• Journal of Conservation Science
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• v.35 no.5
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• pp.518-527
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• 2019

This investion studies the manufacturing techniques of chimi(ridge-end roof tiles based on the) fragments excavated from the Wonju Beopcheonsa temple site(Historic site No. 466) and aids in the conservation of the fragments. The results of the investigation are categorized into the production of the body parts, the wing and the feather attachment, the production of the decorative parts, the scratches in the upper and lower part, the perforations connecting the upper and lower parts, and the formative features(bending phenomenon). The procedures in the conservation treatment of the chimi was performed in a sequential order beginning with a preliminary examination, followed by the removal of foreign substances, coating, joining and restoration, and color retouching. A three-dimensional scanning data was employed to restore the missing parts after adhesion to determine the location, size, and angle of the original shape. The restored chimi measures 118 cm in height and weighs 121 kg, which makes it the fifth largest in size among any chimi(including restored) in Korea. We expect that the pointed feathers will make the chimi from the Beopcheonsa temple site a rare reference as no specimens with these features have been found in Korea until now.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.42-54
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• 2014

This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in 'Pilamseowon', 'Pilbongseowon', and 'Gimhaseoseowon' appearing in antique maps, the awareness considering 'Pilam' as 'Pilbong' and 'Gimhaseo' was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: 'a place derives reflected glory from an illustrious human') based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic 'jeungsan field' without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from 'theory of 'Heaven-Man Unity'(天人合一)' representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the 'jeondang hujae(前堂後齋)' arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with 'the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside 'YuSik(遊息)' space and religious space' and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as 'reinforcement of view centrality through composition of windows and doors', 'securement of visual transparency through framing and duplication', and 'realization of hierarchy through height of jaesil toenmaru'. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.262-269
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• 2007

The blur phenomenon obscuring the boundary between the field of designers and that of users may be the key paradigm in the 21st century. However, we observed a number of chair design cases that could be considered as the results of blur pheonomenon in the furniture design field from mid 1960s. The backgrounds include the repulsion against the uniform functionalism, deliberation on the life in the future and the development of plastic materials and their processing methods. Under such backgrounds, the designers pursued the new and futuristic furniture design. In that process, what is about the "freedom" that the consumers as well as the designers should have in using the furniture was the important concept. This concept enabled the creation of chair design inducing the participation of consumers. They created various kinds of shapes, functions and structures that the consumers became interested in as if they had fun with toy blocks by mainly using the new material "plastic". In a formative aspect, the entire shape is classified into the organic shape and geometric shape. The unit types are divided into two kinds; type that the unit of simple shape is repeated only with size difference and irregular combination type of the units comprised of more than two shapes. In the functional aspect, some cases showed the transformation and expansion of the function more variously. Other cases changed the function of chairs to tables, cabinets, or objects. In the structural aspect, on the basis of the method assembling each unit, one method is to assemble using the hardware and the other is to assemble only with intrinsic units of chair. The chair design created by the blur phenomenon between the designers and the users as described above causes the blur phenomenon between the furniture and the space where the furniture is installed. Accordingly, it is expanding the furniture design sphere including the case that the furniture is not selected as the rifle article depending on the characteristics of interior space but it becomes the element leading the characteristics of space. This study aims to estimate the change of interior space and the furniture that my cause the blur phenomenon by examining the cases above appropriate for the paradigm of the 21st century. Furthermore, this study will enable the discussion oil the directions of future furniture design based on its results.

• Biomedical Science Letters
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• v.2 no.1
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• pp.57-69
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• 1996

To examine the process of spermiogenesis in the Korean red-backed vole, Clethrionomys rufocanus regulus, the seminiferous epithelium in the testis, was studied by trasmission electron microscopy, and the following results were obtained based on the morphological characteristics of cell differentiation. 1. According to the fine structural differentiation, spermiogenesis was divided into Golgi, cap, acrosome, maturation and spermiation phases. Besides, these phases were sub-divided into two steps : early and late phases respectively, Thus, the spermiogenesis of Clethrionomys rufocanus regulus was divided into a total of ten steps. 2. In the changes of the chromatin, the chromatin granules began to be condenced in the late Golgi phase, regularizated at maturation phases, and a perfect nucleus of sperm was formed at the spermiation phases. 3. The sperm head had the falciform, and the formative period of sperm tail began to be develop in the early Golgi phase and completed at the spermiation phases. 4. In the morphological features of spermiation phases, the spermatid of early spermiation phase was divided into three types : (1) A-type spermatid contained cytoplasmic droplets in the neck region and middle piece, and the mitochondria was irregular, and arranged around the axoneme. (2) B-type contained cytoplasmic droplet in the middle piece only, and the mitochondria are arranged the center of axoneme regularly, and (3) In the C-type spermatid, the arrangement of mitochondria was regular, and was contained cytoplasmic droplet in the neck region only. In the late spermiation phase, only the sperm head was surrounded by cytoplasm of Sertoli cell or the matured sperm just before the spermiation from the cytoplasm of Sertoli cell.

• Journal of the Korean Geographical Society
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• v.49 no.1
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• pp.1-17
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• 2014

This study estimates geomorphological processes of fluvial terraces by uplifts and bedrock features, by the analyses of topography, distribution, formation age and incision rate of fluvial terraces using Gwang-cheon River in Uljin, Namdae-cheon River in Pyeonghae and Osip-cheon River in Yeongdeok located in the southern Taebaek Mountain Range. The tectonic and climatic terraces I in the upper reaches of Gwang-cheon River with an altitude from riverbed of 9~12m indicate the formation age of MIS 2 with a incision rate of 0.40m/ka. However, the tectonic and climatic terraces I in the upper reaches of Osip-cheon River with an altitude from riverbed of 7~10m show the formation age of MIS 3 with an incision rate of 0.10m/ka. These results suggest that the uplift rate in the Gwang-cheon River basin is likely to be higher than that in the Osip-cheon River basin. Unlike the lower reaches of Osip-cheon River, the thalassostatic terraces are not found in the lower reaches of Gwang-cheon River, because the basin has low maintainable ability of landforms in river valley due to high uplift rate and bedrock properties resistant to weathering and erosion. On the other hand, the lowest tectonic and climatic terraces in the study areas indicate different formative ages and the terraces during the cooling stage in interglacial as well as during interstadial are also found. Therefore, this study suggests that chronological method for fluvial terrace by the previous developmental model of climatic terrace should be reconsidered.

• Journal of Fashion Business
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• v.6 no.5
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• pp.48-58
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• 2002

The purpose of this study is to analyze four separate elements-sublime beauty, elegant beauty, mysticism, ornament-which appeared in materials, patterns, colors, silhouettes, details, and accessories, laying stress on luxurious, brilliant, mysterious feelings on Gorgeous Images appeared as trend theme of modern fashion by mixing religious mysticism of the Byzantine Empire. Mysticism element is using the effect of splendid and gorgeous colors from the Orient rather than forms. And a philosophy of abundant colors in mosaics, which are seen in art forms such as architecture, paintings, etc., shows that it creates some visual rooms for religious spirits. Influenced by the fashion of the Greco-Roman style, the elegant beauty element is expressing abundant comfort and elegant feminine lines that are from creases, and it is also emphasizing natural beauty which seems to slip down by displaying the splendid images of Gorgeous as drapes that fit a body. Ornament element was reflecting an inspiration from the splendid and brilliant culture of religion in the Byzantine Age. Therefore, it was appeared as a style filling the whole with bulky silks, splendid ornamental materials embroidered in gold or silver thread, the complicated geometric patterns that are two-dimensional and dignified, and so on. It was decorated with crosses which represent Christianity as a motif, and also it emphasized the splendor of the Byzantine and dazzling splendid images of Gorgeous by using accessaries decorated with various jewels. The elements of sublime beauty are showing the beauty adding humble and majestic images to it as designs sought by spiritual values or intrinsic values. Those designs, so to speak, have pretense which does not allow to expose a body and plain pure feeling, so that they are showing some abstinent styles in a solemn atmosphere, with most details removed. We can say the Fashion Theme appearing in Modern Times is the result from representing by combining various factors of the times with formative beauty through creative works for aesthetic expression. The moderners are requiring new designs which is possible to meet their individualities, in addition to their outstanding fashion senses. From this point of view, a variety of textiles, patterns, and colors in the Byzantine have a great meaning to fulfill people's various desires as interesting elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.5
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• pp.82-91
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• 2007

Currently, bridges are regarding as the structure with formative, scenic and environmental values more than their function as simple passageways. Because an attempt to work on the diversity of the bridge types and installation of the large structures on bridge are part of the project of the regional amenity enterprises, a study that harmonizes bridges with landscape is needed at this point in time. This background can influence the direction of bridge landscapes that considers local features by analysis of visual preferences on a bridge simulated scene. The results were as follows: analyzing the change of the simulated landscape image, forest landscape are damaged by the input of a bridge which was natural, harmonic and intimate. On the other hand, when a bridge was inserted into the ocean landscape, it was thought to improve the ocean landscape, especially, upper part form of arch bridge various or suspension bridge were improved in polished and various image. The insertion of a bridge into an urban landscape change from a negative image to a beautiful, harmonic and attractive image. The intimate, harmonic and natural image of a rural landscape was damaged by inserting a bridge. As analysis result about change of landscape preference by input of bridge, there is difference between before and after as input the bridge, and bridge influences as main object in the simulated scene. Visual preference was the highest in the ocean landscape, and the lowest in the suspension bridge in the rural landscape. The complicated shape of bridge follows on the background type difference certainly appear. Thee simulated scene preference except the urban landscape of the simulated scene fell generally Especially, fall of preference of girder bridge in the forest and ocean landscape, suspension bridge in the rural landscape appeared notedly.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.282-305
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• 2010

Many earrings were excavated from Bujang-ri site in Seosan with various prestige goods such as the golden crowns, shoes and decorated swords. This proved that Bujang-ri site in Seosan fell within Hanseong Backjae area of influence in the 4~5th centuries. The earpieces of excavated prestige goods had been considred subordinate elements compared with the golden crowns, shoes and decorated swords. Twenty one earpieces were excavated from Bujang-ri site and formative features and material characteristics of them were analyzed by microscope and XRF. The material and manufacturing technique of earpieces were compared with excavated aspects of prestige goods. As a results, the earpieces that made of a small amount gold and by simple technique were the most whereas the earpieces that required advanced skills such as welding, workmanship and high purity of gold were smaller. Also the earpieces that required advanced skills were excavated from the tombs where the prestige goods such as the golden crowns, shoes and decorated swords appeared. Therefore, considering Hanseong Backjae used the gold wares as means in showing power for local influence men, the earpiece from Bujang-ri site in Seosan would be the standard on superiority of tomb's owner as gold purity.