• Korean Journal of Heritage: History & Science
• /
• v.49 no.1
• /
• pp.100-119
• /
• 2016

The concept of "original form" and the principle of "maintaining the original form" take center stage in conservation, management, and promotion of the domestic heritage. Introduced in the 20th century, there were little discussion or deliberation about the concept of "original form" therefore it remains a vague and somewhat abstract notion subject to individual interpretation. Without a specified practical meaning, "maintaining the original form" became the fundamental principle for heritage conservation and management in the 1999 version of the Cultural Heritage Protection Act, engendering difficulties in applying the principle in practice. Conceived as an important first step toward resolving the issues stemming from the indistinct concept of "original form," this paper explores the process through which the concept was introduced to Korea and then established and developed as a legal principle for heritage conservation, management, and promotion. While the examination of the related documents and various cases shows that the development of the concept of "original form" has centered on specific periods and architectural styles, this essay explicates that the notion "original form" is commonly used as a term referring to the form at the earliest possible temporality. It also explains that this view emanates from perceiving heritages not as multivalent objects, but as a material object that exclusively carries aesthetic and, more importantly, historical value, and that comes from the history awareness of the times. This essay suggests that the concept "original form" should be reestablished with full consideration of the diverse values of heritage and diverse forms through which heritage can be expressed. After reviewing the feasibility and practicality of the concept a set of concrete guidelines should be presented for application in practice.

• Korean Journal of Heritage: History & Science
• /
• v.34
• /
• pp.124-136
• /
• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.

• Journal of the Korea Institute of Building Construction
• /
• v.20 no.6
• /
• pp.489-495
• /
• 2020

Whereas the control of the hydration heat in mass concrete has been important as the concrete structures enlarge, many conventional strategies show some limitations in their effectiveness and practicality. Therefore, In this study, as a solution of controling the heat of hydration of mass concrete, a method to reduce the heat of hydration by controlling the hardening of cement was examined. The reduction of the hydration heat by the developed Phosphate Inorganic Salt was basically verified in the insulated boxes filled with binder paste or concrete mixture. That is, the effects of the Phosphate Inorganic Salt on the hydration heat, flow or slump, and compressive strength were analyzed in binary and ternary blended cement which is generally used for low heat. As a result, the internal maximum temperature rise induced by the hydration heat was decreased by 9.5~10.6% and 10.1~11.7% for binder paste and concrete mixed with the Phosphate Inorganic Salt, respectively. Besides, the delay of the time corresponding to the peak temperature was apparently observed, which is beneficial to the emission of the internal hydration heat in real structures. The Phosphate Inorganic Salt that was developed and verified by a series of the aforementioned experiments showed better performance than the existing ones in terms of the control of the hydration heat and other performance. It can be used for the purpose of hydration heat of mass concrete in the future.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.2
• /
• pp.78-97
• /
• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• (The)Study of the Eastern Classic
• /
• no.69
• /
• pp.451-479
• /
• 2017

The objective of this study is to examine the tasks for listing martial arts of "Muyedobotongji" on the UNESCO Representative List of Intangible Cultural Heritage of Humanity. The conclusions are like below. First, "Muyedobotongji" was published in 1790(14th year of King Jeongjo). The 24 martial arts of "Muyedobotongji" were basically divided into three types like stabbing, chopping & cutting, and hitting. Second, the value of martial arts of "Muyedobotongji" is highly evaluated because it has systematically put together the martial arts of three countries like Korea, China, and Japan of the 18th century, suitable for the actual status of Joseon Dynasty, in the new perspective. The value of "Muyedobotongji" as a Memory of the World is the martial arts book emphasizing the practicality, so that everyone including officers and soldiers could easily learn. Third, the procedure of registering martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity has three stages including preparation/submission, screening, and decision, which takes two years. Especially, the screening assistance organization, as an organization under the Intangible Cultural Heritage Convention Intergovernmental Committee is composed of total six countries(one for each area) out of 24 member countries. Fourth, the tasks for listing martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity are like following. (1) It would be necessary to conduct a total inspection of the collection of "Muyedobotongji". (2) It would be necessary to designate the martial arts of "Muyedobotongji" as the municipal/provincial/national intangible cultural heritage. (3) It would be needed to standardize the practical martial arts technique/movement of "Muyedobotongji". (4) The historical evidence of martial arts costumes/weapons of "Muyedobotongji" should be studied. (5) A committee for the registration of martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity should be organized. (6) There should be a close cooperation system between relevant departments like the World Heritage Team of Cultural Heritage Administration and the Ministry of Foreign Affairs. (7) Domestic/foreign data related to martial arts of "Muyedobotongji" should be comprehensively collected to meet the registration standard of UNESCO. (8) The registration type of Intangible Cultural Heritage of Humanity should be prepared.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.357-380
• /
• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.1
• /
• pp.47-55
• /
• 2023

In this study, the following conclusions were drawn by analyzing the size, proportion, shape, angle, distribution, etc. of stones in order to identify the principles of facade molding of stonework of the 5th to 7th centuries of the Silla Dynasty. First, the uniformity of the size of the stones of the stone foundations of the Silla Dynasty was low at -0.8 to 4.1. This means that stones of various sizes were used, from small stones to large stones. In addition, the distribution of large stones in stonework of the Silla Dynasty appeared evenly regardless of height. This was common in the stonework of the Silla Dynasty, regardless of structural classification such as wells and mountain fortresses. It is thought that the Silla people did not only pursue practicality and efficiency in stone construction, but also considered design elements. Second, the proportional deviation of the stones of the stone walls of the Silla Dynasty was high, ranging from 0.861 to 1.515. This means that the stonework of the Silla Dynasty did not use only long flagstone-shaped stones, but used a mixture of long and short stones. Third, the shape average of the stones of the stonework of the Silla Dynasty was low at 0.45, and the shape deviation was high at the maximum of 0.15. This means that the stones as a whole have irregular shapes, and each stone has a high difference in shape. Fourth, the angle deviation of the stones of the Silla Dynasty was 4.3 to 16.2, and the average angle was 2. This means that the angle of each stone on the stone axis of the Silla Dynasty is tilted to the left and right. Fifth, there was no correlation between stone size, slenderness ratio, shape, and angle in the stone axes of the Silla Dynasty. In the case of stone axes in the Joseon Dynasty, there was a positive correlation between stone size and slenderness, and a negative correlation between stone size and shape. It can be said that the stones of the Joseon Dynasty were relatively standardized, but the Silla Dynasty showed the beauty of moderation by keeping the nature of the material and becoming one with the material.

• Korean Journal of Psychosomatic Medicine
• /
• v.31 no.1
• /
• pp.25-32
• /
• 2023

Objectives : This study investigated the level of sexuality knowledge and gender sensitivity and factors influencing on them among Korean high school and college students. Methods : 129 questionnaires from high school and college students with consent forms, collected from July to December of 2022, were analyzed. After identification of participants' gender, age, major, their report of the practicality of sex education, and their experience of violence or sexual assaults, participants' level of sexuality knowledge and gender sensitivity were compared. Results : Females showed higher gender sensitivity, regardless of age and group (p=0.004). The early adulthood group (≥19 years old) showed higher sexuality knowledge and gender sensitivity, compared to those adolescents (<19 years old). Among college students, those who majored in health science were identified with higher sexuality knowledge and gender sensitivity, compared to non-health science major students(p<0.001; p=0.005). Conclusions : This study revealed the significant differences in sexuality knowledge and gender sensitivity according to sex, age, and majors in adolescents and early adults. Therefore, it seems to be necessary to consider the differences in sexuality knowledge and gender sensitivity among age, sex, and majors when establishing public policy or legislation for sex crimes, including digital sex crimes.

• Therapeutic Science for Rehabilitation
• /
• v.12 no.4
• /
• pp.9-22
• /
• 2023

The Lifestyle-DEPER (Decision, Execution, Personal Factors, Environment, Resources) model explains lifestyle formation. Lifestyles are shaped through the decision, execution, and habituation stages. Factors influencing the establishment of a lifestyle are categorized as environmental, resource, and personal. The environment encompasses our surroundings and social, physical, cultural, and virtual environments. Resources refer to what individuals possess, such as health, time, economic, and social resources. Personal factors include competencies, needs, and values. At the lifestyle establishment stage, each of these factors influences a different stage. These collective processes are referred to as events, encompassing both personal and social events. Health-related lifestyle factors include physical activity, nutrition, social relationships, and occupational participation. These are the goals of lifestyle intervention. The intervention strategy based on the Lifestyle-DEPER model, called KEEP (Knowledge, Evaluation, Experience, Plan), is a comprehensive approach to promoting a healthy lifestyle by considering lifestyle formation stages and their influencing factors. This study introduces the Lifestyle-DEPER model and presents a lifestyle intervention strategy (KEEP) to promote health. Further research is required to validate the practicality of the model after applying interventions based on the lifestyle construction model.

• International Journal of Computer Science & Network Security
• /
• v.24 no.4
• /
• pp.163-169
• /
• 2024

India is a developing nation and has come with comprehensive way in modernizing its reducing poverty, economy and rising living standards for an outsized fragment of its residents. The STEM (Science, Technology, Engineering, and Mathematics) education plays an important role in it. STEM is an educational curriculum that emphasis on the subjects of "science, technology, engineering, and mathematics". In traditional education scenario, these subjects are taught independently, but according to the educational philosophy of STEM that teaches these subjects together in project-based lessons. STEM helps the students in his holistic development. Youth unemployment is the biggest concern due to lack of adequate skills. There is a huge skill gap behind jobless engineers and the question arises how we can prepare engineers for a better tomorrow? Now a day's Industry 4.0 is a new fourth industrial revolution which is an intelligent networking of machines and processes for industry through ICT. It is based upon the usage of cyber-physical systems and Internet of Things (IoT). Industrial revolution does not influence only production but also educational system as well. IoT in academics is a new revolution to the Internet technology, which introduced "Smartness" in the entire IT infrastructure. To improve socio-economic status of the India students must equipped with 21st century digital skills and Universities, colleges must provide individual learning kits to their students which can help them in enhancing their productivity and learning outcomes. The major goal of this paper is to present a low cost, effective learning mechanism for STEM implementation using Raspberry Pi 3+ model (Single board computer) and Node Red open source visual programming tool which is developed by IBM for wiring hardware devices together. These tools are broadly used to provide hands on experience on IoT fundamentals during teaching and learning. This paper elaborates the appropriateness and the practicality of these concepts via an example by implementing a user interface (UI) and Dashboard in Node-RED where dashboard palette is used for demonstration with switch, slider, gauge and Raspberry pi palette is used to connect with GPIO pins present on Raspberry pi board. An LED light is connected with a GPIO pin as an output pin. In this experiment, it is shown that the Node-Red dashboard is accessing on Raspberry pi and via Smartphone as well. In the final step results are shown in an elaborate manner. Conversely, inadequate Programming skills in students are the biggest challenge because without good programming skills there would be no pioneers in engineering, robotics and other areas. Coding plays an important role to increase the level of knowledge on a wide scale and to encourage the interest of students in coding. Today Python language which is Open source and most demanding languages in the industry in order to know data science and algorithms, understanding computer science would not be possible without science, technology, engineering and math. In this paper a small experiment is also done with an LED light via writing source code in python. These tiny experiments are really helpful to encourage the students and give play way to learn these advance technologies. The cost estimation is presented in tabular form for per learning kit provided to the students for Hands on experiments. Some Popular In addition, some Open source tools for experimenting with IoT Technology are described. Students can enrich their knowledge by doing lots of experiments with these freely available software's and this low cost hardware in labs or learning kits provided to them.