• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.120-147
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• 2024

The inscribed bricks from the Tomb of Jang Mui are unique in many ways. First, there are nearly a hundred of them. Second, there are multiples bearing the same inscriptions. Third, their production methods, including type of firing, are diverse. Fourth, the forms of the bricks are inconsistent. Fifth, the positioning of the sides with inscriptions or stamped designs and those with no designs (as well as the vertical orientation of the inscriptions) are inconsistent. Sixth, most bricks bear inscriptions written reverseds. Seventh, white lime has been painted on the surfaces of the inscribed bricks. Despite these aspects, however, a comparison with Chinese inscribed bricks from the Weijin Dynasties reveals that the inscribed bricks from the Tomb of Jang Mui are indeed connected to their counterparts and provide important materials for forging a more holistic understanding of East Asian culture. Moreover, the understanding of the inscriptions as not just a series of Chinese characters, but as textual objects with characters stamped on them, a focus on how the inscribed bricks were placed inside the tomb, and the observation of them from viewers' perspectives can help clarify the significance of the inscribed bricks from the Tomb of Jang Mui.

• The Journal of Korean Philosophical History
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• no.56
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• pp.181-208
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• 2018

This paper explores divination cultures of ancient China and how scriptures of the Zhou Yi had been interpreted in terms of Confucian ethics by the Confucian school focusing on Gan hexagram in the Shanghai Museum Zhou Yi manuscript. Gan hexagram shown on the Shanghai Museum Zhou Yi manuscript corresponds with Xian hexagram 咸卦 in the received text of the Zhou Yi, which means "gan 感," and the whole subjects of the hexagram are physical love and marriage between male and female. Such examples of divination for wedding between male and female are found frequently in ancient divination including Qinghuajian "Shifa" and these materials also demonstrates that Gan hexagram merely was a divination for love and marriage. However, Xunxi 荀子 "Dalue" 大略 and "Tuanzhuan" of the received text of the Zhou Yi had expanded to the dao 道 of husband and wife, and moreover, "erqi 二氣" philosophy of yin and yang by abstracting the theme of Gan hexagram, namely Xian hexagram, from love and marriage between male and female. Such expansion had stepped forward to a generative theory of all things that composes the world and cosmos in a way of natural philosophy and to a claim for peace under heaven in a way of human society through influences by shengren 聖人. "Xuguazhuan" also regards Xian hexagram 咸卦 as the dao of husband and wife and, based on it, expands to parents and children, sovereign and subject, superiors and inferiors, and the proprieties. The commentary of "Xuguazhuan" is concluded to human manners, starting with cosmic order. These statements interpreted scriptures of the Zhou Yi as Confucian ethics and show the aspects of how the Zhou Yi had become a Confucian classic.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• Economic and Environmental Geology
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• v.8 no.2
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• pp.73-87
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• 1975

Regional unconformities have been used as boundaries of major stratigraphic units in Korea. The term "synthem" has already been propsed for formal unconformity-bounded stratigraphic units of maximum magnitude (ISSC, 1974). The unconformity-based classification of the strata in the cratonic area in Korea comprises in ascending order the Kyerim, $Sangw{\check{o}}n$, $Jos{\check{o}}n$, $Py{\check{o}}ngan$, Daedong, and $Ky{\check{o}}ngsang$ Synthems, and the Cenozoic Erathem. The unconformites separating them from each other are either orogenic or epeirogenic (and vertical tectonic). The sub-$Sangw{\check{o}}n$ unconformity is a non-conformity above the basement complex in Korea. The unconformities between the $Sangw{\check{o}}n$, $Jos{\check{o}}n$, and $Py{\check{o}}ngan$ Synthems are disconformities denoting late Precambrian and Paleozoic crustal quiescence in Korea. The unconformities between the $Py{\check{o}}ngan$, Daedong, and $Ky{\check{o}}ngsang$ Synthems are angular unconformities representing Mesozoic orogenies. The bounding unconformities of the $Ky{\check{o}}ngsang$ Synthem involve non-conformable parts overlying the Jurassic and late Cretaceous granitic rocks.

• Journal of Korean Home Economics Education Association
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• v.17 no.1 s.35
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• pp.131-151
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• 2005

This study analyzes the Textbook of Home Economics published by 'Hyun Kong-Ryeom(玄公廉)' that was the first textbook approved by the Korean Government and also disapproved by the Japanese Government. The results of the study are summarized as follows. 1. The Korean Government appointed the textbooks used in school. The textbooks of home economics appointed in 1910 were 'Hanmun Gajeonghak(漢文家政學)' and 'Sinpyeon Gajeonghak(新編家政學)'. But Japanese government disapproved these textbooks soon after it fully controlled Korea. 2. 'Hyun Kong-Ryeom' who published the textbook of home economics was from translator family that was famous since early Chosun Dynasty. The translator at that time with good command of foreign language introduced foreign books to the intellectuals of Chosun Dynasty. The textbook of home economics was also translated at that time. 3. 'Hanmun Gajeonghak', 'Sinpyeon Gajeonghak' and 'Sinjeong Gajeonghak(新政家政學)' published by 'Hyun Kong-Ryeom' were the translations of the same book. 'Hyun Kong-Ryeom' published the 'Hanmun Gajeonghak' written in Chinese character and 'Sinpyeon Gajeonghak' written in Korean and Chinese character in combination in December 1907, which were translations of the textbook of home economics published by 'Oh Yeo Ryoon(吳汝綸)' in China in July 1902. The textbook of 'Oh Yeo Ryoon' was the Chinese translation of the 'Sinseon Gajeonghak (新選家政學)' that was published by 'Shimoda Utako(下田歌子), in Japan in 1900. 4. The textbook of home economics written by 'Hyun Kong-Ryeom' was composed of five units, that is, general introduction, management of family members, family norms, family hygiene and home economy. The composition of the book by 'Hyun Kong-Ryeom' was quite different from that of 'Sinseon Gajeonghak' by 'Shimoda Utako'. This difference was made in the textbook of home economics of 'Oh Yeo Ryoon'. 5. The characteristics of home in the textbook of home economics by 'Hyun Kong-Ryeom' were summarized as follows. (1)Home as a national basic unit. (2)Home for education, (3)Home for rest, (4)Home for the consumption.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.254-267
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• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• Economic and Environmental Geology
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• v.32 no.4
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• pp.353-363
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• 1999

The Cretaceous and the Upper Jurassic strata of the Korean Peninsula, entirely of continental facies, form a sedimentary mega-unit subdivided into three unconformity-bounded units. The lower, Upper Jurassic-early Lower Cretaceous unit (Jasong Synthem) occurs profusely in North Korea and is characterized by volcanic rocks of intermediate to acidic, calc-alkaline to alkaline compositions; but strata of this unit is very rare in South Korea. The middle, Hauterivian-Lower Albian unit occurs commonly in the Korean Peninsula, but some alkalinesubalkaline basalt and andesite occur only in South Korea. A recently obtained U-Pb isochron age about 113.6 Ma (Chang et at, 1998) from the zircon grains of the Kusandong Tuff in the uppermost part of the Haman Formation has thrown much light on the age of this unit. The stratotype of this Hauterivian-L. Albian unit is the Sindong and Hayang Groups of the Kyongsang Basin, where the unit is about twice thick and has more conglomerates than in sedimentary basins in North Korea. The unit shows various sedimentary cycles in different basins showing that the cyclicity is controlled by local crustal motion. The upper, Upper Albian-Upper Cretaceous unit is abundant in South Korea with prolific volcanic rocks which are intermediate to acidic and notably calc-alkaline. In North Korea, however, this unit occurs in only one locality without volcanic rocks and is not voluminous. The distribution of these three unconformity-bounded units shows a stepwise younging toward the Pacific Ocean: the lower unit occurs mainly in N Korea, the middle unit occurs in both N and S Korea, and the upper unit occurs mainly in the southern part of S Korea. The Cretaceous sedimentary basins of S Korea were genetically controlled by paralleling sinistral strike-slip faults parallel to the Pacific margin.