a tree garden and a plant garden. Second, it differed from many European and American botanical gardens in that it rejected decorative elements, refused to install a greenhouse, and attempted to spread practical overseas plants suitable to the local climate. This study contributes to broadening the history of botanical gardens at the turn of the nineteenth century.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.76-97
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• 2010

The purpose of this study is to review the influence of Ukiyo-e on the design of European Paintings of the $19^{th}$ century and the expression of the design of Kosode design in Edo-era. We collected data from the actual study of visiting Museums and other theories and visual materials through literature review. Then, we analyzed the data. The result came out that Ukiyo-e, which is the genre painting of Edo-era, provided the new vision and the new way of expression to the European Paintings of the $19^{th}$ century. In the same way, the result also indicated that Ukiyo-e similarly influenced on the design of Kosode. For example, the study showed that the patterns of Kosode, such as flower, bridge, fun, wave, Lotus flower, stripe, oval, plaid, were used in the works of European artists in the $19^{th}$ century. The Ukiyo-e styles include Kan Bun style, Dan-Gawari style, Back facing style, Two-Section Segmentation style, and Folding screen style, with the identity of Japan and Japanese unique nature and landscapes. Thus, this study proved the design of Kosode to be the frontier of both European and Japanese arts, by examining Ukioyo-e's plastic characteristics, its composition & arrangements, and its subjects & objects which were samely revealed in Kosode design and European Art in nineteenth century.

• Journal of Korean Library and Information Science Society
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• v.2
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• pp.23-59
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• 1975

Indexes has not devcloped as an independent branch in library science from the beginning, but it has gradually evolved in a clo~eas sociation with catalog and under the direct influence of the development of publishing pro cesses and of the rapid social changes. Historically, index in the West can be traced back to eariler concordance. On the other hand, index in the Bast does not show a continuous development. It started with book catnlog, but other types of indexing were later 'adopted from the West. Indexing in the West and in the East can be summarized as follows: 1) In the West, Taylor considers Gesner's Pandectae was the first index but the Concordance of the Bible in 1247 was the first true index. Indexing method was first established later in 1545 in Gesner's Partitiones which appeared in three volumes. Classified index appeared after Partitions, but alphabetically ordered index was not developed until th eseventeenth century. The pxiodical index of La France S~auante in 1683 proved -its value, and Poole's An Alphabetical Index in the nineteenth century became the turning point in the development of indexing. After Poole's Index appeared periodical index and book catalog gradually began to be treated separately, and subject index and cross reference were incorporated into indexing. Also dictionary arrangement of the indexed items was adopted in the second half of the nincteenth, century after Charles A. Cutter developed his theory of rules for dictionary catalog and systematic studies of indexing were carried out by many scholars. In the twentieth century, index was mainly developed in the United States of America, especially by Wilson publishing Company. The general trend is to move away from the gcncral index to subject index. Also the ncwspapcr indcx such as The Times I~zdcx is 21 landmark in the history cf indcxing. 2) In China, thcs arc somc cvidcnccs that $Bizgluh(&), $ was the first indcx, but unforlunatcly the book itsclf has not been found as yet.

• Journal of the Korean Society of Costume
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• v.45
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• pp.85-102
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• 1999

The purpose of this study is reviewing and researching the origins of knitwear the history of patterned knits. Aithough historians know little about the origins of knitting many believe it was practiced as early as the 4th century by nomads roaming North Africa. later Arab raders adopted the craft which helped then while away the hours as they traveled across deserts in camel carabans, Its origins lie in the need for close-fitting and elasticated covering for the body in particular the head hand and feet. it first developed in the Mediterranean countries and later in Central and particularly Northern Europe. Early evidence of multicolored knitting is said to date back to the Egyptian Copts of 600-800 A.D. medieval knitting is developed through the Church and monastery. The increasing demand for knitted products already observable in the fourteenth and fifteenth centries and the number of preserved knitted articles increases inexcavated materialos from Europe. The improvements in technique stimulated the developement of the hand knitting industry in the early sixteenth century. The best-known source of production is the guild organization and their mass production consisted of the carpets cushion coverings and other small items for furnishing interiors but mainly of clothing. The demand for knitted goods was such that in the late sixteenth century it was mechanised, The knitting frame invented in 1589 by William Lee English priest was the most perfect machine of this period. The mass production of fully-fashioned and seamless garments in the late nineteenth and twentieth century was dangerously competitve to traditionally woven and sewn cloth in. As fashions changed knitwear has had an almost continuous ruse in public favour and the popularity of sports has encourage the fashion for flexible easy-fitting and absorbent garments.

• Journal of the Korean Home Economics Association
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• v.24 no.2
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• pp.13-23
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• 1986

We investigate several theories on how the cravate came into being and eventually evoved into the modern day necktie. Among the different possibilities, the most plausible case is the introduction of the neckwear by croatioan soldiers into France near the beginning of the seventeenth century. During seventeenth and eighteenth centuries, the beautiful costumes and extravagant embroideries using the expensive laces, were common oractices among the high society of the royal court, and the cravate evolved into a favorite ornament. While it was emerging as a beautiful part of man's dress in France and the continent, Charles II brought the cravate to England where it became the central part of the dandy's dress. The cravate became not only a part of dress but a subject for a solemn ceremony. George brummell was the most famous English dandy associated with this ritual and he is also credited as the father of modern men's dress. In england, Brummell became famous for his clean cravate was used as the expressionis of political opinions. They were san cravate, muscadins and incroyables, for example. The classic style of male dress in the nineteenth century was due to Brummell and the severe unadorned silhouette he started has changed very little to became the present day male dress.

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.107-120
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• 1998

Even though Gothic architecture, one of the most technologically complex sophisticated structural systems, has been interpreted by art and architectural historians since the nineteenth century, we still cannot entirely comprehend either the medieval builder's constructional technique and structural knowledge or the meaning of Gothic architectural elements. The major reason is that contemporaneous written documentation concerning design methods and constructional techniques of medieval architecture is lacking. In 1955, the Bibliotheque Nationale in Paris exhibited the sketchbook of the thirteenth century architect Villard do Honnecourt. After the exhibition, analysis on the architectural drawings of Villard's sketchbook had reported widely. Most of analysis on Villard, however, has been on his drawing and artistic style, and there has been very little published analysis of his profession and question on the author of the sketchbook. Thus, the purpose of this study is to investigate the characteristics of the sketchbook and identify the artist who drew it. The sketchbook poses a number of unsolved questions. There is no doubt that several hands have contributed some drawing with appropriate captions, particularly in the section devoted to the application of practical geometry to problems of masonry and carpentry. Scholars have assumed and revealed that it was not made by only one person, and it dealt too many different fields and styles. Through this study, the sketchbook drawings consist of five different styles and person (original painter, master1, master2, master3, and the last owner), and they, not Villard, just redrew the original drawings and bound the sketchbook. Therefore, Villard de Honnecourt was just a mentor of the sketchbook and he did not participate any writing and drawing in the sketchbook.

• Archives of Plastic Surgery
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• v.42 no.2
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• pp.226-231
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• 2015

The aim of this study is to consider breast imagery in art as depicted through western painting. Twenty western art paintings were collated. Most of the sample paintings were created from the mid-nineteenth century to the late twentieth century and some are from the Renaissance period. Ten anthropometric items were used to measure 15 distances between two landmarks and 3 angles between three points. The distance from the nipple to the sternal notch and to the midclavicular point was the same and they were 0.46 of the distance from the sternal notch to the umbilicus. The shape of the projection of the breast was almost an isosceles triangle and the altitude of the triangle was at a proportion of 0.45 of the bottom length and 0.16 of the distance from the sternal notch to the umbilicus. The distance between the lateral ends of the breasts was 2.14 times the facial width and the distance between nipples was 1.36 times the facial width. Proportions from works of art are more ideal and attractive than clinically measured proportions. The desirable ratios measured from historical paintings might be useful in planning breast surgeries.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.