• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

• Journal of the Korean Applied Science and Technology
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• v.36 no.2
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• pp.498-506
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• 2019

This study is based on a coating method that provides utilization value as a micronised powder for cosmetic raw materials using natural minerals buried in Bonghwa, Gyeongsangbuk-do in Korea. The mineral powder name is called Buseok, and chemical name is pumice powder. The results of a study on the efficacy of cosmetics are reported by the development of particulate powder to assess the performance of this powder. First of all, in order to coat the surface of this powder with oil, aluminum hydroxide was coated on the particulate surface and then coated with alkylsilan. In addition, it was coated with vegetable oil to prevent condensation of the powder and increase the dispersion in the oil phase. First; the particle size of pumice powder was from 10 to 50mm having porous holes on the surface of the particles. Second; The components of this powder contained $SiO_2$, $Al_2O_3$, $Fe_2O_3$, MgO, CaO, $K_2O_2$, $Na_2O$, $TiO_2$, $TiO_2$, MnO, $Cr_2O_3$, $V_2O_5$. Third: The particles of this powder have a planetary structure and are reddish-brown with porosity through SEM and TEM analysis. Fourth; the far-infrared radiation rate of this parabolic powder was $0.924{\mu}m$, and the radiative energy was $3.72{\times}102W/m^2$ and ${\mu}m$. In addition, the anion emission is 128 ION/cc, which shows that the coating remains unchanged. Based on these results, it is expected to be widely applied to basic cosmetics such as BB cream, cushion foundation, powderfect, and other color-coordinated cosmetics, sunblock cream, wash-off massage pack as an application of cosmetics. (Small and Medium Business Administration: S2601385)

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.52-71
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• 2011

This study was initiated with the intent to consider the features of Gugokwonlim and to compare Gabsagugok(甲寺九曲) to Yongsangugok(龍山九曲) against the backdrop of Mt. Gyeryong by revealing their nature and confirming the names and exact locations. A literature review, interviews with local people and field studies confirmed that Gabsagugok and Yongsangugok are each composed of 9 seasonal features. The former is made up of Yongyuso(龍遊沼) - Iilcheon(二一川) - Baengnyonggang(白龍岡) - Dalmuntaek(達門澤) - Geumgyeam(金鷄?) - Myeongwoldam(明月潭) - Gyemyeongam(鷄鳴巖) - Yongmunpok(龍門瀑) - Sujeongbong(水晶峰) while the latter is made up of Simyongmun(尋龍門) - Eunnyongdam(隱龍潭) - Waryonggang(臥龍剛) - Yuryongdae(遊龍臺) - Hwangnyongam(黃龍岩) - Hyeollyongso(見龍沼) - Ullyongtaek(雲龍澤) - Biryongchu(飛龍湫) - Sillyongyeon(神龍淵). Both Gabsagugok and Yongsangugok are part of Gugokwonlim built in the valleys of Mt. Gyeryong in the late Joseon Dynasty by Byeoksu Yun Deok-yeong (1927) and Chwieum Gwon Jun-myeon (1932), respectively, with a 5 year difference. Gabsagugok was supposedly designed to reflect an individual taste for the arts and to admire principles of Juyeok (ch. Zhouyi) and the beauty of nature. On the contrary, Yongsangugok appears to be the builder's expression of his longing for independence day, likened to the life of a dragon after receiving the sad news of Japan's annexation of Korea. Such differences show that these two builders had very different intentions from one another. The letters of Gabsagugok have a semi cursive style and were deeply engraved on the rock in a square shape. Consequently they have not been worn away except for those in Yongyuso, the first Gok. In contrast, the letters in Yongsangugok have an antiquated, cursive-Yija style but because they were engraved relatively lightly, serious wear and damage occurred. In terms of location, Gabsagugok was built around Ganseongjang adjacent to the 5th Gok while Yongsangugok was set up around the 5th Gok, Hwangnyongam. Meanwhile, the important motif which forms the background of Gabsagugok seemingly highlights the geographic identity of Mt. Gyeryong using the dragon and the chicken as themes. It also appears to symbolize the principles of Juyeok focusing on Kan of the Eight Trigrams for divination; this requires an in-depth study for confirmation. The main motif and theme of Yongsangugok is the dragon. It infuses the builder's intentions in Sangsinri Valley by communicating with nature through a story of a dragon's life from birth to ascension. It is assumed that he tried to use this story to express his hope for restoring the national spirit and reconstructing the country.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.56-73
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• 2019

This paper aims to establish the technical style of roof tiles by analyzing East Asian roof tile making techniques. It will examine the existing main research data, such as excavation results and the subsequent analysis of the roof tiles' production traces, as well as references and transmitted techniques. Regions are grouped according to technical similarity, then grouped again by artistic styles of pattern and shape and by the technical styles of tools, procedures, and manpower plans. Accordingly, intends to find out whether an understanding of technical style can facilitate an understanding of not only cultural aspects, but also the causality of techniques. Korean, Chinese and Japanese tools were examined, and procedures for making roof tiles were classified into 4 groups. In a superficial way, China, Okinawa, Korea, and Honshu share similar technical traits. Research of procedural details and manpower plans revealed characteristics of each region. As a result, comparisons were made between each region's technical characteristics attempting to investigate their causes. The groups were classified according to their possessing techniques, but it was revealed that East Asia's shared production techniques were based on architectural methodss. The skill of "Pyeon Jeol(Clay Cutting)" classified according to its possessing techniques, turned out to be one such technique. Also, the procedure of technical localization based on the skill of "Ta-nal(Tapping)" showed that the condition of this technique was the power to localize in response to a transfer of techniques. Previous comparison parameters of artifacts would have been a similarity of style originated from exchanges between regions and stylistic characteristics of regions decided by the demander's taste of beauty. This methodology enlarges cultural perception and affords a positive basis of historical facts. However, it suggests the possibility of finding cultural aspects' origins by understanding the technical style and seeing same result in view of "technology culture."

• Journal of Life Science
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• v.29 no.5
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• pp.555-563
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• 2019

This study was undertaken to investigate the effect of an ethanol extract of Elaeagnus umbellata leaves (EUL-EE) on skin-related biological activities. Previously, we have reported that gallic acid was the major phenolic compound in EUL-EE through quantitative analysis and that EUL-EE had an inhibitory effect against the proliferation of liver cancer HepG2 cells. In the present study, the inhibitory effects of EUL-EE on melanin production and tyrosinase activity in ${\alpha}$-melanocyte-stimulated hormone-stimulated B16-F0 cells were determined to assess the effects of EUL-EE on skin whitening. The anti-wrinkle effect using UVB-irradiated CCD-986sk cells was examined by the expression of type I procollagen and metalloproteinase (MMP)-1 release. The EUL-EE significantly decreased intracellular melanin production (33.0% inhibition at $100{\mu}g/ml$) when compared with untreated B16-F0 cells. Tyrosinase activities in the stimulated B16-F0 cells were also decreased by EUL-EE (47.8% inhibition at $100{\mu}g/ml$). The EUL-EE also dose-dependently increased the production of type I procollagen (up to 1.74-fold at $250{\mu}g/ml$) in CCD-986sk cells when compared with UVB-irradiated controls. EUL-EE showed no cytotoxicity at concentrations up to $500{\mu}g/ml$. In addition, EUL-EE at $10-500{\mu}g/ml$ inhibited the release of MMP-1 to the medium from UVB-irradiated CCD-986sk cells. Taken together, these observations indicate that EUL-EE has high potential for use as inner beauty and cosmetic materials due to its whitening and anti-wrinkle effects.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.4-23
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• 2021

The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.

• (The)Study of the Eastern Classic
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• no.56
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• pp.209-239
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• 2014

Aimed to the aesthetic implication about being a source of Akryul of 'Sungkijiwon' study in this paper. Akyul was kibonyulof HwangjongYul from ancient times. Hwajongyul consists of Yaungyuland Eumyoe, namely 12yul. Sungkijiwon was a role of seedling fundamental to the structure of the Hwangjongyul.Akyul is seen in nature. Nature which is the root of Akyul, it is inherent fully to human So that is the origin of Whangjongyul the source of the sound that the human kee of the fully implicit a world Sungkijiwon. The Sungkijiwon soon 'JeckjajIsong'. JeckjajIsong' is A first Ho, respiration that at birth the human, and the height of the sound is constant sound at this time. This sound is Preserving intact the nature of the human, Seong, Eum. Ack of Ackyul was derived from the expression from a nature of humun. Has a feature that is evident in the degree of Dosu always in the process of being extended to Yaungyul and Eumyoe, is 'original Sungkijiwon. Sungkijiwon comes from Wonkee of Taekuk of Habsanweil. The fundamental Dosu originate from 1. Hwangjong is calculated Kee including 1. 1 of Taekuk 1 of Eum and 1 of Yaung. This is a 3 and 1, the combined Yum-Yaung around Taekuk Similarly, 1 of chun, 1 of gi, 1 of In are three Samjae, And become 1, premier In of chun ji. Yulyoe is generated a 12yul. Yulryo becomes the kijuneum having Habsanweil through the differentiation, and generates the 12yul. Therefore it is possible to know that is based on humanistic a source of neutralizing beauty also original ackyul.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.4
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• pp.64-73
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• 2021

The purpose of this study is to present a method to assess the landscape aesthetic value of Bukhansan National Park using geotagged images that have been shared on social media sites. The method presented in this study consisted mainly of collecting geotagged image data, identifying landscape images, and analyzing the cumulative visibility by applying a target probability index. Ramblr is an application that supports outdoor activities with many users in Korea, from which a total of 110,954 geotagged images for Bukhansan National Park were collected and used to assess the landscape aesthetics. The collected geotagged images were interpreted using the Google Vision API, and were subsequently were divided into 11 landscape image types and 9 non-landscape image types through cluster analysis. As a result of analyzing the landscape types of Bukhansan National Park based on the extracted landscape images, landscape types related to topographical characteristics, such as peaks and mountain ranges, accounted for the largest portion, and forest landscapes, foliage landscapes, and waterscapes were also commonly found as major landscape types. In the derived landscape aesthetic value map, the higher the elevation and slope, the higher the overall landscape aesthetic value, according to the proportion and characteristics of these major landscape types. However, high landscape aesthetic values were also confirmed in some areas of lowlands with gentle slopes. In addition, the Bukhansan area was evaluated to have higher landscape aesthetics than the Dobongsan area. Despite the high elevation and slope, the Dobongsan area had a relatively low landscape aesthetic value. This shows that the aesthetic value of the landscape is strongly related not only to the physical environment but also to the recreational activities of visitors who are viewing the scenery. In this way, the landscape aesthetics assessment using the cumulative visibility of geotagged images is expected to be useful for planning and managing the landscape of Bukhansan National Park in the future, through allowing the geographical understanding of the landscape values based on people's perceptions and the identification of the regional deviations.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.43-76
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• 2020

After comparing three video dramas based on Yoon Sim-duk and Kim Woo-jin, this paper intensively explores the movie Praise of Death(1991), which has the most meaningful traits in embodying the characters, focusing on the relationship with the previous works of the director or an actress. The movie Yoon Sim-duk(1969) focuses on meiodramatic narrative around the issue like love triangle or a relationship between out-of-wedlock woman and the wife of one man. The TV drama Praise of Death(2018) is pursuing ideal youth genre between attractive two lovers adorning even the suffering of the Japanese occupation with customary visual image. In comparison, the movie Praise of Death(1991) focuses on visual beauty, while overlaps the agony of two characters as pioneering artists with frustrated love narrative. In the process, this film reveals two-sided characteristics, especially the heroine, compared to the other two. She shows a rift between the passivity for the salvation of man and the activity of choosing even the fall of her own life. In order to examine this trait, we have to explore the other works which affect the movie Praise of Death. This came from the tendency director Kim Ho-sun and actress Jang Mi-hee had built in 1970s films. It also relates in the movies Jang Mi-hee had worked with director bae Chang-ho in the 1980s. The tendency to show a pursuit of classical cultures in the field of popular movies, and to overlap the problems of desire, including sexuality, with mental and intellectual issues, continues from the previous films to the movie Praise of Death for shaping a main female character. This study results in examining the movie Praise of Death in two contexts. One is the context of three video dramas having same materials, Yoon Sim-duk and Kim Woo-jin. And other is the context of the works that director Kim Ho-sun and actress Jang Mi-hee have continued together, or the works that Jang Mi-hee have continued with director Bae Chang-ho. Until now, Yoon Sim-duk and Kim Woo-jin has been used as a material for cultural contents in the various genres over and over again. Under this circumstance, by looking at this movie, one of representative case dealing with Yoon and Kim, in the complex context, it can reaffirm the effect and difficulty in fictionalisation of them as a subject matter.