• Journal of Ginseng Culture
• /
• v.1
• /
• pp.93-109
• /
• 2019

This study aims to look at the process of ginseng being removed from the Western pharmacopoeia in the 19th century, experiencing a crisis as an export product in the America in the 20th century, and eventually settling in the U.S. society and the military as a dietary supplement in the 21th century. In this process, the legislation of provided a bridgehead for ginseng and other botanical dietary supplements to enter the U.S. market. As a result, ginseng could be re-listed in the U.S. pharmacopoeia as a dietary supplement. However, this did not mean a complete soft landing of ginseng and other botanical dietary supplements in the America. The U.S. medical community, which has been afraid of the indiscriminate spread of botanical dietary supplements, has constantly raised "the risk-discourse" and expressed concerns over the use and abuse of botanical dietary supplements that have not been scientifically verified. This involved not only the fundamental problems caused by the lax verification process of , but also a new atmosphere in the U.S. where the public sought information about botanical dietary supplements rather than seeking professional clinicians related to their health. Against this situation, "the advocate-discourse" suggested by dietary supplement manufacturers and the people in charge of botanical products seemed rather relaxed. As consumers are taking this side, the advocates had only to stress that botanical dietary supplements have been used worldwide for a long time without any problems and were made from 'natural' materials. The fact that ginseng and other botanical dietary supplements were able to advance to the U.S. Military's dietary supplement manual, which is strict in controlling food, seems to have jumped on the bandwagon of this atmosphere in the U.S. Society. In the early U.S. dietary supplement manual reviewed in this paper, ginseng was the most detailed among many botanical dietary supplements. Although there are some 'safety concerns' that still exist in the civilian society, but there are also certainly good scientific explanations for the efficacy and references to the popularity and influence of ginseng in the American society. Given this, the U.S. society and military's interest in ginseng as a dietary supplement seem quite high.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.155-180
• /
• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.417-434
• /
• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.171-176
• /
• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.30 no.6 s.154
• /
• pp.948-960
• /
• 2006

Chogakpos are highly artistic works created by Korean women as a part of the Kyubang culture in the Chosun Dynasty from the late 19th century to the early 20th. Tessellation is a plaid pattern composed of squares that covers a surface or a space with figures completely without any gap or overlap. The present study purposed to make a comparative analysis of the formative pattern of Chogakp and tessellation in order to show the superiority of Korean Kyubang(the women's quarters called Kyubang in the Chosun Dynasty) culture. As for the research method, we analyzed relevant materials to examine the geometric characteristics and formative principles of tessellation. In addition, we analyzed the formative pattern of Chogakpo using Photographs. The scope of this study was limited to 148 old Chogakpos contained in Huh Dong-hwa's 'Yetpojagi'. According to the results of this research, similarities between Chogakpo and tessellation were as follows. First, in a regular polygon, the face was divided into regular triangles, squares and two or more regular polygons. Second, in a polygon, the face was divided into triangles and quadrangles. Third, the symmetry of tessellation was applied to Cintamani pattern Pojagi. Differences between Chogakpo and tessellation were as follows. First, different from Chogakpo, tessellation had various formative patterns utilizing different regular polygons including hexagons. Second, there was no overlapping repetition in tessellation. Third, there was no free pattern in tessellation.

• The Journal of Korean Medical History
• /
• v.19 no.2
• /
• pp.29-47
• /
• 2006

Because the size of population was directly related to the power of the nation in the Chosun Dynasty, various efforts were exerted to maintain the size stable and the keys to the efforts were a high birth rate and a low death rate. However, in addition to wars, epidemic diseases had an enormous effect on the death rate. Particularly during the mid Chosun Dynasty, epidemic diseases were more prevalent than ever due to the abnormal climate called the little ice age. To cope with them, the government executed several medical relief policies and published medical books. In Chinese epidemiology, infectious diseases mean sicknesses caused by hot weather, but in Korean epidemiology, they indicate large-scale infectious sicknesses caused by both hot and cold weather. Therefore, as treatment methods for diseases from the cold were not applicable to the pathology of epidemic diseases, China developed separate epidemiology. In Korea, however, the main concern was how to prevent epidemic diseases, whether from hot or cold weather, that drove many lives into death. The characteristics of Korean epidemiology are as follows. First, whenever epidemic diseases were prevalent, in order to cope with them, translated medical books were promptly published including Ganibyeokonbang, Bunmunonyeokihaebang, Sinchanbyeokonbang, Byeokyeoksinbang and Byeokonsinbang. Second, those books were annotated in Korean so that people could read easily and accurately. Third, as an extension of the Hyangyak movement from the late Koryo Dynasty, Danbang was used a lot to treat and prevent epidemic diseases with less financial burden, and things obtainable easily according to individuals' situation were mentioned for anybody to overcome the emergent situation of epidemic diseases. Fourth, methods for praying to God were suggested for practitioners to work with sincere spirit and to keep themselves from epidemic diseases.

• The Journal of the Korea Contents Association
• /
• v.12 no.8
• /
• pp.146-156
• /
• 2012

Film was invented by human's desire to copy the real world, starting in the late 19th century. Since the birth of cinema, It was given mission to replay of the real world. On the other hand, cinema was regarded as a fictitious art form. Although the invention of film brought about experience of replaying of the real world it has been reproduced reality with creative story. And it also has been represent reality with sense of reality. Cinema's way of reproduction implied conflicting concept of mimesis. Triple Mimesis of Paul Ricoeur was an idea expanded into an analytical concept from that simple concept of mimesis. The purpose of this study was to examine the prefiguration of shown behavior in Columbine High School massacre based on Triple Mimesis of Paul Ricoeur. It also was to examine a form of representation on cinema which is 'Elephant' and studied how the form of representation on Elephant could interpret by audience. It could be define the relationship between reality and reproduction through this esthetic study. This paper attempted to build the method communication between the originator and audience with a whole analytic process of time and story on the cinematic representation.

• Journal of the Society of Disaster Information
• /
• v.13 no.1
• /
• pp.15-25
• /
• 2017

Since the late 19th century, the annual average temperature of the Earth has risen due to excessive emission of greenhouse gases, and abnormal weather phenomena such as heavy rain and heavy snowfall have been increasing frequently all over the world. In a city with high population growth due to high economic growth, fire and terrorist accidents can cause serious property damage and human casualties. The purpose of this study is to propose the need for evacuated facilities to protect victims, and suggest adequate shelters' size which can be protectable them. In spite of the Ministry of Public Safety and Security designated 3.3 square meters of per capita capacity, they does not specify the basis about setting this criterion.

• Restorative Dentistry and Endodontics
• /
• v.35 no.1
• /
• pp.20-23
• /
• 2010

Mouthguards were used to protect boxers from lip lacerations and other soft tissue injuries in the late 19th century. Now they are used various parts of dental treatment, which are sports protective aid, bleaching tray, orthodontic retainer, implant insertion guide tray, splint and so on. Repeated dislodgement of Class V restoration due to habitual clenching stress should be restored with stress control. Mouthguard can be used as stress relief device. This case describes methods that can relieve occlusal force to teeth by using mouthguard. Satisfactory results can be obtained by using mouthguard for retention of repeated dislodgement Class V restorations. If patients suffered from repeated restorations of Class V due to clenching, mouthguard can be used additional device to relieve the occlusal stress in conservative dentistry.

• Maxillofacial Plastic and Reconstructive Surgery
• /
• v.13 no.2
• /
• pp.137-143
• /
• 1991

The bulging of mandibular angle area, frequently, make some difficulties in social life due to its reckless appearence, especially in oriental nations. So, many authors had reported its causes and surgical techniques for correction since late 19th century with diagnosis of masseter hypertrophy. But in spite of its muscular origin, major surgical techniques, in general, should aim complete bony reduction or osteotomy and supplemental myotomy as in hemimandibular hypertrophy or mandibular elongation. We used ultrasonogram for soft tissue depth estimation and expearenced some complications such as incomplete lingual cortical bony reduction, condylar fracture in mandibular angle reduction via intraoral circumvestibular approach. So we reported our surgical technique for angle reduction with possible complications.