• Journal of Conservation Science
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• v.37 no.5
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• pp.590-605
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• 2021

The history of printing technology in Korea is studied by investigating existing ancient documents and records and comparing accumulated data and knowledge. Cultural property research requires non-destructive testing and observation with the naked eye or aided by a microscope. Researchers' experience and knowledge are required even though they cannot guarantee the outcome. For ancient documents and records that are presumed to consist of woodblock printing, wood type printing, metal type printing, or their combinations, each researcher draws various opinions and conclusions. This often causes confusion and divides the opinions of ordinary citizens and field specialists. Among them, the criteria for judging ancient documents or books printed using woodblock and metal movable material are ambiguous. Academic research on the development history of printing technology in ancient Korea has been stagnant, and conflicts among researchers have also erupted. Involvement of national investigative agencies not specialized in cultural properties has exacerbated the situation. In this study, we investigated printing characteristics that are likely to serve as more objective judgment criteria by quantitatively analyzing the experiments of retrieving several sheets of Korean paper (Hanji) using a replicated Hunminjeongeum (訓民正音) woodblock and quantitatively analyzing the images of the printed papers. In addition, the validity and questions for the typical phenomena presented as a method for distinguishing between woodblock and metal print are reviewed. We investigated the possibility of developing new objective judgement criteria through quantitative analysis using image analysis and investigating the printing characteristics of Korean paper through a reproduction experiment of woodblock printing.

• The Journal of Korean Medical History
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• v.19 no.2
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• pp.67-85
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• 2006

As Lee Heon-gil's books have been handed down in oral tradition and written form, there are several different versions including the one edited by the author. Books known to be his writings include Eulmisinbang, Majinbang contained in Susangsingam, and Majinbang, Majingibang and Majinbibang mentioned in Joseoneukhaksageupjilbyeongsa. Among Lee Heon-gil's books, Eulmisinbang was mentioned first in literature. Its original version is missing, but a large part of it is quoted in Magwahoitong, through which we can see the contents of Eulmisinbang. The meanings of Eulmisinbang are as follows. First, it is the most reliable woodblock-printed version as it was the base of Magwahoitong. Second, quotations in Magwahoitong are so accurate that they demonstrate the original texts of Eulmisinbang and can be used in comparison with other versions. Third, Eulmisinbang has the largest volume of contents among Lee Heon-gil's books. Susangsingam was printed again in the early 1900s by combing Majinbang and Sanbangsurok. Majinbang included in the book had been known to come from China but, through comparison with the original, it was found to be the same as Eulmisinbang. Majinbang is considered to be Eulmisinbang handed down in different name, and shows the original structure of Eulmisinbang. Considering its table of contents and the contents, Majinbang mentioned in Joseoneukhaksageupjilbyeongsa looks the same as Majinbang included in Susangsingam. Majingibang was edited by extracting the quotations of Eulmisinbang in Magwahoitong, and was reprinted in the name of Majinbibang. Through analyzing Lee Heon-gil's books, we found two courses through which his books have been handed down. First, Eulmisinbang was quoted separately according to the new structure of Magwahoitong, and the structure of Magwahoitong had been maintained and reprinted under the titles of Majingibang and Majinbibang. Second, Eulmisinbang had maintained its original structure, handed down in the name of Majinbang, and reprinted under the title of Susangsingam. Based on the findings, we selected the quotations of Eulmisinbang in Magwahoitong and Majinbang included in Susangsingam as texts for studying Lee Heon-gil's medicine for measles. Accordingly, it looks likely to rebuild a new research text based on the two woodblock-printed versions, and it will be a crucial material for studying Lee Heon-gil's medicine for measles.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.206-220
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• 2023

In the royal publishing process of the Joseon Dynasty, the main species of wood used for woodblock printing was recorded as Jajak-mok. Although the name Jajak-mok may suggest Jajak-namu(white birch), it is presumed to refer to a different type of wood than Jajak-namu based on its recorded habitat and usage in historical documents. The aim of this paper is to clarify that during the Joseon Dynasty, the term Jajak-mok referred to Geojesu-namu (Korean birch), while Jajak-namu was called Hwa-mok(樺木). Additionally, this paper explores how the term Jajakmok eventually became the name of white birch, Jajak-namu, used today. In the mid-18th century, Japan used the character 樺(hwa) to refer to Beot-namu(Sargent cherry). As Japanese encyclopedias entered Joseon, the term Hwa-mok began to refer to both Beot-namu and Jajak-namu, which is also called Bot-namu. Since the pronunciation of Boet-namu and Bot-namu are similar, the two trees were eventually unified under the name Boet-namu. In the 20th century, the official names of three trees were established. According to notifications issued by the Ministry of Agriculture and Commerce of the Korean Empire in 1910 and the Governor-General of Chosen in 1912, Hwa-mok(white birch) was renamed asJajak-namu. In 1968, Beot-namu(Sargent cherry) retained its original name, and Jajak-mok(Korean birch) was remained . In modern Chinese character dictionaries, the meaning of 樺(hwa) is listed as "1. Beot-namu(Sargent cherry), 2. Jajak-namu(white birch)." From this, we can infer the historical background in which the names of these three trees were mixed up.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.2
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• pp.95-106
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• 2018

This study aimed at revaluating Frank Gehry's freeform constructions. To this end, the study analyzed the way the space composition and circulation system of general constructions are connected with newly extended parts in the Art Gallery of Ontario and, based on this, comparatively analyzed freeform constructions before and after the art gallery, finding out what changes were made in the exterior and interior spaces of freeform constructions built after the art gallery. The results of the study are as follows. First, starting from extending the Art Gallery of Ontario, Gehry came to use glass instead of metal as main material of freeform constructions. In order to create the circulation connecting the existing building and the extended mass, Gehry applied continuing circulation for the first time to the gallery. Third, in addition to design motives, such as the woodblock print depicting a carp by Hiroshige, still life depicting a glass bottle by Morandi and the crease of the shawl in Vermeer's paintings, which Gehry applied to freeform constructions, the design motif which was recently acquired from Pyrenees rock was added. Fourth, the trend of mall construction appeared before and after the Art Gallery of Ontario. Finally, Gary used the shape of fish as a design motif for his work at an important turning point in his Freeform Architecture.

• Cartoon and Animation Studies
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• s.17
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• pp.205-218
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• 2009

The duplication of art works has been made for wide distribution and profit from long time ago. With material duplication due to recent development of digital duplication media its concept was intervened in art works and the meaning gets expanded more. In this thesis, I will review on the concept of recently marked arts duplication connecting with modern mass culture, compare with duplication of machinery duplication era and research on the features to establish in new way. After all, the duplicational features of digital art works got deeply connected with the characteristics of generalized modern digital mass culture for duplication. In previous times old-fashioned machinery duplication such as pictures, woodblock prints and films played their roles as democratic and social value of art works and now it will be enough to say that the modern digital art works could be developed to be non-materialized factor of art works with the concept of duplication as well as duplication of objects just like previous cases. Besides duplicational factors derived spatial and emotional effects with visional sympathy in existing machinery duplication era and could have verified that the object for duplication was transferred from minor commercial producers to major audience.

• Journal of Conservation Science
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• v.38 no.2
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• pp.166-179
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• 2022

A test piece was produced using deteriorated pine tree for the conservation treatment of woodblocks cultural heritage, and weight change, color change and penetration diffusion characteristics of the test piece according to the application of Dammar, Wax, Paraloid B-72, Animal glue and H.P.C treatment agent. As a result, it was confirmed that Dammar is the most suitable treatment agent for the strengthening of the material while maintaining the original color of the wood. A test piece was produced using deteriorated porous natural wood, which the damage condition is similar to that of woodblocks cultural heritage and the main tree of woodblocks cultural heritage based on above result, and the application of each Dammar concentration (2%, 5%) and wetting of each Dammar concentration (10%, 15%) were conducted in order to find out the application concentration and treatment method of Dammar, and weight change, penetration diffusion characteristics, etc. were observed. As a result, it was found that the Dammar 2% application was the best as an effective method for the strengthening of the material while maintaining the original color of the wood. Therefore, it is judged that Dammar 2% application is most suitable for the strengthening treatment of woodblocks cultural heritage with severe insect damage and degradation.