• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.18 no.4
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• pp.234-265
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• 2013

Oceanic current maps in the secondary school science and earth science textbooks have played an important role in piquing students's inquisitiveness and interests in the ocean. Such maps can provide students with important opportunities to learn about oceanic currents relevant to abrupt climate change and global energy balance issues. Nevertheless, serious and diverse errors in these secondary school oceanic current maps have been discovered upon comparison with up-to-date scientific knowledge concerning oceanic currents. This study presents the fundamental methods and strategies for constructing such maps error-free, through the unification of the diverse current maps currently in the textbooks. In order to do so, we analyzed the maps found in 27 different textbooks and compared them with other up-to-date maps found in scientific journals, and developed a mapping technique for extracting digitalized quantitative information on warm and cold currents in the East Sea. We devised analysis items for the current visualization in relation to the branching features of the Tsushima Warm Current (TWC) in the Korea Strait. These analysis items include: its nearshore and offshore branches, the northern limit and distance from the coast of the East Korea Warm Current, outflow features of the TWC near the Tsugaru and Soya Straits and their returning currents, and flow patterns of the Liman Cold Current and the North Korea Cold Current. The first draft of the current map was constructed based upon the scientific knowledge and input of oceanographers based on oceanic in-situ measurements, and was corrected with the help of a questionnaire survey to the members of an oceanographic society. In addition, diverse comments have been collected from a special session of the 2013 spring meeting of the Korean Oceanographic Society to assist in the construction of an accurate current map of the East Sea which has been corrected repeatedly through in-depth discussions with oceanographers. Finally, we have obtained constructive comments and evaluations of the interim version of the current map from several well-known ocean current experts and incorporated their input to complete the map's final version. To avoid errors in the production of oceanic current maps in future textbooks, we provide the geolocation information (latitude and longitude) of the currents by digitalizing the map. This study is expected to be the first step towards the completion of an oceanographic current map suitable for secondary school textbooks, and to encourage oceanographers to take more interest in oceanic education.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.