• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Journal of the Korean Mathematical Society
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• v.44 no.5
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• pp.1163-1184
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• 2007

In this presentation dedicated to the tricentennial birth anniversary of the great eighteenth-century Swiss mathematician, Leonhard Euler (1707-1783), we begin by remarking about the so-called Basler problem of evaluating the Zeta function ${\zeta}(s)$ [in the much later notation of Georg Friedrich Bernhard Riemann (1826-1866)] when s=2, which was then of vital importance to Euler and to many other contemporary mathematicians including especially the Bernoulli brothers [Jakob Bernoulli (1654-1705) and Johann Bernoulli (1667-1748)], and for which a fascinatingly large number of seemingly independent solutions have appeared in the mathematical literature ever since Euler first solved this problem in the year 1736. We then investigate various recent developments on the evaluations and representations of ${\zeta}(s)$ when $s{\in}{\mathbb{N}}{\backslash}\;[1],\;{\mathbb{N}}$ being the set of natural numbers. We emphasize upon several interesting classes of rapidly convergent series representations for ${\zeta}(2n+1)(n{\in}{\mathbb{N}})$ which have been developed in recent years. In two of many computationally useful special cases considered here, it is observed that ${\zeta}(3)$ can be represented by means of series which converge much more rapidly than that in Euler's celebrated formula as well as the series used recently by Roger $Ap\'{e}ry$ (1916-1994) in his proof of the irrationality of ${\zeta}(3)$. Symbolic and numerical computations using Mathematica (Version 4.0) for Linux show, among other things, that only 50 terms of one of these series are capable of producing an accuracy of seven decimal places.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.353-365
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• 2018

This study is on the usage of bojagi recorded in Yeongjo Jeongsun Wanghu garye dogam uigwe. Major findings are as follows. The eighteenth century marked a period of entrenchment of Neo-Confucianism in the Joseon dynasty and the royal wedding was a tool to propagate Neo-Confucian values to the people. The bojagi used at King Yeongjo and Queen Jeongsun's wedding were made of simple red silk produced domestically to avoid extravagance. Uasge of costly flower-patterned silk from China was restricted to comply with the rules of the Kukhon jeongrye, which codified the royal marriage ceremony and the Sangbang jeongrye, which regulated royal attire. This modesty also shows King Yeongjo's determination to abandon lavishness.

• Journal of architectural history
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• v.20 no.3
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• pp.59-82
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• 2011

Based on travel literatures written by the Joseon literati, the different picture of seventeenth- and eighteenth-century Buseok monastery from the one today emerges. Not only do the buildings removed from the monastery today reappear, but the quite different way of the monastic operation comes to light. This observation leads to a speculation that the monastery was functionally and spatially divided into two territories; that of the Immeasurable life hall and of the Dharma hall. The Immeasurable life hall's precinct was built at the site open to the west providing a grand vista of mountainous area. This siting, originally having a close relation with the visualization such as the Sixteen contemplation, not simply gave such a special attraction that the first built architectural composition has lasted through the centuries to the late Joseon, but also granted to the Chwiweon pavilion located at the western side of the precinct a special meditative quality. As the monastery has suffered from a number of heavy duties in the Joseon period, the architectural attraction of the precinct was mobilized to promote the monastic identity as the legitimate monastery first built by Uisang, the founder of Hwaeom Buddhsim. Especially, the Chwiweon pavilion offered a mental space so that the literati might form an affirmative attitude toward the monastery and the monks. The Dharma hall's precinct was built based on the direct replication of the architectural layout presented in liturgy books for the Water and Land rite as well as the Vulture Peak rite. This layout is generally called the Court-type enclosed by four buildings, which has been widely fashioned in the late Joseon period. This characteristic gave to the Dharma hall precinct an arbitrary and anonymous quality, which helped not only avoid the tourism of the literati, but also secure the sacrality and ritual efficacy at occasions of Buddhist rites. This division of territories of the monastery can be understood as the strategic reaction from the monks in order to survive in the age of oppression against Buddhism. In result, the identity of Buseok monastery in the late Joseon was established as the Nine-rank sanctuary where Bodhisattvas permanently resided.

• Journal of the Korea Furniture Society
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• v.17 no.3
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• pp.95-111
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• 2006

These series articles were written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. In the first article of the series reports we already described the theoretical background of rockers and the Windsor and the Boston style among the American classic rockers from the eighteenth to the twentieth century. This article contained the characteristics of the styles of the Shaker rocker, the Wicker rocker, and the Platform rocker. The three periods associated with furnituremaking in the Shaker sect are; the Primitive Era, which lasted from 1790 to 1820; the Classical Era, from 1820 to 1860; and the Final Phase, from 1860 to 1935. The important skills the Shaker needed to make the Shaker rocker are woodturning joinery, seat braid weaving and steam bending for the slats. The Wicker rocker continues to be extremely popular furniture style as the wicker proved equally effective for translating the ornate vine-like motifs popular among Art Nouveau proponents. The Wicker rockers were developed for child's, gentleman's and lady's, and it represents the most diverse forms among the above mentioned styles. However the rocker skates were often clumsy and took up too much room, preventing the chair from being shoved close to the wall and out of the way. These problems were overcome by the Platform rocker. The most important innovation was the technical development of a stationary base, which allowed the chair to rock noiselessly, without skating along the floor. The Modernism of the modern furnitures in America and Europe were affected by the characteristics of the Shaker rocker, the Wicker rocker, and the Platform rocker.

• Journal for History of Mathematics
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• v.21 no.4
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• pp.153-168
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• 2008

This study investigates how high achievers solve a given mathematical problem. The problem, which comes from 'SanHakIbMun', a Korean mathematics book from eighteenth century, is not used in regular courses of study. It requires students to determine the area of a gnomon given four dimensions(4,14,4,22). The subjects are 84 sixth grade elementary school students who, at the recommendation of his/her school principal, participated in the mathematics competition held by J university. The methods used by these students can be classified into two approaches: numerical and decomposing-reconstructing, which are subdivided into three and six methods respectively. Of special note are a method which assumes algebraic feature, and some methods which appear in the history of eastern mathematics. Based on the result, we may observe a great variance in methods used, despite the fact that nearly half of the subject group used the numerical approach.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• Journal of Ginseng Culture
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• v.3
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• pp.38-53
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• 2021

This research uncovered that the world-renowned British Museum has displayed ginseng as part of notable exhibitssince its opening. The British Museum was established in 1753 upon the bequest of Sir Hans Sloane, a famous physician, scientist, and collector. At the heart of his collections was the vast amount of vegetable substance specimens. This study first reconstructed Sloane's collection activities in the context of British Imperialism and botanical science in the early modern period. It then traced the origins and routes by which four ginseng specimens were obtained: Radix Ginseng or ninzin from China (VS 532), Ginseng. Id (VS 8,198), the roots and seeds of ginseng (VS 7,825), and ginseng root (VS 12,140). These specimens were presumed to originate from one type of Korean ginseng from China, a Japanese ginseng variant from Japan, and two ginseng species from North America. The English public learned about ginseng and ginseng exhibits via a flourishing printing culture. In England, Korean ginseng was appreciated much more highly than American ginseng.

• (The)Study of the Eastern Classic
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• no.35
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• pp.387-414
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• 2009

This paper looks into the Confucius customs of Yiphu and Seungjung, that is respectively a problem of deciding the successor of the family and a matter of establishing Jongtong (宗統: the proper inheritance line of the family), especially concerning the funerary and ancestor memorial services through Seongho Lee Ik's discussion on proprieties, whose Yeahak (禮學: Studies on Proprieties) is representative of the eighteenth century Yeahak. Seongho Lee Ik sees that there is one penetrating principle that should apply the same concerning Jongtong, regardless whether it is for the state or for a family or whether it is for the royal family or for the gentry in or out of the state service. To establish this one penetrating principle, he emphasizes the manners that fit one's circumstance and social standing, proposed as the theory and practice of 'Seoin-garyea (庶人家禮: Proper customs that even common people with no official titles can practice in marking their important life events like coming-of-age, marriage, and death)'. These two aspects of Seongho seem at odds with each other at a glance. Yet given that he considers that keeping proprietary manners for their own social standings would help secure the fundamental social order, which is of supreme importance to him, it makes sense. Next, the most problematic issues about Seongjung and Yiphu are the timing when one can declare the 'absence of the patriarch' and the manner how one substitutes oneself for the absent patriarch. Seongho sees that it is one thing to 'inherit the Jongtong' and it is another to 'become a next patriarch'. Basically, he does not separate the problem of Jongtong by one's social standings. The real situation involved can be different based on one's social standing, he readily acknowledges. Yet, 'the unchangeable ethical principle between the father and the son' would prevail over the same regardless of classes, he insists. This attitude of his is in line with his philosophy of proprieties and his practical guidance that proposes 'Seoin-Garyea' with an appeal to establish fundamental social order based on the practice of proper manners in accordance of one's social standing as he philosophizes the rules of Jongtong on the base of the one penetrating principle.