• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.118-141
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• 2024

This study investigates and analyzes ancient literature records and iconographic materials to examine the Willow Tree Fence(樹柵) built on Gasan(假山) Cheonggyecheon(淸溪川) within the Hanyangdoseong, which was deliberately created to prevent flood damage during the Joseon Dynasty. Although there have been research cases related to the willow tree, it is difficult to find research conducted with the purpose of identifying its archetypal value by investigating and analyzing specific use cases of the willow tree and its historical background. Accordingly, this study aims to identify examples of the Willow Tree Fence(樹柵) created in Cheonggyecheon(淸溪川) during the Joseon Dynasty and reinterpret their value by illuminating the background of construction and regional characteristics. The main contents of this study are as follows. It is presumed that floods during the Joseon Dynasty were a great hazard. Between the 16th and 18th centuries, Joseon suffered severe damage from floods. By the time of King Yeongjo, all Four Mountains(四山) of the capital had become bare mountains, which was the cause of frequent floods. In the year of Gyeongjin(庚辰, the 26th year of King Yeongjo's reign, 1760), King Yeongjo dredged the channel bottom of Cheonggyecheon(淸溪川), which overflowed every rainy season, with the Juncheon Project(Channel-Dredging, 濬川事業) and planted willow trees on the mountain on both sides of the Ogan Water Gate(五間水門), as measures to prevent flood damage and soil loss. was implemented. In the <Doseongdo(都城圖)> in 《 Gwangyeodo(廣輿圖)》 produced in the mid-18th century during the reign of King Yeongjo, Gasan(假山), built in front of the Ogan Water Gate(五間水門) is visible, and in the record 『Sinjeung Donggukyeoji Seungnam(新增東國輿地勝)』 In the record, it appears that willows were planted on both sides of the mountain in the year of Gyeongjin(1760). With <Hanyangdoseong Map(漢陽都城圖)> produced in the 46th year of King Yeongjo's reign(1770), it is confirmed that willow trees formed a thick forest on Gasan Mountain near the Ogan Water Gate(五間水門) in the late 18th century. In addition, the Juncheon Project(Channel-Dredging, 濬川事業) and the creation of the Willow Tree Fence(樹柵) continued from the 15th century, the early Joseon Dynasty(朝鮮前期), to the end of the 19th century, the late Joseon Dynasty(朝鮮後期), through the records of ancient literature such as 『Annals of the Joseon Dynasty(朝鮮王朝實錄)』, 『Seungjeongwon Diary(承政院日記)』, and 『Records of Daily Reflections(日省錄)』. This study is meaningful in informing that the willow tree was a unique cultural heritage and traditional landscape resource by investigating the composition and use of the Willow Tree Fence in the Joseon Dynasty, which was a great basis for preventing floods and flood damage, as well as forming a beautiful landscape.

• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Journal of agriculture & life science
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• v.43 no.6
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• pp.53-57
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• 2009

The Oriental flower arrangements have the beauty of a strict triangle in a symmetrical three-dimensional effect as the form of flower tribute to gods in ancient times and used frogs to fix flowers to a basin easily. Flower arrangements of a conical shape made by repeatedly piled flowers in ancient Egypt shows the origin of the present vertical form of the Western flower arrangements. Flower arrangements in ancient Greece formed in a smooth S shape, while Roman flower arrangements were rich and gorgeous in a lowering and thin shape horizontally. Persians were showing triangular forms similar to the Oriental three-dimensional effect. The basic form of flower arrangements in the age of Renaissance was also created upon the ancient one, descending to Art Nouveau when flower arrangements were widely expressed from mass to space aesthetics led by America in the 20th century influenced by mild color, simplicity and realistic description of the Oriental art in the late 19th century. The Western flower arrangements are focused on formation, same as the Oriental ones, yet they disregard naturality and based on practicality.

• Journal of Digital Convergence
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• v.19 no.4
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• pp.227-233
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• 2021

Ready-made products produced in the industrialized consumer society after the 20th century have been adopted by artists as a new material called "Found object," and are reinterpreted in a broad sense in their works. The method of giving new meaning using this creates a new paradigm that is expanded conceptually as well as expression style. After Pablo Picasso's in 1912, when the Found object was used for the first time in contemporary art, we examine the development of objects through Dadaism, Surrealism, and Pop Art, and the expression of Found objects in the late 20th century. In this study, the artists and their work are analyzed by dividing it into three types: 'Unprocessed objects', 'Transformed objects', and 'Tenant objects', depending on how the Found object is mixed in works. Through this study, I pay attention to the fact that a work incorporating a Found object not only develops the object materially, but also allows the practice of free concept art to escape from the traditional norms of art.

• Communications of Mathematical Education
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• v.25 no.2
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• pp.341-360
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• 2011

This paper deals with contents that Sang-Seol Lee contributed to the natural science in the 19th century Korea. Prof. Sung-Rae Park, the science historian, called Sang-Seol Lee Father of the Modern Mathematics education of Korea. Sang-Seol Lee wrote a manuscript Botany with a brush in late 19th century. Botany was transcribed from Science Primers: Botany (written by J. D. Hooker), which is translated into Chinese by Joseph Edkins in 1886. The existence of Sang-Seol Lee's book Botany was not known to Korean scientists before. In this paper, we study the contents of Botany and its original text. Also we analyze people's level of understanding Western sciences, especially botany at that time. In addition, we study authors of 16 Primers jar Western Knowledge. We study the contribution of mathematician Sang-Seol Lee to science education in the 19th century Korea.

• Journal of Conservation Science
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• v.37 no.2
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• pp.120-134
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• 2021

A Woolen carpet from the late Joseon Dynasty was unearthed in the process of repairing Seongjeonggak in Changdeokgung. Since relics are rarer than documentary records, the woolen carpet is highly valued as a relics. It is presumed to have been woven in the late 19th or early 20th century because there is a record of repairing Seongjeonggak in 1907. In the carpet, a pattern is made by inserting colored yarn dyed yellow and red onto a reddish-purple ground weave. The selvage of the woolen carpet used cotton thread, and jute is used for the warp and weft of the ground weave. The colored patterns is made of wool in the form of loop pile. Cut piles may appear occasionally when the colored yarn changes, but are almost invisible from the surface because they are pressed tightly with a shuttered weft. Making carpets with jute and wool is thought to be influenced by the Brussels carpets of the mid-18th century. Furthermore, the woolen carpet is torn and the pattern is completely unclear; however, it is understandable that the pattern is partially repeated. Microscopic and Fourier transform-Infrared spectrometer(FT-IR) analyses were performed for the above investigation. To identify the dyes used in relics, we compared them with natural dyed fabric samples based on chromaticity measurements and Ultraviolet/Visible spectrophotometer(UV-Vis) analysis. These analyses revealed that the woolen carpet's dyed green yarn did not use indigo, and reddish-purple ground weave is estimated to have used Caesalpinia sappan.

• Journal of the Korea Furniture Society
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• v.22 no.2
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• pp.101-111
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• 2011

The intention is to explore the differentiation or evolution of the chest of drawers in traditional Korean, Western, and Japanese furniture in order to know how the drawers currently becoming popular in Korea were developed historically. The Korean furniture centered in $Jang$, $Nong$, and $Bandazi$ used in the tradition generally, the Western furniture involved in drawers, and the Japanese furniture called $Tansu$ in Japanese called the chest of drawers were focused on the study because the Western and Japanese drawers affected the development of the chest of drawers in Korean furniture during the late 19th century and the Japanese Ruling Era, respectively. As a result, the Korean furniture was not shown the chest of drawers but only small drawers that store small items located in the upper part of $Jang$, $Nong$, and $Bandazi$ mostly used as wardrobe, while the traditional Japanese furniture developed from Edo period (1607-1868) had showed a wide variety of chest of drawers like $Isho-dansu$, $Mizuya-dansu$, $Kusuri-dansu$, $Cho-dansu$, $Funa-dansu$, $Kaidan-dansu$, $Nagamochi-dansu$, $Kuruma-dansu$, and so on, for specialized storage. And in the traditional Western furniture were presented the chest like a large-box form, mule chest, chest of drawers, cabinet, commode, highboy, tallboy, wardrobe, secretary drawer and bureau with document drawer invented and evolved throughout the 15th-18th century. Therefore, the chest of drawers in contemporary Korean furniture is supposed to adopt the Japanese and Western drawer form and to ensure the continual production from the obvious utility of the design with decoration for our current everyday lives.

• The Southeast Asian review
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• v.21 no.2
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• pp.155-182
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• 2011

The purpose of this paper is to examine the process of Islamization in Java, focusing on religious discourse among Muslim intellectuals. How Islamic tradition and knowledge have been perceived and utilized and how they have interacted with those of non-Islamic origin will be discussed. For this, three Islam-related books written in different phases of Islamization are to be analyzed: Babad Tanah Jawi compiled by Mataram court in the 17th century, Serat Cabolek written by a court poet in the late 18th or early 19th century, and Fikih Anti-korupsi published by reformist and scriptural organization of Muhammadiyah in 2006. Babad portrays conversion to Islam as a process which does not demand a dramatic outward change in religious practice. Scriptural tradition of Islam and the dichotomy between what is Islamic and what is not were not mentioned in order to explain conversion. Spiritual and mystical enlightenment was emphasized heavily, and for this, the importance of non-Islamic traditions was fully acknowledged. Serat tells us that this period was characterized by the surge of scriptural and shariah-minded Islam, maintenance of non-Islamic traditions, clashes between scriptural Islam and old religious traditions, and Javanese efforts to harmonize these. In Fikih, non-Islamic tradition is replaced by scriptural Islam and disappears totally. Interpretations based on the Scriptures, however, do not monopolize it and are used together with mode of analysis from the West. It is too much to call this 'intellectual syncretism', in that Islamic Scriptures and Western knowledge do not mix but stand side by side. Three books under examination reveal that the process of Islamization in Java has not been uniform. It has been conditioned and shaped by local socio-cultural and historical circumstances, where active engagement and intellectual exercise of Javanese Muslims have played key roles. Even Islamization in the last few decades is not an exception. The surge of scripturalism and fundamentalism does not simply bring about a move to Arabization. Interacting with local intellectual and socio-cultural milieu, this has produced a sort of intellectual hybridity, which is unique to Muslim society of Java.

• Journal of North-East Asian Cultures
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• v.28
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• pp.339-363
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• 2011

This thesis examines analyzing how historic knowledge was shaped in museum. Examining by Tokyo Imperial Museum, Government General Museum of Taiwan, Yi Wang Ga Museum, Government General Museum of Chosun, and NanTong Museum of late 19th and early 20th century, tried to find out similarities and differences. These museums are similar in that they adopt museums as modern system considering models of other countries(Europe or Japan) and exhibitions played important roles in gathering relics. Experts who leaded adoption of western civilization played an important role. These experts were conservatives who valued tradition and relics while they aimed for western civilization. It originated in the character of museum system. Historical Knowledge by museums was constituted with five combinations of conceptions which are nationality, locality, coloniality, and artistry. Every museum cannot help having modernity for museum itself is modern system. Modernity was symbolized by museum building of western style in Yi Wang Ga Museum, Government General Museum of Chosun. Tokyo Imperial Museum revealed nationality in that it tried building of imperial history which includes colonies. In early time, Tokyo Imperial Museum pursued modernity and artistry, however it concentrated on artistry than modernity later. We can find locality in that Tokyo Imperial Museum tried to find meaning about Japanese art by relating with natural characteristics. It is Taiwan Governor Museum that extremely expressed coloniality and artistry was not considered. Government General Museum of Chosun could not be exceptions of features of coloniality, but it need to recognize that artistry was focused all over the exhibitions. It was NanTong Museum that most directly expressed locality. Like these, Museums of East Asia established in around 1900 made different historical knowledge by varying weigh of five factors, nationality, locality, modernity, coloniality and artistry.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.31-42
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• 2008

The fashion of the 19C had been through many diverse styles, i.e. Empire style, Romantic style, Crinoline style and the Bustle style. These styles had emphasized a certain figures, such as exaggerated hourglass silhouette of crinoline style or S silhouette of bustle style. Following the trends, corsets became more than underwears. Actually they supported the fashion of the 19C. Apparently, the corsets had been evolved in many aspects. Patterns, materials and trimmings were developed and refined to make torso figures desirable. The initial purpose of the research is to find out how they developed corset patterns to make such a diverse figures, so that the techniques can be adopted in contemporary pattern design. The 16 corsets and their patterns were quoted from books related the subject. The patterns were redrawn of same scale for the comparative study concerning cutting lines and measurements. Coming to the late, more curved lines and more segmented cutting were used to make body more of glamour and natural. Gussets were another key technique to make them work. Various sized and shaped gussets were used to follow the trends of ever changing.