• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.238-259
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• 2021

Gameunsa Temple is a Buddhist temple from the mid-Silla period. Construction began during the reign of King Munmu and was completed during the second year of King Sinmun's reign (682). This study is based on the results of excavations at the Gameunsa Temple site, exploring the findings presented in the literature in the field of history. This study also investigates the characteristics of the construction plan of Gameunsa Temple and its correlation with the political, social, and religious environment of the time. The results of the study are as follows: (1) First, it is confirmed that all of the buildings in the central block of Gameunsa Temple, such as the pagoda and corridor, the central gate, and the auditorium, fit within 216 cheoks by 216 cheoks (Goguryeo unit of measurement, estimated dimensions 353.30 mm), in terms of the base structure. This fact is highly significant considering the intent of the King in the mid-Silla period to advocate Confucian political ideals at the Donghaegu sites (Daewangam, Igyeondae Pavilion, and Gameunsa Temple), as confirmed by the relationship between the 'Manpasikjeok legend' and the Confucianism of the etiquette and the music; the relationship between the name of the 'Igyeondae Pavilion' and the 'I Ching'; and the relationship between the 'Taegeuk stones excavated from the Gameunsa Temple site' and the 'I Ching.' Additionally, it may be presumed that the number in the "Qian 216" on the Xici shang of 'I Ching' was used as a basis for determining the size of the central block in the early stages of the design of Gameunsa Temple. The layout of the halls and pagodas of Gameunsa Temple was planned to be within a 216-cheok-by-216-cheok area, from the edge to the center, i.e., on the central axis of the temple, in the following order: the central gate and auditorium, the north-south position of Geumdang Hall, the south corridor, the east-west buildings of the auditorium and the winged corridor, the east-west corridor, and the central position of the east-west stone pagoda. (2) Second, the coexistence of Confucianism and Buddhism in the architecture of Gameunsa Temple is based on the understanding of the Golden Light Sutra, originating from the aspirations of King Munmu to obtain the immeasurable merits (陰陽調和時不越序 日月星宿不失常度 風雨隨時無諸災横) and the light of the Buddha, which is metaphorically represented by the sun and the moon illuminating the whole world of Silla, a new nation with a Confucian political ideology, for a long time by "circumambulating the Buddha (旋繞)". It is also presumed that Gyeongheung, who was appointed by King Munmu to be the Guksa in his will and appointed as the Gukro after the enthronement of King Sinmun, was deeply involved in the conception and realization of the syncretism of Confucianism and Buddhism.

• Journal of architectural history
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• v.17 no.2
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• pp.27-45
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• 2008

This study examines the details and characteristics of prizewinning plans of Cho-Sun housing plan competition promoted by Daily Cho-Sun Company during Japanese colonial period. The main features of Cho-Sun housing plan competition were that the competition held with an application of popular newspaper readers and a judging committee was composed of only Korean architects, especially Park, Gil-Ryong as the president of the board of examiners. Cho-Sun housing plan competition put ideological factors for the improvement of living as like advancing to the cultured(modem) life, respecting for family life, respecting for privacy of family members and so on. First of all, the competition suggested the direction of the improvement of dwelling spaces which focused on making harmonious home life. This study found common characteristics of prizewinning plans of Cho-Sun housing plan competition as the result. First, Cho-Sun housing plan competition introduced a centralized house plan as a model of the improvement of small-sized houses. Second, architectural orders of western or Japanese style mingled with ones of korean traditional style in prizewinning plans as entrance hall, western style reception room(parlour), maid's room, bathroom for example. And a manner of seating using chairs was brought into the style of living which would be assumed in the prizewinning plans. Third, traditional way of composing dwelling spaces was maintained, receiving the characteristics of dwelling spaces of japanese style simultaneously, which central corridor was put at the heart of house for improving arrangement of rooms and flow lines. Fourth, lavatory and bathroom were placed inside of the house.

• Korean Journal of Remote Sensing
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• v.28 no.3
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• pp.297-305
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• 2012

This study was performed to estimate forest canopy density (FCD) using airborne hyperspectral data acquired in the Independence Hall of Korea in central Korea. The airborne hyperspectral data were obtained with 36 narrow spectrum ranges of visible (Red, Green, and Blue) and near infrared spectrum (NIR) scope. The FCD mapping model developed by the International Tropical Timber Organization (ITTO) uses vegetation index (VI), bare soil index (BI), shadow index (SI), and temperature index (TI) for estimating FCD. Vegetation density (VD) was calculated through the integration of VI and BI, and scaled shadow index (SSI) was extracted from SI after the detection of black soil by TI. Finally, the FCD was estimated with VD and SSI. For the estimation of FCD in this study, VI and SI were extracted from hyperspectral data. But BI and TI were not available from hyperspectral data. Hyperspectral data makes the numerous combination of each band for calculating VI and SI. Therefore, the principal component analysis (PCA) was performed to find which band combinations are explanatory. This study showed that forest canopy density can be efficiently estimated with the help of airborne hyperspectral data. Our result showed that most forest area had 60 ~ 80% canopy density. On the other hand, there was little area of 10 ~ 20% canopy density forest.

• Journal of the Korean Society for Library and Information Science
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• v.29
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• pp.345-382
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• 1995

The type printing of first Ch'ing dynasty term in China is worthy to be studied because the type printing during that period included metal type, wood type, and clay type as well as the development phase was similar to Chosun dynasty culturally and technologically. This paper studied typography during the first Ch'ing dynasty term, including Shunzhi(1662-1722), Yongaheng(1723-1735), Qianlong(1736-1795), Jiaqing(1796­1820) period. The main results of the study is as follows. 1. The main body of type printing was bookstore, lecture-hall, and individual as well as the royal court that is the central government. 2. The content of type edition covers classics, history, philosophy, and literary works. Specifically, even though Wuyingdienjuzhenban series is excluded, the content includs study of the classics, class of the history, class of the philosophy, literature works that include collection works and novel and government official bulletin. 3. The printing technique of bronze type was very popular In Beijing. Jiangsu, and Taiwan. It's scale and production technique was more elaborate than in Ming dynasty. 4. Wood type was very popular in Beijing, Jiangsu, Zhejiang, Anhui, Sichuan, and Fujian. In addition to wood type, chinese ware type was applied to book printing in Shandong. However, most of them were wood type and they were used after Qianlong period. 5. The production technique of type was skilled enough to present the fine view of a style of type. The typesetting technique was improved as much as woodblock printing. With regard to the making technology of Chinese ink, the light and darkness of chinese ink was not even sometimes. But, the technology was improved significantly when comparing with the failure experience of printing that chinese ink was not developed in early type invention. 6. In case that the book was printed in bookstore with the intention of profit and the number of book was large, the proofreading attitude was rough. However, overally, it was made correction carefully applying the various methods of proofreading. 7. The support of government made a great contribution in the area of all printing technology, including production, typesetting, and brushing of type.

• Journal of the Korean housing association
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• v.20 no.6
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• pp.19-29
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• 2009

The purpose of this study is to clarify the spatial changes that have taken place in the main rooms (Anbang) and kitchens of traditional Utbangkkeokeum houses in Cheongju city, located on the central inland of Korea. These houses consist of a main house (Momchae) and a single-wing house (Nalgaechae), creating an ㄱ-shaped plan. The kitchen is in the front of the Nalgaechae, and the Anbang is at the rear. For the Momchae, the main hall (Daechung) is next to the Anbang, which is at the end of the Nalgaechae, and the room (Gunnunbang) is situated across from the Daechung. This study is based on the assumption that these houses have been conserved and altered from their original forms. As a result of alterations, many changes have occurred to the main room and kitchen spaces. The traditional main room is connected with two rooms (Utbang and Araebang), new standup kitchens are introduced, and floor heating systems are installed. The Anbang has maintained its sedentary lifestyle and the space for major daily activities such as sleeping and TV viewing. Also, TV viewing is a distinctive feature for residential purposes and the bedding is located in such a position that it is easy to observe any exterior movement for the elderly living alone. The layout of the standup kitchen has been altered to maintain the previous circulation, position and function of the entrance. Also, the kitchen and dining room were used together, and the size of these rooms has been partially increased from the original module in different ways for each case. The above findings suggest that Utbangkkeokeum houses of Cheongju city have been spatially changed while maintaining the previous lifestyle.

• The Journal of Korean Academy of Prosthodontics
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• v.34 no.3
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• pp.457-463
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• 1996

An esthetically pleasing result in denture service is dependent upon several consideration. Esthetic considerations for the edentulous patient include tooth size, shape, arrangement, positioning, gingival contour, age, sex, personality differences, and ethnic type. Especially, the form of anterior artificial teeth is an important factor on the esthetics. The selection of artificaial teeth requires understanding and knowledge on physical and biologic factors and has to meet the indivisul esthetics and functional needs of each patient. However, the selection of artificial teeth is based on the large degree of subjective judgement of the dentist, Therefore, this is one of the most unscientific processes. Many attempts have been made to find a guideline for the selection of artificial teeth. Temperamental theory by White and Hall utillized with the physical characteristics such as body size, body form, color of eyes and hair, and disposition. SPA theory by Frush and Fisher utilized with the basis of sex, personalities, and age of the indivisual. There has not been provided for a guideline and study on the selection of artificial teeth for Koreans yet. This study was aimed to evaluate the William's typal matching theory in Koreans. 1. The facial forms of korean adult were ovoid(46.3%), square(36.7%) and tapered(17.0%) form. 2. The anatomic forms of natural maxillary incisors were ovoid(45.3%), tapered(31.3%), square(23.3%) form. 3. The forms of face and natural maxillary incisors were ovoid(21.9%), squared(11%), tapered(6.3%). 4. The natural maxillary incisors were similar in form to the facial form only in 39%. There was no correlation between the form of the face and the form of natural maxillary central inisors in Koreans. 5. Artificaial teeth which was selected according to the typal matching theory did not represent the form of the natural teeth in 61 per cents of the fatal, but it felt that they harmonized with the form of the patient's face and produced good results.

• Industry Promotion Research
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• v.8 no.3
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• pp.163-174
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• 2023

Simgok Seowon was established to honor Jo Gwang-jo, who is a scholar and politician in the mid-Joseon period. It is located in a propitious site based on Feng Shui. Its Jusan is Mugokeumseongchae(武曲金星體) with Wonhwahyul(圓窩穴), and its Ansan is Tamrangmokseongchae(貪狼木星體). It is a Jehyang(祭享)-centered Seowon that sets a Jehyang place in Hyeolcheo. Around the Sadang(祠堂), the Four gods including Jwacheongryong(左靑龍) Woobackho(右白虎), Jujak(朱雀), and Hyeonmu(玄武) protect the Hyeolcheo(穴處) well. It is a typical central axis symmetrical spatial arrangement where everything is located centered on Sawoo(祠宇). It is a type of Jeonhakhumyo(前學後廟) that arranges the main hall at the front of buildings and places the Sadang that is a Jehyang place at the back of Sadang. To the left side of the Sadang, Yeonji(蓮池) was created by applying the principles of Cheonwonjibang(天圓地方), which serves as Yusik(遊息) area with functions to adjust microclimate and to extinguish fires. Feng Shui plays an important role when determining orientation, direction, and location of the buildings. Therefore, it could be regarded as realizing the aesthetic spirit of Cheoninhabil(天人合一) to compose the Feng Shui-oriented spatial arrangement by recognizing accurately the relationship between nature and human being depending on topography, wind, water flow, and point of the compass.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• (The) Research of the performance art and culture
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• no.41
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.1-11
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• 2020

Noksan is a green area in the form of a hill located inside Gyeongbokgung Palace, unrecognized as a cultural heritage space. This study analyzed the literature and the actual site to derive its landscape meaning by examining the background for the formation of Noksan and how it changed. As a result, the identity of Noksan was related to the geomagnetic vein, pine forest, and deers, and the following are its landscape meaning. First, several ancient maps, including the 「Map of Gyeongbokgung Palace」 depicted the mountain range continuing from Baegaksan(Bugaksan) Mountain to areas inside Gyeongbokgung Palace, and Noksan is a forest located on the geomantic vein, which continues to Gangnyeongjeon Hall and Munsojeon Hall. On Bukgwoldo(Map of Gyeongbokgung Palace), Noksan is depicted with Yugujeong Pavilion, Namyeogo Storage, office for the manager of Noksan, the brook on north and south, and the wall. It can be understood as a prototypical landscape composed of minimal facilities and the forest. Second, the northern palace walls of Gyeongbokgung Palace were constructed in King Sejong's reign. The area behind Yeonjo(king's resting place) up to Sinmumun Gate(north gate of the palace) was regarded as the rear garden when Gyeongbokgung Palace was constructed. However, a new rear garden was built outside the Sinmumun Gate when the palace was rebuilt. Only Noksan maintained the geomantic vein under the circumstance. However, the geographical features changed enormously during the Japanese colonial era when they constructed a huge official residence in the rear garden outside the Sinmumun Gate and the residence of the governor-general and road in the site of the Blue House. Moreover, Noksan was severed from the foothill of Baegaksan Mountain when 'Cheongwadae-ro(road)' was constructed between the Blue House and Noksan in 1967. Third, the significant characteristics and conditions of the forest, which became the origin of Noksan, were identified based on the fact that the geomatic state of the northeastern side of Gyeongbokgung Palace, the naecheongnyong area in geomantic terms(the innermost 'dragon vein' among the veins that stretched out from the central mountain toward the left side), and they planted pine trees to reinforce the 'ground vein' and the fact that it was expressed as the 'Pine Field' before the Japanese Invasion of Korea in 1592. The pine forest, mixed with oaks, cherries, elms, and chestnuts, identified through the excavation investigation, can be understood as the original vegetation landscape. Noksan's topography changed; a brook disappeared due to mounding, and foreign species such as acacia and ornamental juniper were planted. Currently, pine trees' ratio decreased while the forest is composed of oaks, mixed deciduous trees, some ailanthus, and willow. Fourth, the fact the name, 'Noksan,' came from the deer, which symbolized spirit, longevity, eternal life, and royal authority, was confirmed through an article of The Korea Daily News titled 'One of the seven deers in Nokwon(deer garden) in Gyeongbokgung Palace starved to death.'