• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• Journal of Korean Home Economics Education Association
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• v.20 no.3
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• pp.179-200
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• 2008

This study is aimed at contributing to the future development of Home Economics Education Department by suggesting basic data of TQM(Total Qualify Management) for evaluating TQM of Home Economics Education Departmeut in education colleges. A survey was conducted involving all junior(3rd year) students of Home Economics Education Department in education colleges either by making a visit to 3 different schools or by sending it in the mail to 10 different schools. Responding answer-sheets, 302 copies(88.3%) out of 342 copies in total were returned. Finally, we used 285 copies(83.3%) as data for analysis. The results of this study are as follows: In terms of Professional Qualification of Home Economics Teachers, the students had passion for their Home Economics Education and also had a great pride and mission to be future Home Economics teachers. However, their ability proved to be poor and low in presenting a vision for Home Economics, in conducting extra-curricular activities, and the computer skills. In the case of college students, their satisfaction showed an average point 3.15 on a scale of 5. Those students who entered school voluntarily or those who hoped for re-entrance showed more satisfaction than those who entered school with good academic records or those who do not hope for re-entrance into school. In terms of professors' leadership, Students are perceived to choose 'Transactional Leadership' instead of 'Transformational Leadership'. Students', who have higher satisfaction and hopes for re-entrance, perception level about their professors' leadership style showed higher satisfaction than average. The students empowerment level showed average point 3.52, which is considered relatively high. Students at the college where professors majored in Home Economics Education are employed showed higher empowerment level than students at the college with professors who did not major in Home Economics Education. The result of evaluating general demand for renovating of Home Economics Education Dept. showed that: they perceived the "Teacher Education Course" of Home Economics Education Dept. as in need of cultivating practical skills in secondary school. They also said, "Teaching Method" is in great need of renovation. In the case of teaching method, they preferred laboratory work, and practical training. In earning credits, they emphasized the importance of faithfully completing the "Study of Content". For the Subject Matter Education, they required a training course to be set up in the secondary school. Finally they claimed that the teachers and students need to take the initiative in developing a Curriculum of Home Economics Education Dept. Based on the findings mentioned above, I would like to suggest further research on how to adopt and evaluate TQM in Home Economics Education, and faculty-centered evaluation methods. I also would like to suggest to vitalize quality research through the form of narrative research.

• Journal of Science Education
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• v.45 no.2
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• pp.187-200
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• 2021

This study was conducted to identify students' meaningful scientific experiences and to ascertain the path through which the experience led to learning. The subjects of 'Understanding of the History of Science' were asked to write an essay on the subject of 'Effects of science on my life' to 81 students in the department of literature and 125 students in the science department. After that Classification criteria were established through scientific experts' seminars, and the scientific experiences that affected students and their effects were examined. The results from analyses were summarized as follows: First, As a result of study about Science Education experience that has impacted students' lives, the students were influenced by images, most of which were influenced by scientific videos. They were also influenced by science classes and science books. As a result of classifying science experience, most of the experience is composed of Informal Science Learning. Second, as a result of examining how students were influenced by their scientific experience, they found that they were affected by their daily life or influenced by science. As a result of the research, it can be confirmed that Informal Science Learning experience is an important learning form that has a great influence on students. Therefore, appropriate Informal Science Learning experience should be introduced into the class, and research and development on the Informal Science Learning experience preferred by the students should be done.

• The Korean Journal of Air & Space Law and Policy
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• v.34 no.1
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• pp.3-38
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• 2019

In 1984, Congress enacted a new measure of administrative sanctions which is a civil money penalty program for violations of Aviation Act and its implementing regulations. This civil money penalty system has been in operations in lieu of suspending or revoking certificates issued by Korean government, Ministry of Land, Infrastructure, and Transport. According to the rules of Aviation Business Act or Aviation Safety Act, where the Minister of Land, Infrastructure and Transport should order an air carrier to suspend operation because of her violation under certain rules, in which case the suspension of operation is likely to cause serious inconvenience to consumers of air transport services or to harm public interest, the Minister of the department may impose an administrative monetary penalty in lieu of the suspension of operation. In this regard, airline related civil money penalties are somewhat different from those of fair trade, which is the origin of the money penalties system in Korea. Civil money penalties in the field of fair trade are imposed on executive duty violations that undermine the value of the market economy order, and focus on reimbursement of profits due to violations and compensation for unfair spending by consumers. However, in the aviation sector, breach of duty by a business operator does not simply cause the property loss of the public, but it has a direct impact on life or property of the public. In this respect, aviation penalties are more likely to be administrative sanctions or punitive measures than refunds of unfair benefits, compared to penalties in the field of fair trade. In general, civil money penalties have been highly preferred as administrative sanctions because they are subject to investigations by administrative experts and thus, efficiency can be ensured and execution is quicker than judicial procedures. Moreover, in Korea, because punitive civil damages cannot awarded by the courts, the imposition of civil money penalties is recognized as a means of realizing social justice by recognizing the legal feelings of the people. However, civil money penalties are administrative sanctions, and in terms of effectiveness, they are similar to criminal fines, which are a form of punishment. Inadequate legislation and operation of penalties imposition may cause damage to the value of Constitution. Under the above recognition, this paper has been described for the purpose of identifying the present status of the civil money penalties imposition system and operating status in the area of air transport under the laws and regulations in Korea. Especially, this paper was focused on exploring the problem and improvement direction of Korean system through the comparative study with foreign laws and regulations.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.112-129
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• 2019

This study investigates the influence and implications of the supervised process of production of flower vessels (花器) in 1411. The type, the production method, and the purpose of flower vessels (花器) were determined based on the workshops appearing in King Sejong-Sillok, Chiriji ("世宗實錄" "地理志") and Gyeongsang-do Chiriji ("慶尙道地理志"), considering articles excavated from Sangju kiln sites. In addition, the implications and the starting point of production of flower vessels (花器) in the Joseon Dynasty were identified. During the Joseon Dynasty, an effort was made to reorganize the government offices, to align ritual systems in the early 15th century. Preparation for rituals, preparation of supplemental utensils used in ancestral rites (祭器), the construction of architecture related to the Royal Family, and the production of weaponry (武器) were supervised. In 1411, flower vessels (花器) had a preferred supervised process of production as well, which means being recognized as a subject of maintenance for the Joseon Dynasty's aims. Flower vessels (花器) had been produced using grayish-blue powdered celadon (粉靑沙器) as flower pots (花盆), and as celadon flower pot-support (花臺), at Sangju kiln sites in particular, since 1411. Interestingly, products had been manufactured in royal kilns as well as in a few other kilns similar to the supervised process of production of flower vessels (花器) in the middle of the 15th century. It means that this effected the Gyeon-yang (見樣) supervised process of flower vessel (花器) production in 1411. At that time, the Joseon Dynasty used Gyeon-yang (見樣) for imperial gifts for the Ming Dynasty and on separate manufactured articles to ensure the standards of production. Gyeon-yang (見樣) affected the production of ceramic utensils used in ancestral rites (祭器), and government officials in Saongwon (司饔院) supervised the production of ceramics for the Royal Family year after year. In sum, it was flower vessels (花器) using Gyeon-yang (見樣) that provided precise production rules to supervise the process of production in 1411.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.54-77
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• 2020

Produced during the Goryeo period (718-1392), the statue of the monk Huirang Daesa at Haeinsa Temple in Hapcheon is almost life-size, with a height of 82.4 cm, a width of 66.6 cm at the knees, and a maximum width of 44 cm at the torso (front and back). Notably, it is the only known example of an East Asian Buddhist sculpture made from wood and dry lacquer that was formed by joining the front and back halves. However, a similar technique was used on a dry lacquer statue of the Medicine Buddha at Cheongnyangsa Temple in Bonghwa, which is estimated to date from the late Goryeo or early Joseon period. As such, this technique is thought to represent this particular time period. In an eighteenth-century travelogue about a trip to Mt. Gayasan, the author describes a sculpture that is believed to be the statue of Huirang Daesa at Haeinsa Temple, based on various unique features that closely correspond to the sculpture's current appearance. For example, the sculpture is said to have a hole in the chest and rough, knobby tendons and bones, two features that can still be seen today. Another sculpture of a Buddhist monk who was active in the western regions during the third and fourth century also has a hole in the chest, which is said to be a symbol of spiritual strength. The travelogue also states that the statue was lacquered black at the time, which means that it must have been painted with its present colors some time in the nineteenth century. Over time, the sculpture has been enshrined in various halls of Haeinsa Temple, including Haehaengdang, Jinsangjeon, and later Josajeon (Hall of the Patriarchs), and Bojangjeon. Records show that images of Buddhist monks, or "seungsang," were produced in Korea as early as the Three Kingdoms period (18 BCE-660 CE), but few of these works have survived. At present, only four such sculptures are extant, including the images of Huirang Daesa from the Goryeo period, and those of Monk Naong and Uisang Daesa from the Joseon period. Of these, the sculpture of Huirang Daesa has special significance for its early production date (i.e., CE. tenth century), outstanding production techniques, and superb artistic quality, realistically capturing both the external appearance and internal character of the subject. The tradition of producing, sanctifying, and worshipping statues of monks was prevalent not only in Korea, but also in China and Japan. However, each country developed its own preferred materials and techniques for producing these unique images. For example, while China has a large number of mummified Buddhist images (yuksinbul), Japan produced diverse images with various materials (e.g., dry lacquer, wood, clay) according to period. But despite the differences in materials and techniques, the three nations shared the same fundamental purpose of expressing and honoring the inherent spirituality of the monks.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.33-51
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• 2021

This thesis analyzes the formal characteristics of Dutch flower still life from the 17th century to the early 18th century and looks into the relevance with the Dutch art market from a macro perspective. The 17th Flower Still Life is to represent social hierarchy in that as the imported exotic, recherch items, the flowers were classified in the terms of their rarity and expensiveness. For this intriguing research, the subject is circumscribed to a vase of flowers, which is the quintessence of In the form of various Dutch Flower Still Life. Dutch society in the early 17th century was centered on the civilian class engaged in trade and commerce, which allowed them to purchase art works to show off their wealth, economic benefits and satisfaction of aesthetic tastes. Among them, the popularity of flower still life was related to the concentrated demand for rare flowers from the new continent. Accordingly, exact depiction and sense of the three dimensional manner were highly regarded in the early flower still life. For the tastes of the wealthy citizens who succeeded in business, the identity of flowers and the actual screen were considered as important. However, after the mid 17th century, economic growth in the Netherlands put an end, and the art market was also on a downward path. The demand class of flower still life has gotten farther away from the spirit of businessmen and has changed into city aristocrats who were stable rentiers. Their tastes laid emphasis on subjective sensibility, which meant that aristocratic, asymmetric, and dramatic chiaroscuro were preferred rather than being realistic. Furthermore, in the 18th century illusionistic realism was abandoned as an expression method of the planar characteristics and a new era in the floral still life was ushered with the reinforcement of decorative effect. From this perspective, it is not an exaggeration to say that romanticism, which is thought of as the beginning of Contemporary Art, originated from the aesthetic taste of Dutch civic culture.

• Korea Science and Art Forum
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• v.29
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• pp.319-331
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• 2017

South Korea has entered the age of aging society since the elderly population over 65 reached 13.1% in 2015. This increase rate is the fastest in the OECD members. as a part of the precaution, the Korean government has enforced the long term care insurance from July 2008 and the increase of related nursing homes until 2015 was 220.2% which is rapid and quantitative. It was natural that quantitative expansion leads to qualitative improvement. With regard to service environment conditions, color environment draws attention as one of the most effective measures. color environment supports nursing home's spatial functions and the aged class is subject to the research as the potential customers. This study aims to understand color environment, conduct surveys for color preference and attitude toward color environment, and suggest directions for color environment plan. The ultimate goal is to improve the quality of Korean nursing home environment. It studied definition, state, color environment and space functions of nursing homes as well as the preceding researches. With 100 people over 60s in Busan and Gyeongnam area (52 male and 48 female), the survey examined attitudes for color environment and color preference by space functions in nursing home. The research method is as follows. First, as a result of the consciousness survey on color environment in elderly nursing home, it considers service (37%), medical service (20%), and location (19%) heavily in order. color environment plan is not recognized significantly. However, the need of indoor color plan in the elderly nursing homes has "agree (32%) and "strongly agree (25%), which suggests that color introduction is required to the nursing homes. Second, the indoor coloration for the elderly nursing homes has various color preferences. The color preference order for bedroom was R, P, and G but this order changes in nursing space (program room) to G, R, and Y. The communal space such as lobby prefers R, G and Y in order. R color was preferred in general.

• Journal of the Korean Applied Science and Technology
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• v.40 no.4
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• pp.674-684
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• 2023

The purpose of this study was to investigate the effect of acute listening to music on the cardiovascular reactivity to sympathoexcitation. In this crossover design study, 15 healthy adults(23.1±1.94(yrs) were randomized to either (1)acute listen to the subject's preferred music for 30 minutes and (2)sat as a time control by an experiment coordinator. After completing each trial, the cold pressor test(CPT) was conducted. Heart rate(HR) and blood pressure(BP) were measured for 4 times at baseline, during and after the CPT. Heart rate variability(HRV) were measured for 3 times at baseline, prior and after the CPT. HR and BP increased during the CPT in both trial and returned to baseline after CPT(time effect, p < .001). After CPT, brachial systolic BP reactivity to the CPT was attenuated in listening to music trial compared to control trial(p = . 008). As a result of heart rate variability(HRV), the difference values between the baseline and prior to the CPT showed a significant increase in standard deviation of the NN intervals(SDNN), total power(TP) and high frequency(HF) only in the music trial (p = .001, p = .002, p = .011). The difference value between prior to and after the CPT did not show significance. But compared with the control trial, the music trial was confirmed that SDNN, TP and HF were more activated. Therefore, listening to music alleviated anxiety and tension before the CPT, and it is estimated that it had a favorable effect on stability after the CPT. This findings showed that listening to music may have a positive effect on brachial systolic BP and HRV to sympathoexcitation.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.