• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of Environmental Impact Assessment
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• v.26 no.5
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• pp.365-375
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• 2017

This study investigated in the vascular plants of special protection zones (the native land of Iris koreana in Gaeamsa Temple and Soeppulbawi Rock) of Byeonsanbando National Park and identified the whole flora. The numbers of vascular plants were summarized as 255 taxa including 71 families, 166 genera, 222 species, 2 subspecies, 27 varieties and 4 forms. Woody plants were identified as 114 taxa (44.7%) and herbaceous plants as 141 taxa (55.3%). A total of 178 taxa were identified in the area of Gaeamsa Temple, and 184 taxa were found in the Soeppulbawi Rock. As a legal protected species, the endangered wild plant II grade Iris koreana designated by the Ministry of Environment was confirmed. A total of 6 taxa of rare plants were identified, each of which was divided into 1 taxa of critically endangered (CR; Iris koreana), 1 taxa of vulnerable (VU; Ilex cornuta), and 4 taxa of least concern (LC; Asarum maculatum, Viola albida, Chionanthus retusa and Tricyrtis macropoda). The Korean endemic plants were 11 taxa (Populus tomentiglandulosa, Lonicera subsessilis, Carex okamotoi, etc.). In the specific plants by floristic region were 38 taxa, a degree I were 23 taxa (Euscaphis japonica, Hedera rhombea, Lophatherum gracile, etc.), 7 taxa of a degree II (Viola violacea, Ainsliaea apiculata, Cephalanthera falcata, etc.), 6 taxa of a degree III (Ilex cornuta, Callicarpa mollis, Mitchella undulata, etc.), 1 taxa of a degree IV (Carex remotiuscula), 1 taxa of a degree V (Iris koreana). The Iris koreana special protection area that is more natural and healthier than any other areas in Byeonsanbando National Park. Therefore, it should be possible to continue its role as a special protection area through regular monitoring in the future.

• Korean Journal of Veterinary Research
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• v.14 no.1
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• pp.115-133
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• 1974

Although considerable research has been done on the changes associated with age in the blood picture of domestic and laboratory animals, little work has been made of the changes occurring at different age in the blood picture of goats. And a comprehensive survey of the bood picture of Korean native goats has not been made. The object of the present investigation was to suggest standards for the blood picture of Korean native goats at frequent intervals from birth to maturity. The goats were kept under average farming conditions in this country. Observations were made at the following ages: at birth; 2,4 and 7 days; 2, 3, 4, 5, 6, 7, 8 and 9 weeks; 2.5, 3,6 and 12 months. Blood samples were drawn from the jugular vein. It was taken between 8 and 9 a.m. except those for the at-birth period. Erythrocyte and leukocyte enumerations and, determinations of hemoglobin in blood and hematocrit value were made in the usual manner. Reticulocytes were enumerated per 1,000 erythrocytes in blood smears stained with briIliant cresyl blue and counterstained with Wright's stain. Erythrocytes counts declined from $8.7{\times}10^8/mm^3$ at birth to a low of 7.0 at 4 days of age. These values increased to 11.5 at 5 weeks and reached a maximum of 14.0 at 3 months of age; it then fell to 11.5 at 12 months of age. Concentrations of hemoglobin in blood and hematocrit values were not related to the changes of erythrocyte counts. The values at birth were higher than at any other period during the first year of life. These fell from highs of 12.3 g/100 ml and 38.0 ml/100 ml to lows of 9.2 and 29 at 4 weeks for concentration of hemoglobin in blood and hematocrit value, respectively. There was a common pattern for the hematocrit value and hemoglobin in blood which showed three phases-a fall during the first month, a rise to the third month, and a fall to the mature level at 12 months of age. Mean corpuscular volume and mean corpuscular hemoglobin showed a common pattern. The values were $44.2{\mu}m^3$ and 14.2 pg at birth and fell, at first slowly and then rapidly, to reach adult levels of 24.1 and 7.9 at 6 weeks of age for mean corpuscular volume and mean corpuscular hemoglobin, respectively. Mean corpuscular hemoglobin concentration was little affected by age. Reticulocyte was observed from birth to 4 weeks of age. Percentage of reticulocyte decreased from 0.85% at birth to 0.06% at 4 weeks of age. Total leucocyte counts increased from $5.64{\times}10^3/mm^3$ at birth to a maximum of 13.4 at 3 months; it then fell to 11.5 at 12 months of age. In differential counts myelocyte, juvenile and band form decreased with advancing age. No myelocyte and juvenile were seen after the age of 7 and 9 weeks, respectively, and band forms were rare after the age of 3 months. Percentage of mature neutrophil showed a quick decline from 52.5% at birth to reach a minimum level (34.5%) at 3 months of age; it then rose to 38% at 12 months of age. Percentage of lymphocyte increased from 39.2% at birth to maximum of 59% at 3 month of age; it then fell to 54.9% at 12 months of age. Percentage of monocyte was not affected with advance of age. Percentage of eosinophil and basophil were increased with advance of age to reach a maximum at 2 to 3 month of age. It then fell to adult level at 12 month of age.

• Korean Journal of Plant Resources
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• v.22 no.1
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• pp.49-70
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• 2009

Floral study on the vegetation of 8 mountains including Taehwa-san, Mugab-san, Haehyeob-san, Guksa-bong, Gwanggyo-san, Samseong-san, Suri-san, and 200m peak neighboring to Mulwang lake was carried out from April to October, 2007. They belong to the middle part of Gyeonggi Province, and located between Lat. $37^{\circ}$13' 31.19" ${\sim}37^{\circ}$33' 3.48", Long. $26^{\circ}$43' 04.1" ${\sim}127^{\circ}$26' 28.38". Vascular plants collected in these areas were total 447 taxa composed of 386 species, 5 subspecies, 46 varieties and 10 forms of 262 genera under 92 families. The area from which the most plentiful plants were found was Mt. Gwanggyo-san. The areas with comparatively excellent vegetation are easy slopes nearby valleys in Mt. Gwanggyo-san, Mt. Suri-san and Mt. Haehyeob-san. Forests of the examined areas are generally mixed of Pinus densiflora and Quercus plants, but herbaceous plants covering soil are becoming nearly extinct by air and soil pollutions except some sites. Families with abundant species are Compositae, Rosaceae, Liliaceae and Graminae, etc. Endemic plants found in these areas are 8 taxa of Clematis brachyura, Euonymus trapococcus, Viola seoulensis, Ajuga spectabilis, Scutellaria insignis, Weigela subsessilis, Aster koraiensis, Aconitum chiisanense and rare and endangered plants are 7 taxa of Arisaema heterophyllum, Iris odaesanensis, Eranthis stellata., Aconitum chiisanense, Prunus yedoensis (cultivar), Viola albida, and Syringa wolfi. As to useful plants, 192 taxa for the edible, 132 taxa for the medicinal, 130 taxa for the ornamental and 11 taxa for the staining were classified respectively. Among 17 taxa of specially designated plants, 5th degree plants are 2 taxa of Iris odaesanensis and Prunus yedoensis (cultivar), 4th degree plants are 2 taxa of Symplocarpus renifolius and Syringa wolfi, 3rd degree plants are 13 taxa of Dryopteris gymnophylla, Juniperus chinensis, Betula chinensis, Betula davurica, Diarrhena fauriei, Aconitum longecassidatum, Eranthis stellata, Spiraea salicifolia, Acer palmatum, Vaccinium koreanum, Scutellaria insignis, Weigela florida and Adoxa moschatellina.

• Korean Journal of Environment and Ecology
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• v.20 no.1
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• pp.52-69
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• 2006

The flora of vascular plants and the vegetation on the tidal flat was investigated in Jebudo located at Hwaseong city of Gyeonggi-do province from 2004 to 2005. Jebudo has been considered to show difference from the flora which is peculiar to island as it became semi-land by free traffic to mainland with the installation of a road which had enabled entry into the Jebudo in 1991 due to sea-splitting phenomenon. The result of the vascular plants in Jebudo were consissted of 305 taxa; 264 species, 38 varieties and 3 forms of 202 genera of 74 families. As a result of examination by distinctive survey areas within Jebudo, a tidal flat(I) region where the halophyte was being spread has been researched as 7 taxa; 7 species of 6 genera of 5 families. The taxa in Godo-Island(II) was reseached as 50 taxa; 39 species, 11 varieties and 42 genera of 24 families. The taxa in Sand dune area(III) was reseached as 61 taxa; 52 species and 9 varieties of 53 genera of 25 families. The most plant species was reseached in Mt. Tapjae (IV) reaseach area among the reseach areaes 136 taxa; 118 species, 17 varieties and 1 form of 108 genera of 55 families. The taxa in Dangje Mt.(V) was reseached as 119 taxa; 105 species, 13 varieties and 1 form of 95 genera of 45 familes. The taxa in Dongmi Mt. (VI) was reseached as 100 taxa; 85 species and 15 varieties of 83 enera of 43 families. The taxa in Paddy field(VII) was reseached as 120 taxa; 106 species, 13 varieties and 1 form of 86 genera 31 families. Especially, a Crypsinus hastatus community which is a rare plant designated by Korea forest service and a preservation plant designated by the natural environment preservation law (1998) has been discovered at a cliff of Topjae mountain near the ferry located at the northeast side. According to the result of researching halophyte communities which make up the zonation according to the environmental gradient, the communities were being formed in the order of Limonium tetragonum community, Phragmites communis community, Carex scabrifolia community, Triglochin maritimum community and Carex scabrifolia community in accordance with the order of soil particle size with breakwater as their standard.

• Korean Journal of Plant Resources
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• v.18 no.1
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• pp.85-116
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• 2005

Gyeryongsan(845m) is located at $36^{\circ}\;18'\;02'\;-36^{\circ}\;23'\;38'$ in latitude, at $127^{\circ}\;11'\;60'-127^{\circ}\;17'\;86'$ in longitude and on Nonsan City and Gongju City in Chungnam Province. Gyeryongsan shows the typical vegetation patterns including the middle area of temperate region represented by the secondary forests of Quercus mongotica and Q. serrata. And we tried to discuss on the distribution and availability of vascular plants including economical plants. The results of plant collection and their investigation from April in 1998 to October in 2002 are as follows : The vascular plants consist of total 684 taxa; 3 hybrids, 12 forms, 84 varieties, 1 subspecies, 584 species, 357 genera, 100 families, 34 orders, 4 classes, 3 subphyla. In this area useful resources plants were 277 taxa$(40.5\%)$ forage source, 261 taxa$(38.2\%)$ edible source, 204 taxa$(29.8\%)$ medicinal source, 80 taxa$(11.7\%)$ ornamental source, 20 taxa$(2.9\%)$ timber source, 3 taxa$(0.4\%)$ industrial raw material source respectively. Also, the Korean endemic plants are 29 taxa($4.2\%$ among total 684 taxa); 5 varieties, 24 species, 27 genera, 20 families. And rare and endangered plants are 2 taxa; Paeonia obovate, Gastrodia elata. Also, the naturalized plants are 31 taxa($4.5\%$ among total 684 taxa and $13.7\%$ among the total naturalized plants in Korea).

• Journal of Korean Society of Archives and Records Management
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• v.1 no.1
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• pp.19-35
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• 2001

After almost one century of discontinuity in the archival tradition of Chosun dynasty, Korea entered the new age of records and archival management by legislating and executing the basic laws (The Records and Archives Management of Public Agencies Ad of 1999). Annals of Chosun dynasty recorded major historical facts of the five hundred years of national affairs. The Annals are major accomplishment in human history and rare in the world. It was possible because the Annals were composed of collected, selected and complied records of primary sources written and compiled by generations of historians, As important public records are needed to be preserved in original forms in modern archives, we had to develop and establish a modern archival system to appraise and select important national records for archival preservation. However, the colonialization of Korea deprived us of the opportunity to do the task, and our fine archival tradition was not succeeded. A centralized archival system began to develop since the establishment of GARS under the Ministry of Government Administration in 1969. GARS built a modem repository in Pusan in 1984 succeeding to the tradition of History Archives of Chosun dynasty. In 1998, GARS moved its headquarter to Taejon Government Complex and acquired state-of-the-art audio visual archives preservation facilities. From 1996, GARS introduced an automated archival management system to remedy the manual registration and management system complementing the preservation microfilming. Digitization of the holdings was the key project to provided the digital images of archives to users. To do this, the GARS purchased new computer/server systems and developed application softwares. Parallel to this direction, GARS drastically renovated its manpower composition toward a high level of professionalization by recruiting more archivists with historical and library science backgrounds. Conservators and computer system operators were also recruited. The new archival laws has been in effect from January 1, 2000. The new laws made following new changes in the field of records and archival administration in Korea. First, the laws regulate the records and archives of all public agencies including the Legislature, the Judiciary, the Administration, the constitutional institutions, Army, Navy, Air Force, and National Intelligence Service. A nation-wide unified records and archives management system became available. Second, public archives and records centers are to be established according to the level of the agency; a central archives at national level, special archives for the National Assembly and the Judiciary, local government archives for metropolitan cities and provinces, records center or special records center for administrative agencies. A records manager will be responsible for the records management of each administrative divisions. Third, the records in the public agencies are registered in the computer system as they are produced. Therefore, the records are traceable and will be searched or retrieved easily through internet or computer network. Fourth, qualified records managers and archivists who are professionally trained in the field of records management and archival science will be assigned mandatorily to guarantee the professional management of records and archives. Fifth, the illegal treatment of public records and archives constitutes a punishable crime. In the future, the public records find archival management will develop along with Korean government's 'Electronic Government Project.' Following changes are in prospect. First, public agencies will digitize paper records, audio-visual records, and publications as well as electronic documents, thus promoting administrative efficiency and productivity. Second, the National Assembly already established its Special Archives. The judiciary and the National Intelligence Service will follow it. More archives will be established at city and provincial levels. Third, the more our society develop into a knowledge-based information society, the more the records management function will become one of the important national government functions. As more universities, academic associations, and civil societies participate in promoting archival awareness and in establishing archival science, and more people realize the importance of the records and archives management up to the level of national public campaign, the records and archival management in Korea will develop significantly distinguishable from present practice.

• 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.