• Publications of The Korean Astronomical Society
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• v.36 no.3
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• pp.79-95
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• 2021

This study aims to develop a restoration model of an armillary sphere of Tongcheon-ui (Pan-celestial Armillary Sphere) by referring to the records of Damheonseo (Hong Dae-Yong Anthology) and the artifact of an armillary sphere in the Korean Christian Museum of Soongsil University. Between 1760 and 1762, Hong, Dae-Yong (1731-1783) built Tongcheon-ui, with Na, Kyung-Jeok (1690-1762) designing the basic structure and Ann, Cheo-In (1710-1787) completing the assembly. The model in this study is a spherical body with a diameter of 510 mm. Tongcheon-ui operates the armillary sphere by transmitting the rotational power from the lantern clock. The armillary sphere is constructed in the fashion of a two-layer sphere: the outer one is Yukhab-ui that is fixed; and the inner one, Samsin-ui, is rotated around the polar axis. In the equatorial ring possessed by Samsin-ui, an ecliptic ring and a lunar-path ring are successively fixed and are tilted by 23.5° and 28.5° over the equatorial ring, respectively. A solar miniature attached to a 365-toothed inner gear on the ecliptic ring reproduces the annual motion of the Sun. A lunar miniature installed on a 114-toothed inner gear of the lunar-path ring can also replay the moon's orbital motion and phase change. By the set of 'a ratchet gear, a shaft and a spur gear' installed in the solstice-colure double-ring, the inner gears in the ecliptic ring and lunar-path ring can be rotated in the opposite direction to the rotation of Samsin-ui and then the solar and lunar miniatures can simulate their revolution over the period of a year and a month, respectively. In order to indicate the change of the moon phases, 27 pins were arranged in a uniform circle around the lunar-path ring, and the 29-toothed wheel is fixed under the solar miniature. At the center of the armillary sphere, an earth plate representing a world map is fixed horizontally. Tongcheon-ui is the armillary sphere clock developed by Confucian scholars in the late Joseon Dynasty, and the technical level at which astronomical clocks could be produced at the time is of a high standard.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.106-119
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• 2014

The $76^{th}$ National Treasure is consisted of seven volumes of Nanjung Ilgi (War Diary of Admiral Yi Sun-sin; each titled by the author based on the zodiac name of the year covered, i.e. Imjin Ilgi, Gyesa Ilgi, Gabo Ilgi, Byeongsin Ilgi, Jeongyu Ilgi, Sok Jeongyu Ilgi, Musul Ilgi), Seogancheob (Letters of Admiral Yi) and Imjin Jangcho (Drafts of Imjin War Reports of Admiral Yi). These are currently in the custody of Hyeonchungsa shrine, the state-managed memorial shrine of Admiral Yi, and has been added to UNESCO's Memory of the World Register in June 2013 in the appreciation of its historical and academic importance as a commander's hand-written battlefield accounts during Japanese invasions of Korea. Imjin Jangcho, among these nine volumes, is a record of battles, including observations on the enemy fleets, suggestions on naval matters, battle expenditure, and methods of battle preparation, transcribed by someone else according to Admiral Yi's instructions. It is Admiral Yi's honest detailobservations on the war situation during Japanese invasions of Korea from 1592 as a Naval Commander of Left Jeolla Province, till 1594 (Year 27 of King Seonjo's reign) as a Commander-in-Chief of the Naval Forces of the South. It is a draft of the war report to be submitted to the King in a single volume as a folio (each sheet folded once to produce one leaf) bound in a side-stitched binding with five holes and inner binding of twisted paper. This study explores the condition and the treatment performed on Imjin Jangcho which could have an implication for the conservation of cultural assets on paper of late Joseon Dynasty.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.271-278
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• 2019

Sochi Heo Ryeon (1808 ~ 1893), who was born in Jindo in the late Joseon Dynasty, is a master of three classes, caligography, painting.It is a representative painter who is called the founder of the Honam Paintings. He learned Confucianism, Buddhism, Taoism from choui and learned the basics of painting.He became a student of Kim Chung Hee as an introduction of choui. Since then, I have correctly understood the painting aesthetic that realizes the painting by the paintings and paintings of chusa. And he succeeded it in the art world of Honam. His life and artistic features are the wandering that lasted over 70, many work activities, and details the records habit of details of "Sochisillok". Sochi's paintings aimed at Namjong painting, expressing the simple and clear beauty of the free brush and the landscape painting of ye-hwang style. In addition, the peony was painted with bizarre rocks, expressing the lively beauty by changing the brush to be called 'Heo-peony'. And it fulfilled the desire for riches and honors and the taste of Sunbee at the same time, and it became a representative material of 'Unlimsanbang' after being passed on to the house. His naturalized style of painting and painting aesthetic have been influential to the art world in modern Korea until now, forming a painter 's vein for 200 years over 5 generations.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.279-286
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• 2019

Jo, Hee-ryong(1789-1866), who was given the title of "boss of the world handling a China inkt" in the late Joseon Dynasty, was from a noble family, but he claimed to be a yeohang-in himself. The byeoggyesa was formed based on Jong-in and they are engaged in literary activities. Hee-ryong Jo, "I do not follow people's back" is the art spirit of my life. The theory of the Holy Spirit has inspired emotion or inspiration as the essence of art. He pursued original aesthetics of painting with the true nature and personality as important. During his early 60s, the period of banishment for about three years had a profound impact on the identity and direction of his art world. During this period, he wrote four volumes, including "Hwaguamlanmug", "Uhaeagamgo", "Sugyeongjaehaeoejeogdog", "Hanwaheonjehwajabjon" and among his paintings with 19 paintings, eight paintings were produced, including "Hwangsannaengundo", "Bangunlimsansudo", "Maehwaseoogdo". These works reveal the Playful sokmi sprit, the grotesque of manual dexterity, and the aesthetic of painting through the natural divergence of natural nature.

• Journal of Conservation Science
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• v.37 no.2
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• pp.167-178
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• 2021

For the preservation and efficient content sharing of 5 volumes (2,866 pages) of Yu Kil-Chun's book published in 1971, which provides an important collection of data for the study of modern Korean history during the late 19th century (enlightenment period of Joseon dynasty). The books were purchased and its preservation status investigated and documented electronically by scanning for permanent preservation of content and to determine the condition of preservation at the time of documentation. The degree of deterioration and damage, such as discoloration, hardening, breakage, and damage in these 50 years old modern printed books was quantified through image analysis and made attempts to visualize the damaged areas. It was observed that the degree of deterioration and damage depended on the material and the surface condition of the paper used, the degree of exposure to light, and the storage environment. The comparison of the preservation status at the time of the photographing (or scanning) and judgment as to whether or not the image under investigation was artificially modified was accomplished by comparing the electronically documented images of Seoyugyeonmun (西遊見聞) in Volume 1 of Yu Kil-Chun's works with images provided on other websites. Practical problems encountered while considering the effective preservation of electronically documented data and publicly sharing it, in the course of this study, with other academic researchers around the world were also summarized.

• The Korean Journal of Archival Studies
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• no.67
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• pp.205-236
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• 2021

This study examined the record destruction problem systematically implemented by the Japanese colonial rule during the wartime period, centering on the persistence of the remaining records of Government-General of Chosen. It became clearer to recognize the historical probabilities that the decisions made by the Japanese cabinet were carried out on official documents in the same way throughout the empire, including mainland Japan and colonies. It was also confirmed that a system for disposing of records, such as reduction and organization of public documents, and recycling of paper resources, has already been established against the backdrop of the situation where the war spread and the war situation worsened after the late 1930s. In addition, it was attempted to extract the types and characteristics of documents discarded by the Japanese colonial rule through a review of the regulations on handling secret documents of the Government-General of Chosen and the regulations on the police department. At the same time, it was found that various chiefs (subsidiaries) that could know the status of documents to be retained or the status of preservation according to the governmental regulations revealed that there was no single book, and this was directly related to the massive destruction of official documents by the Joseon Governor-General immediately after defeat.

• (The)Study of the Eastern Classic
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• no.63
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• pp.195-219
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• 2016

This study aims to examine what Sword martial arts was enforced to military in Hullyeon dogam, Geumweyeong, and Eoyeong-cheong through Siye in chapter gunjeong of Mangiyoram.. The conclusions are as in the following. First, the typical type of siye performed to military were jungsun and gwanmujae. magun and bogun were performed separately with chosi as their center and the basic forms of test have wongi and byeolgi in common. Second, there was a special restriction of application in jungsun. applicants in waegeomgyojeonsu must not apply yedo and hyeopdo in duplicate and applicants in yedo and hyeopdo must not do in the same manner. this was a considerate system to the military because they could be a professional through a systematic training of only one kind of Sword martial arts. Third, one of the special features in gwanmujae was bogun byeolgi. waegeomgyojeon, yedo, hyeopdo, eonwoldo, jedokgeom, bongukgeom, deungpae were designated and performed. 7gi except Sword martial arts in muyedobotongji. Sword martial arts was actually supplied and very helpful to the military. Forth, Siye made the military practice skills and improve martial art ability of their own free will and it was a great reward system to an excellent military at the same time. through this study we can understand the concrete meaning of Sword martial arts at the central military camp in late Joseon dynasty.

• The Journal of Korean Philosophical History
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• no.38
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• pp.129-162
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• 2013

Noju Oh Hui-sang was a Confucian who was active during the reign of King Sunjo in late Joseon Dynasty and he also was a master of the Sallim faction. Though he is known as an eclectic Neo-Confucian, he had profound knowledge in the study of Confucian classics as well through succeeding the family study handed down by his father Oh Jae-sun and his oldest brother Oh Yun-sang. This thesis hereby examines Noju's Confucianism doctrine and its characteristics. Noju's Confucianism doctrine is characterized significantly with the following aspects. First, its analyses are detailed overall and it annotates chapters and verses mostly related to Neo-Confucian theories on interpretation of the Confucian classics. Second, it conducts in-depth study not only on Chu Hsi's annotation but also on the small commentaries (小注) in Compendium of the Commentaries on Four Chinese Classics (四書集註大全). In terms of Chu Hsi's theory, however, Noju interprets Confucian classics while supplementing shortcomings on Chu Hsi's theory rather than opposing it. For opinions of all philosophers and scholars on small commentaries, it expresses rather critical theories than supporting ones. Third, it quotes many theories not only of Chinese Confucians but also of Korean ones. It mainly introduces theories of Namdang Han Won-jin, including those of Yi Yulgok. Among them, it particularly has frequent quotations from Han Won-jin's Kyoungyigimunrok (經義記聞錄). Fourth, Noju actively acknowledges senior Confucians' theories many times in quoting them but he also daringly points out their errors when a theory is thought not to be appropriate. He indicates errors one by one in theories not only of Uam and Yulgok but even of Mencius. Fifth, it especially discusses Book of Changes (周易) in depth. It tends to criticize Chengzi's I-Chuan (易傳) but accept Chu Hsi's Benyi (本義). It roughly explains Book of Changes in general but seldom directly accounts for trigrams of it other than Qian trigram and it has detailed explanation especially on Xicizhuan (繫辭傳).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.39-48
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• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.