• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.120-129
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• 2022

The purpose of this study is to analyze the chemical composition of smalt pigments used in 10 large Buddhist paintings in the Joseon Dynasty using energy dispersive X-ray spectroscopy, and to clarify the material and characteristics by observing morphological characteristics using polarized light microscopy and a scanning electron microscope. Through chemical composition analysis, the smalt of all 10 large Buddhist paintings is judged to be potash glass using SiO₂ as a former and K₂O as a flux. In addition to the components related to cobalt ore used as a colorant, the paintings were found to contain high levels of As₂O₃, BaO, and PbO. The smalt particles did not have specific forms, and were blue in color, with various chromaticity. In some particles, conchoidal fracture, spherical bubbles, and impurities were observed. Through backscattered electron images, it was found that the smalt from paintings produced in the early 18th century AD had a high level of As, but the smalt from paintings produced from the mid-18th century AD onwards exhibited various contrast differences from particle to particle, and there was smalt with high levels of As, Ba, and Pb. Through the above results, the large Buddhist paintings in the Joseon Dynasty are divided into three smalt types. Type A is a type with high As₂O₃, type B is a type with high BaO, and type C is a type with high PbO. Looking at the three types of smalt pigments by the period of production, although some in-between periods were not detected, type A was confirmed to have been used from 1705 to 1808, while type B and type C were shown to have appeared in 1750 and used until 1808. This reveals that only one type of smalt was used until the early 18th century AD, and from the middle of the 18th century AD, several types of smalt were mixed and used in one large Buddhist painting. Studies such as this research are expected to provide insights into the characteristics of the smalt pigments used to produce large Buddhist paintings at the time.

• Parasites, Hosts and Diseases
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• v.57 no.6
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• pp.567-573
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• 2019

An archaeoparasitological analysis of the soil samples from Nadym Gorodok site of Western Siberia has been carried out in this study. The archaeological site was dated as the 13 to 18th century, being characterized as permafrost region ensuring good preservation of ancient parasite eggs. Parasite eggs as Opisthorchis felineus, Alaria alata, and Diphyllobothrium sp. were found in the archaeological soil samples, which made clear about the detailed aspects of Nadym Gorodok people's life. We found the Diphyllobothrium sp. eggs throughout the 14 to 18th century specimens, allowing us to presume that raw or undercooked fish might have been commonly used for the foods of Nadym Gorodok inhabitants and their dogs for at least the past 400 years. Our study on Nadym Gorodok specimens also demonstrate that there might have been migratory interactions and strong economic ties between the people and society in Western Siberia, based on archaeoparasitological results of Opisthorchis felineus in Western Siberia.

• Journal of Conservation Science
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• v.35 no.4
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• pp.309-316
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• 2019

This study intends to identify manufacturing techniques, including casting and alloy composition, of nine metal Buddha statues excavated from archaeological sites in Bagan, Myanmar. Two Buddha statues from Pyu city state(2^nd to 9^th century) contain Cu-Sn alloy(including <1 wt% Fe), with different relatively high percentages of Sn(16 wt% and 25 wt%) identified from each Buddha statue, and no Pb detected. Five Buddha statues from the Bagan dynasty contain various alloy ratios of Cu-Sn(including <1 wt% Pb), Cu-Sn-Pb, and Cu-Sn-Zn-Pb. All Buddha statues appear to be fabricated by casting, as there is no evidence of other heat treatments. The silver Buddha statue manufactured in the 18^th century includes >1% Cu besides silver with no additional metallic components identified. The bronze Buddha statue manufactured in the Konbaung dynasty(18^th century) is of Cu-Sn-Pb alloy. The Buddha statues of Pyu was alloy of Cu-Sn without Pb including ahigh percentage of The Buddha statues of both the Bagan and Konbaung dynasties are comprised of ternary Cu-Sn-Pb alloys, with a heterogeneous distribution of lead and tin. Some of Buddha statues of the Bagan dynasty have similar alloy ratios as those of Pyu, suggesting that similar manufacturing techniques were used.

• Korean Journal of Human Ecology
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• v.18 no.4
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• pp.891-902
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• 2009

The purpose of this study is to analyze sexual images in the 21th century men's fashion, including phenomenal formative changes and characteristics. Theoretical framework was developed based on literature reviews. Photo images were collected from collections presented in 2001 to 2008 on the internet sites. By focusing on sexual image. men's fashion design was analyzed. Since 21th century, men have expressed their own fashion sense and sexual image quite freely. Men's fashion has expanded its scope into region which are not exclusively of men's traditional fashion identity realm. The result of this study is as follows: First, Noble Dandyism is common among noble dandies whose desired image is luxurious, soft, and sophisticated. Second, Bisexual Caportism is another appealing 'Youth is beautiful' trend of our modern age. Beyond age and gender, modern people pay a special attention to the Caports look which aims to project an image of healthiness, dynamism, youth, and pure balanced beauty combined with fashion. Third, Macho Narcissism enjoys showing and exposing well-trained and beautiful bodies, compared to the old masculine image which was more known for expressing an authoritative and dominant strength. Fourth, Homme Fatale Vampicism seeks to accentuate deconstructed femininity and bare legs, matted make-up, long and curly hair, especially aims to emphasize sexual charms, which naturally makes its image more fascinating.

• The Korean Journal of Quaternary Research
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• v.14 no.2
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• pp.87-99
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• 2000

May-June precipitation (253 years : A.D. 1746∼1998) of Yungdong region (coastal area of East-central Korea) was reconstructed using two tree-ring chronologies of Pinus densiflora sampled from Daeseung Fall area in Sorak Mountains. Dry periods were 1765∼1800 (longest dry period), 1835∼1845, 1890∼1910, 1920∼1940 and 1980∼1995, and wet ones 1810∼1830, 1850∼1890 and 1950∼1970. In long-term variation, late 18th century was dry. The 19th century May-June (250㎜) was wetter than the 20th century (231㎜) and the former indicated higher variability than the latter. Major wet/dry periodicities in May-June precipitation series reconstructed were 3 years in short term and 60∼80 years in long term. The present reconstructed data agreed to the ancient rain gauge 'Chukwooki' data (1777∼1907) of Seoul (central-west Korea) in low frequency variations except early 1800s.

• Conservation Science in Museum
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• v.23
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• pp.49-60
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• 2020

The wrapping cloth with Cloud and Treasures Pattern donated by the head house of the descendants of Lee Hangbok (1556-1618) at the National Museum of Korea underwent conservation treatment for its protection and display. It was then compared with other ancient fabric objects for dating and analysis of the design. The subjects of Cloud and Treasures Patterns of clothing excavated from tombs dated to some point between the birth and death of Lee Hangbok and with Cloud and Treasures Patterns on the covers of Uigwe copies from the same period from the late 16th and 18th centuries were compared. The results of comparison with relics with clear dating are as follows: First, The Cloud and Treasures Patterns on the late 16th and 17th centuries the differences in the proportion between the head and the tail of the cloud among. Second, the Cloud and Treasures Patterns on the covers of Uigwe copies and fabrics excavated from tombs dated no later than the early 1700s share similarities with the Cloud and Treasures Pattern on the donated wrapping cloth in terms of the arrangement and size of designs and the proportion between each portion of the design. Though the study failed to identify the exact use of the wrapping cloth, it was estimated to be produced in early 18th century when the portraits of Lee Hangbok were copied.

• 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.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of the Korean housing association
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• v.16 no.5
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• pp.117-125
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• 2005

Since Mapo Apartment was introduced as a new urban housing type in the early sixties, apartment has been a typical urban housing in our country. In these days, according to various life-styles and new attitudes about the quality of life, apartment has been developed in various types like high rise residential complex and apartments with special themes. This study has been focused on the transition of modem urban housing in France. The origin of a word, apartment, has been defined and history of apartment in French urban life has been analyzed focusing on the common space and community facilities. Representative apartments in the 18th, 19th and 20th century were selected and comparatively analyzed. Especially in the 19th century, urban housing for working class had been a major concern among the communist and the bourgeoisie and has its own characteristics relative to each other. The characteristics shown in the apartment by the communist in France have been followed in the Korean apartments since 1960's, then the recent trends are rapidly changing in the housing market in Korea. Thus, the findings of this study can be very useful to understand the recent changes of diverse housing types in our society and also be very helpful to prospect our urban housing types in the future according to the changes of new lift styles.