• (The)Study of the Eastern Classic
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• no.63
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• pp.83-113
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• 2016

This paper is focused on objective and meaning of its compilation through reviewing system, composition, method of description, and content of "Jwagyebudam". "Jwagyebudam" has all round form of a history and character book by recording via arranging figures from the end of 16th century to the middle of 18th century in a chronological order. Figure were not only assigned at close range by steretyping people into groups to a degree in it, but also recorded in a chronological order. In view of method of description, "Jwagyebudam" concentrated a theme by recording via separating different people associated from a figure and content of the same event by using the same method like 'Hogeonbeom(互見法)' shown in "Sagiyeoljeon(史記列傳)". In addition, it obtained effect to objectify evaluation of figures included. In a method of embodying figures, it has described concretely and in a three dimensions figures by recording anecdotes and poems associated with them via focusing on lifelong characteristic aspect of corresponding figures. In other words, "Jwagyebudam" can be called by biographies or character books, writings specialized in characters center among writings of method to weave freely experience. In a broad sense, it can be called a writing to cover a function of history book, poem and picture. This was located to a starting point of variation of inclusive and descriptive method. Namely, several kinds of writings in late Joseon dynasty can show aspect to fulfill specialized aspect gradually.

• Journal of Conservation Science
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• v.37 no.5
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• pp.536-544
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• 2021

In the present study, safe management and value improvement of bamboo sunblind, which is an item of cultural heritage, were performed by adopting stable conservation treatment methods. The bamboo sunblind used in the present study was excavated from No. 1 catchment site in Baesanseongji, Busan. It was determined that the main material used to make the sunblind was bamboo, and herbal plants were used to weave the bamboo using lacquer as an adhesive agent. All contaminants and soil adhered to the sunblind was removed. Thereafter, the sunblind, which was recovered in the form of blocks, was washed separately after fixing it to a temporary plaster frame and to avoid the blocks from breaking during washing. Then, polyethylene glycol (PEG) impregnation was utilized for the reinforcement treatment. Based on the preliminary test results, the shape of the sunblind was fixed using a stainless-steel frame to prevent physical damage that may occur during the drying process. Thereafter, the bamboo sunblind was vacuum freeze-dried. PEG 20% (in ethyl alcohol) was applied as a surface treatment agent for stabilization the sunblind. After the surface treatment, the bamboo sunblind were joined together to fit the maximum width, and the rectangular shape of the sunblind was restored-as best as possible-while filling in the missing parts by maximizing the use of unknown members such as in the disturbed layers below bamboo sunblind surface. The conservation treatment was completed by fixing the bamboo sunblind into the fabricated frame.

• The Journal of The Korea Institute of Intelligent Transport Systems
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• v.12 no.1
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• pp.98-108
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• 2013

The number of Hi-Pass lanes became 793 lanes at 316 expressway tollgates in 2011 due to the increase in the Hi-Pass use. In spite of the increase in the number of Hi-Pass lanes, there have been increased potential risks in tollgates where vehicles using a Hi-Pass lane must weave with other vehicles using a TCS lane. Therefore, there is a need for study on the safety in tollgates. To this end, this study aims at developing a methodology to evaluate the performance measures of diverse location countermeasures of Hi-Pass lanes in an efficient and systematic way. This study measured the mobility, safety and the convenience of installation and operation of Hi-Pass lanes using a microscopic traffic simulation tool, the surrogate safety assessment model and survey. In addition, this study aggregated the above three performance indexes using weight factors estimated using the AHP technique. For the test site, Dongsuwon interchange was selected. After building the microscopic traffic simulation model for the test site, the location countermeasures of Hi-Pass lanes applicable to the test site were compared with each other in terms of the mobility, safety and installing and operating convenience. As a result, there has been no apparent difference in mobility index based on delays. However, the countermeasures where Hi-Pass lanes are located in inside lanes generally showed better safety performance based on the number of conflicts. In addition, countermeasures with neighboring Hi-Pass lanes were favorable in terms of the safety and the convenience of installation and operation. The methodology proposed in this study was found to be useful to support decision makings by providing critical and quantitative information regarding the mobility, safety and the convenience of installation and operation.

• Childhood Kidney Diseases
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• v.14 no.1
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• pp.22-31
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• 2010

Purpose : This study was performed to evaluate the relationship between glomerular basement membrane (GBM) alterations to epithelial cell (EpC) structure and renal function in Alport Syndrome (AS) patients. Methods : Fifteen patients diagnosed with AS (4-26yrs) were examined. The GBM in AS was categorized as : C1) normal, C2) minor alterations (widening of lamina rara interna or externa without lamina densa change), C3) nonspecific splitting of lamina densa, C4) basket-weaving pattern of lamina densa splitting. The length of each GBM portion along the epithelial side was measured on the systematically obtained electron microscopic photographs. Furthermore to obtain an objective assessment of the degree of glomerular EpC foot process change, the number of slit pores along $10\;{\mu}m$ of peripheral GBM in each category was obtained. Results : The percentage of normal GBM portion (C1) correlated inversely with daily protein excretion (g/day/$m^2$, P<0.05) and sum of the percentage of abnormal GBM portion (C2+C3+C4) had direct correlation with daily protein excretion (g/day/$m^2$, P<0.05). There were no significant relationships between the percentages of other categories of GBM alterations and creatinine clearance or protein excretion. There were no significant relationships between of creatinine clearance in relation to normal GBM(C1) portion as well as that in relation to sum of the percentage of abnormal GBM portion (C2+C3+C4). GBM abnormality did not correlate with age at biopsy. Conclusion : The extent of GBM structural abnormality is related to proteinuria in AS but the epithelial response is uniform even though the GBM ultrastructural lesions are not.

• (The)Study of the Eastern Classic
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• no.69
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• pp.179-204
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• 2017

Hojil(虎叱) and Yangbanjeon(兩班傳) reveal the characteristic styles of Park Jiwon(朴趾源)'s writing, which is combining styles of unofficial history/biography(外傳) and allegory(寓言), and full of the senses of satire and humour which form another characteristc of his writing style or tone. This paper reexamines narrative styles, meaning structures and themes of these two works which combine the styles of unofficial history/biography and allegory, and researches methods and techniques of allegory and satire which presents the subversive and critical themes and thoughts of the author. In Hojil, combining of the two styles, the author constructs the narrative world and plot, manipulates allegoric figures to symbolize and present multilayered meaning, and criticize the decadence of confucian aristocracy [Sadaebu: 士大夫] and it's abuses. In Yangbanjeon by combining of two styles, the author weave a biography of Yangban(兩班) in general, which presents the attributes and historical position of the Yangban class. And by the nonsensical fictional event which caricatures crisis of the Yangban class, and tedious description of the manners and behaviors of the Yangban, the author and satires the snobbery of the Yangban and the absurdity of their classical privileges. As he did in Hojil, the author urges the self-examination of the reader raising a question about the position and the function or duty of the Yangban class in the changing world. And the various skills of satire together with the irony, paradox, parody and pun were used dexterously in above two works.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.