• Journal of the Korean Geographical Society
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• v.51 no.6
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• pp.739-759
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• 2016

C. Gottsche(1855-1909), the Deutsch geologist, was invited by $M{\ddot{o}}llendorff$ who was the viceminister of foreign affairs in Korea, and travelled through the inland of Korean peninsula in 1884. He covered 2,550km in 138 days. After that journey, he wrote three academic papers about the geography and geology of Korea with the data of that field trip. Those paper bear considerable significance in that they included the first approaches to Korean geography and geology by a field-scientist with a modern academic training. Unlike other two papers focusing on the geology or the minerals, "The Geography of Korea(${\ddot{U}}ber$ Land und Leute in Korea(1886))" has its own value as a historical document, because it shows how the contempory Korea actually appeared to the eye of a $19^{th}$ western field-scientist. As this has not been introduced in Korean acdemic journals yet, this study might contribute to the understanding of how westerners regarded Korea in the end of 19th century.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.27 no.4
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• pp.269-282
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• 2017

Objectives: Currently, masks against yellow dust and fine particulates are being certified with no consideration of facial dimensional variations among children and adults. The aims of this study were to develop masks against yellow dust and fine particulates for children in Korea and provide basic data to suggest new test methods for mask certification that consider the breathing capacity of children. Methods: A total of 730 study participants aged from six to 13 years old were recruited in the Seoul, Gyeonggi, and Incheon region. This study used a 3D scanning instrument to obtain 16 facial anthropometric data points. Literature reviews, a comparison of breathing capacity between adults and children, and analysis of children's pulmonary physiological data were conducted in order to suggest new test standards for certifying children's masks against yellow dust and fine particulates. In addition, types of children's masks, choice of wearing a mask or not, and reasons for not wearing masks were surveyed. Results: Based on a clustering analysis of participants' facial dimensions, facial shapes were classified into three groups: small, medium, and large. The sizes of children's masks were subtracted by using 3D sketch techniques(Large: $121.25mm{\times}89.46mm$, Medium: $111.92mm{\times}78.55mm$, Small: $102.13mm{\times}72.87mm$). In certifying children's mask, flow rates of $60{\ell}/m$ for the filtering efficiency test and $20{\ell}/m$ for the breathing resistance test were recommended, since children's pulmonary physiological capacity is about 60-70% of adults' pulmonary capacity. Conclusions: The results of this study suggest that three mask sizes for children would be sufficient and practical for providing protection against yellow dust and fine particulates. Revising current test methods for certifying respiratory protective devices for children is important, since children's pulmonary physiological capacity substantially differs from that of adults. Therefore, it is recommended that new test standards for certifying children's masks be promulgated in the near future.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.