• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.1-10
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• 2019

The purpose of this study is to examine the design ＆ construction methods of the traditional landscape space of the past and the repair and maintenance of cultural heritages to maintain it today. To this end, the method of narrative description, process extraction and construction related to traditional landscaping were compared to each other based on the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages'. The results are as follows; First, to analyze at the description methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages' and related processes in the field of traditional landscaping. 『Imwongyeongjeji』 「Seomyongji」 was an encyclopedia of the overall construction method of the living space, describing the location, effect, and advantages and disadvantages of each component and presenting quantitative figures to institutionalize the construction of traditional landscaping spaces. 'Standard Specification for Repairing Cultural Heritages' presented the entire process of repairing cultural heritages, and it is becoming a kind of guide for reference at the site. Among them, foundation construction, roof construction, landscape construction, and fence construction were drawn as items that could be applied to traditional landscaping areas. Second, the traditional landscape space construction method was divided into the processes of foundation construction, roof construction, landscaping construction, and fence construction. Foundation construction is a way of repeating the process of land-tramping. During the construction of the roof, the tile-roofed building was built on top of the rafters and roofed with tiles. And thatched roof was made to a number of rice straws bundles to cover the roof one after the other. Instead of tiles, the stone roof was made of thin and wide stones, and the wooden boards were used for the single roof and the bark roof were constructed with many layers of dried corrugations. Landscape construction mainly consists of the Paving technique through tramping rubble and the construction of terraced flower by planting stone, plants, and shrubs on the top. According to the building materials, the wall construction was derived from the earth-stacked earthen wall, stone walls using stone and clay, marble walls made of tile patterns, and the construction of a board wall using a wood board as a wall. Third, comparing the construction methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages', 『Imwongyeongjeji』 「Seomyongji」 focuses on standardizing the construction methods to create a new traditional space. There is a difference in the setting of the scope of the 『Imwongyeongjeji』 「Seomyongji」 and the construction because 'Standard Specification for Repairing Cultural Heritages' provides the overall construction procedure considering the diversity of the cultural heritages. In addition, the traditional landscape space used to be a residential space in the past, but today, the maintenance process of the already established facilities as designated cultural heritages has been carried out, and construction methods have been added to create viewing conditions. In terms of the succession of traditional knowledge, some similar methods were found in the repair of cultural assets today, and some cases were also confirmed in the reconstruction of traditional technologies such as application of some materials or mix, separation of added facilities and introduction of efficient construction methods.

• Journal of The Korean Society of Agricultural Engineers
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• v.58 no.4
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• pp.47-55
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• 2016

This study is on the stability re-evaluation of armor stones in saemangum seadike according to recently increased sea-level and frequent high wave incoming and the results are in the following. The field inspection of armor stones in the seadike revealed that damages of armor stones have been caused by higher waves than designed waves and that the reconstruction of armor stones and concrete grouting method have been used as the reinforcement work. The result of numerical simulation of wave channel conducted to estimate the safety weight of armor stones influenced by flows revealed that the safety weight of armor stones in the seadike No.4 was estimated as 5.47 tons by using the Isbash method, which is about 122 % more than 4.49 tons estimated by using Van der Meer method. Therefore, in designing armor stones which can be influenced by high waves such as the case of Saemangum seadike, it is necessary to apply the safety weight method of armor stones, based on the Isbash method, which produced the significant figures among the safety weight methods using flows as well as the safety weight method using high waves based on the Hudson method.

• Acta Via Serica
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• v.4 no.2
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• pp.119-128
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• 2019

This paper attempts to reveal little-known pages from the history of relations between the peoples of Central Asia and Korea based on materials derived from written sources and modern scientific literature, as well as from medieval wall paintings from the early medieval Afrasiab Palace of Varhuman, the ruler of Samarkand, and from stone sculptures of Sogdian figures contained in Silla royal tombs. Korea's interest in the western lands led to its contact with Buddhism, which spread and later flourished in all three Korean kingdoms (Koguryo, Paekche and Silla). The spread of Buddhism in turn motivated a number of Korean monks to undertake pilgrimages to India via Central Asia. Hyecho, a young Silla pilgrim, left evidence of his journey via the South China Sea to India in 723 AD. Paul Pelliot discovered a report from Hyecho's journey entitled Notes on Pilgrimage to Five Regions in India (Wang Wu Tianzhuguo zhuan) in the Dunhuang caves in 1908. Hyecho's contributions are worthy of attention, substantially complementing knowledge available for this little-studied period in the history of South and Central Asia. The information contained in Hyecho's manuscript is, in fact, considered the most significant work of the first half of the 8th century. Research regarding the relationship between Central Asia and Korea remains underdeveloped. Existing historical evidence, however, including the above mentioned Samarkand wall paintings, depicts the visits of two Korean ambassadors to Samarkand, and evidence from Silla tombs suggests the presence of diplomatic relations in addition to trade between the two regions. Overall, the history of the relationship between Central Asia and Korea yields new insights into how and why these distant countries sustained trade and diplomatic and cultural exchange during this early period. Taking into account Korea's growing interest in Uzbekistan, especially in its history and culture, this article can act as a catalyst for studying the history of the two country's relations.

• The Journal of Natural Sciences
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• v.4
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• pp.11-22
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• 1991

Early studies on Korean Sargassum subjenus Bactrophycus were partly started by Kyetzubg(1843,1849), J. Agardh(1889), Cotton(1906), Yendo(1907) and Okamura(1913, 1914, 1915, 1917). Kang(1966) reported 15 species and 4 subspecies of Sargassum subgenus Bactrophycus and their wide distribution on the Korean coasts in his paper [On the geographical distribution of marine algae in Korea], a foundation stone of Korean phycology. In fact, all the Korean coasts and subtidal zone are inhabited by Sargassum plants. They constitute the most part of the primary production and dominant species of benthic algal vegetation. In 1974, L.K. Lee began to study Sargassum monographically as seaweed resources in Korea. The Koreans eat some species of Sargassum (including Hizikia fusiformis) or use them as fertilizer of the farm near the coast. Among the reported 17 species of Korean Fucales, 12 species belong to Bactrophycus. Yoo(1976) dealt with the descriptions, figures, and a key of 24 species of Korean Fucales plants in her M.S. thesis paper. Among them 16 species belonged to Bactrophycus. Even though the above two works were done with thorough observation of the dry specimens kept in the Pusan Fisheries University Herbarium (most of them were identified by Kang, J.W.) and nation-wide collections, great morphological varieties of these taxa made Lee and Yoo hesitate to publish the paper. Instead, the serial chemotaxonomic studies on the geographical variations of Korean Fucales plants(Yoo and Lee, 1988a, 1988b ; Yoo, et al., 1988) were held to solve the problem, while foreign papers (especially both Drs Tseng's and Yoshida's serial works on Bactrophycus). and authenthic specimens that foreign scholors sent to Korean phycologists induced them to find that several species of Sargassum had been misidentified from the beginning. We introduce here Korean Sargassum subgenus Bactrophycus according to Tseng et al. (1985), mentioning briefly the characteristics of the species, key, and distribution on the Korean coasts.

• Journal of Korean Medical classics
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• v.21 no.4
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• pp.41-60
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• 2008

The acupuncture and moxibustion documentary characteristics of the "Dong-insuhyeolchimgudogyeong(銅人腧穴鍼灸圖經)" can be summarized into 5 parts such as the following. 1. The Index of Books lists the author of "Dong-indogyeong" as 'Wang-yuil(王惟一)' in some and 'Wang-yudeok(王惟德)' in others. Of these 'Wang-yudeok' is the name in the printed book and 'Yuil(惟一)' was the name it was changed into in order to make it different from the emperor Jinjong(眞宗) of the Song dynasty. Also, the sequence differs greatly among the original editions and sometimes even conflicts within itself, which makes very likely the possibility that the author of this book is not just one person, and that Wangyuil is just the main editor or screener. 2. The original printed edition of the Song(宋) dynasty has 3 volumes and the Cheonsoeng Seokgak(天聖 石刻) of the Song dynasty also has 3 volumes, but 'Hyeolsudosu(穴腧都數)', 'Sumyeongdanggyeolsik(修明堂訣式)', and 'Pichimgugyeol(避鍼灸訣)' were added to the 3rd volume. Of these three 'Pichimgugyeol(避鍼灸訣)' explains the 'Chimgupigijido(鍼灸避忌之圖)' of the 2nd volume in writing, 'Sumyeongdanggyeolsik(修明堂訣式)' explains the three human drawings from the front, side and lying down views in writing and was used to make bronze figures. 'Hyeolsudosu(穴腧都數)' was possibly used to draw acupuncture points when making bronze figures. During the Daejeong(大定) era of the Keum(金) dynasty Jinssi(陳氏) from the Pyeongsuseobang(平水書坊) revised this book and carved it into 5 volumes, and of those the 1st and 2nd volumes have characters that are very different from those of the rubbed copy of the stone carvings[石刻 拓本] from the Myeong(明) dynasty, which shows that it was taken from another book and not from the original text. The 3rd volume has added content from the stone carvings about accupuncture and moxibustion contraindication(鍼灸禁忌). During the Myeong dynasty the 3 volumes of the "Dong-indogyeong(銅人圖經)" were carved on wood based on the Jungtong Sukgan(正統 石刻), and there were many reprints with the contents that are almost all the same, but the order of the original edition were not all the same. When analyzed from many angles, the original printed copy was carved after the Jungtong(正統) of the Myung dynasty. 3. The content on transport points[輸血] in "Dong-indogyeong(銅人圖經)" comes mostly from books like "Oedae(外臺)" 'Myeongdang(明堂)', "Taepyeongseonghyebang(太平聖惠方)" 'Chimgyeong(鍼經)', "Yeongchugyeong(靈樞經)", Wangbing(王冰)'s annotation of "Somun(素問)", "Cheon-geumyobang(千金要方)" 'Chimgu(鍼灸)', and does not have much new content added by Wang-yuil(王惟一). However when Wang quotes past documents, little is summarized, some are edited and most do not have their origin indicated(the titles of other books quoted in the book are to give some supplementary explanation or are copied from another book). 4. There are many mistakes Wangyuil made in using documents and doing historical research and they can be seen in two fields. One is that he did not fix the errors of past documents, and the other is that he did not know the sequence of past documents or did not understand the meaning of the text. 5. The content Wangyuil newly added can mostly be seen in the few annotations and aneo(按語) under the original 'Geumbu(今附)'('Sinbu(新附)'). In order to see Wang's scholarly ideas and achievements we must rely on this part and the meridian entry of the transport points[輸血歸經] in the first part of the book. However we must not give credit to Wang for work that was done by former generations.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.56-77
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• 2019

Bi-Seok is a treasure trove of funeral rites and an important cultural asset that can shed light on the historical and social history of calligraphy, but research of the topic is still insignificant. In particular, research on the production method of Bi-Seok remains an unproven field. The production of Bi-Seok can be roughly divided into ma-jeong (refining stone), sculpture, and the Buk-chil (process of engraving letters) process. This article reveals some facts: First, performing ma-jeong to the Sang-Seok, Honyu-Seok, Bi-seok, which are known to be God's things. This process is needed because of the change in the perception of the Honyu-Seok due to the settlement and propagation of Confucian ceremonial rituals in the times of hardship in 1592 and 1636. As the crafting process of ma-jeong did not remain concrete, it was only possible to examine the manufacturing process of Bi-Seok through its materials and tools. Second, the rapid proliferation of Oh-Seok and Sa-jeo-chwi-yong (purchase of things made by private citizens) in the Yeongjo era has great importance in social and cultural history. When the Gang-Hwa-Seok of the commodity were exhausted, the Oh-Seok that was used by Sadebu (upper civil class) were used in the tomb of Jangneung, which made Oh-Seok popular among people. In particular, the use of Oh-Seok and the Ma-Jeong process could minimize chemical and physical damage. Third, the writing method of the Bi-seok is Buk-chil. After Buk-Chil of Song Si-Yeol was used on King Hyojong's tomb, the Buk-Chil process ( printing the letters on the back of the stone and rubbing them to make letters) became the most popular method in Korea and among other East Asian countries, and the fact that it was institutionalized to this scale was quite impressive. Buk-Chil became more sophisticated by using red ink rather than black ink due to the black color that results from Oh-Seok. Fourth, the writing method changes in the late Joseon Dynasty. Until the time of Yeongjo's regime, when inscribing, the depth of the angle was based on the thickness of the stroke, thus representing the shade. This technique, of course, did not occur at every Pyo-Seok or Shindobi, but was maintained by outstanding artisans belonging to government agencies. Therefore, in order to manufacture Bi-Seok, Suk-seok, YeonJeong, Ma-jeong, Jeong-Gan, ChodoSeoIp, Jung-Cho, Ip-gak, Gyo-Jeong, and Jang-Hwang, a process was needed to make one final product. Although all of these methods serve the same purpose of paying respects and propagandizing the great work of deceased persons, through this analysis, it was possible to see the whole process of Pyo-Seok based upon the division of techniques and the collaboration of the craftsmen.

• Parasites, Hosts and Diseases
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• v.29 no.2
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• pp.101-112
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• 1991

While various examples of rationale or benefits of ascariasis control could justify a necessity of control activity in a community, few practical index other than the e99 Prevalence or intensity of infection has been used to evaluate the efficacy obtained by the control activity. A literature-based retrospective study was undertaken to provide some numerical data on the decreasing morbidity of surgical ascariasis as a consequence of ascariasis control in Korea. A thorough review of literatures (1959∼1990) on biliary and other surgical complications of ascariasis reported from general hospitals revealed that their incidence has been decreasing very proportionally to the national figures of its e99 Prevalence and worm burden. For example, according to the remarkable decreases of the prevalence of ascariasis, there is an evident decreasing tendency of the proportion(%) of ciliary ascariasis cases among all biliary surgical patients and the proportion of biliary ascariasis cases among all biliary stone patients in general hospitals. It is highly suggested that the Korean people have been much benefited by the control activity of ascariasis executed at a national scale since 1960s, especially in terms of incidence of biliary and other surgical complications of ascariasis.

• Publications of The Korean Astronomical Society
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• v.28 no.2
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• pp.25-36
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• 2013

Chumsungdae is an ancient astronomical observatory whose main role was doing 'chunmoon'. It was administrate by a royal advisory agency on state affairs. The observers observed the heaven on the observatory platform, recorded peculiar events, and watched and interpreted the signs displayed in the heaven. Chumsungdae is an stonemasonry which represents almanac principles with its peculiar shapes and the numbers of strata and stones. The numbers were thoroughly invented to match exactly the almanac constants. Chumsungdae is comprised largely of three main parts, namely the square base, the stratified cylindrical body, and the top #-shaped stonework, and the total number of stones is 404. The number of the strata (27) and the height of the cylindrical body (27 尺) stand for the days in a sidereal month (27.3 days), which implies that the motion of the Moon with respect to the stars was given more priority than to the Sun at that time of geocentricism. And the cylindrical body was thoroughly designed to consist of 365 stones, which is of course the number of days in a solar year. In addition, there are 12 strata each under and above the south entrance and this in sum makes the 24 divisions of the year. Also there is 182 stones below the 13th stratum and this represents the number of days in the winter ~ summer solstice period, and the rest 183 stones the vice versa. The #-shaped top stonework was aligned in such a way that one of the diagonals points the direction of sunrise on the winter solstice. The square base also layed with the same manner. The south entrance was built 16 degrees SE, and the upright direction of the right pillar stone coincides with the meridian circle. This was a kind of built-in standard meridian circle facilitating the observations. In a symbolic sense, Chumsungdae was thought as the tunnel reaching the heaven, where the observers wished to be enlightened with the signs and inspirations in need. With the craftsmanship and skill, the builder reinforced the stratified cylindrical body with two sets of #-shaped beam stones, piercing at a right angle at 19th ~ 20th and 25th ~ 26th strata. Likewise, by placing the double #-shaped stonework with 8 beam stones on the platform of the observatory, both the stability of the stonemasonry and a guard rail for the nightly observers were securely provided.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.5-34
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• 2022

The purpose of this study is to investigate the unique contrasting landscape characteristics of imperial tombs of Qing dynasty by examining the characteristics of facility layout in which location, Feng shui, and siblings are harmonized with the 12 Qing Dynasty Hwanggyeongchim. Through literature surveys, field observation and interviews, videos and drawing comparison, and inductive contrast analysis, the contrasting landscape characteristics of imperial tombs in the Qing Dynasty were analyzed by classifying them into natural environment, location, Feng shui, and formal esthetics. As a result, the characteristics of the location type and the layout plan of the Qing dynasty imperial tombs were derived from the analysis of Feng shui shape, axis extension distance along the midaxial line, the width of the ridge, the formality of the facility layout according to the difference between the height of the starting point and the end point, the leftward direction of the tomb, and the space ratio of the 'entry space' - 'ritual space' - 'burial mound space', etc. In addition, it was possible to derive the facility arrangement characteristics of tombstones through the analysis of the types and the arrangement order of tombs facilities, as well as the distribution, quantity and types of stone figures, while also revealing some contrasting characteristics different from those of the Ming Dynasty. In addition, it was confirmed that the spatial division effect through the water system and the view effect of the view from the midaxial line and the vista are the representative view effect found in the Qing Dynasty imperial tombs along with the density contrast.

• (The)Study of the Eastern Classic
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• no.34
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• pp.225-255
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• 2009

Few data on the epigraph from the Bal-Hae Dynasty have been reported so far. The present paper, based on an examination of the style of the epitaphic tombstones of Princess Jeong-Hye and Princess Jeong-Hyo, investigates the historical formation and characteristics of Balhae's epitaphic style and its influences on the posterior periods. The epitaphs from the Bal-Hae Dynasty have the following epigraphic characteristics and historical significances. First, Bal-Hae's epitaphs are similar to those from the Goguryeo Dynasty in the sense that they are angular in their form. Tombstones with angular head first appeared during the East Han period. During the Wi-Jin period, however, as tombstones were not allowed to be erected in front of the tomb, small-sized epitaphic tombstones were set up inside tombs. Typical tombstones from the Dang Dynasty had stone pole and square cover. Unlike those from the Dang and the Tong-Il Silla Dynasties, however, the epitaphs from Bal-Hae had angular head in their tombstone body. The Bal-Hae's angular headed tombstones are very likely to testify that Goguryeo's epitaphs, which features an influence from the Wi-Jin Nambuk-Jo period, in turn exerted an effect on those from the Bal-Hae Dynasty. Second, Bal-Hae's epitaphic tombstones are characterized by their hexagonal head,which were modified from the then typical pentagonal head by cutting out the sharp point. The hexagonal head, which has not been found in its neighboring countries during the same historical period, is peculiar to the epitaphic tombstones from the Bal-Hae Dynasty. Third, the edge lines and ornamental figures first appeared in Bal-Hae's epitaphic tombstones, as seen in those of Princess Jeong-Hye. In the fa?ade of the epitaphic tombstone, a carved line demarcates its rectangular body and trapezoidal head. Four faces of the body stonehave two parallel lines in their edges within which vignette was inscribed, and the trapezoidal head part was ornamented with flower figures. Fourth, Bal-Hae's epitaphic tombstone had an extensive influence on the posterior countries in its neighborhood. The epitaphic tombstones in the Bal-Hae style are very often found in those of the Goryeo Dynasty and the Yo Dynasty which were greatly influenced from Bal-Hae. The vestiges of Bal-Hae's epitaphic style are also found in those from the Song, the Geum, and the Won Dynasties.