• The Korea Journal of Herbology
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• v.32 no.1
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• pp.41-45
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• 2017

Objectives : The purpose of this study was to assume the origin and daily dose of Allii Chinensis Bulbus in Treatise on Cold Damage Diseases and Prescriptions of the Gold Chamber. Methods : I assumed the origin with Book of Materica Medica such as Illustration and Classic of Materia Medica(本草圖經), Illustration and Consideration of Plant's Name and Reality(植物名實圖考), The Korean Herbal Pharmacopoeia Forth Edition, Annotation of Hangeul Treatise of Cold Damages Diseases, and daily dose based on general principle applied on dose of Treatise on Cold Damage Diseases. Results : In Treatise on Cold Damage Diseases and Prescriptions of the Gold Chamber, the original species of Allii Chinensis Bulbus was Allium chinense G. Don. It was to be measured with weight. It was too big to write on size due to it's 10~30mm length and 3~12mm in diameter. And due to irregular size, it can't be written on number, too. Daily dose of Allii Chinensis Bulbus in Whaeyeok-san(回逆散), Gwalluhaebaekbanha-tang(栝樓薤白半夏湯) was 3 Ryang(兩), which was the most common case in Treatise on Cold Damage Diseases. And that in Gwalluhaebaekgyeji-tang(栝樓薤白桂枝湯), Gwalluhaebaekbaekju-tang(栝樓薤白白酒湯) is 8 Ryang(兩), which was the largest dose as dried herb in Treatise on Cold Damage Diseases Conclusions : The original species of Allii Chinensis Bulbus was Allium chinense G. Don. The daily dose of Allii Chinensis Bulbus was 3 Ryang(兩)(19.5g) in Whaeyeok-san and Gwalluhaebaekbanha-tang, and was 8 Ryang(兩)(52g) in Gwalluhaebaekgyeji-tang and Gwalluhaebaekbaekju-tang.

• Journal of the Korean Society of Safety
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• v.32 no.1
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• pp.41-46
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• 2017

In this paper, from making an electrical fire which is thought to be the most damaging among potential dangers as a top event, minimal cut sets (MCS) about it were analyzed. For this, components of a power substation were classified into 15 items. Failure rates and modes were extracted based on Korea Electrical Safety Corporation, IEEE Gold Book, and RAC. To analyze the top event (an electrical fire), main events were assorted into "safety devices for overcurrent" and "ampere meter of detecter". Failure of components was divided into failure of VCB, COS, and MCCB. A fault tree was composed of 3 AND gate, 5 OR gates and 17 basic events. Overlapped events among the basic events are things which occur from relevant components. They were attached to the tree by distinguishing identifiers. In case of FT, two minimal cut sets of "IO_METER", "MF_METER", "DO_MCCB" and "IO_METER", "MF_METER", "DO_VCB" take 46% of electrical fires. Therefore, about basic events which are included in the top two minimum cut sets, strict control is necessary.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.199-222
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• 2022

It has been 100 years since the excavation of Geumgwanchong (Gold Crown Tomb), a tomb that was accidentally discovered in Noseo-ri, Gyeongju at the end of September 1921 during Japanese colonial rule. Although it is known for its discovery, not only in the Korean Peninsula but also in Asia and beyond, the excavation report was published in Japanese and English by the Government-General of Korea in 1924 and 1928, three years after the excavation. TOMB "KINKANTSUKA" or THE GOLD CROWN TOMB at KEISHU, AND ITS TREASURES) was published as a series of books and picture books. The excavation report was prepared by Kosaku Hamada (濱田耕作), who was a member of the Ruins Investigation Committee of the Japanese Government-General of Korea (later became the President of Kyoto Imperial University, Kyoto, Japan), and Sueji Umehara (梅原末治), who was commissioned to investigate the remains of the Japanese Government-General of Korea. In this paper, the preface was written in July 1922, about half a year after the excavation of tombs, which was much earlier than the official reports, in the 'Korean and Chinese reading book (稿本 高等朝鮮語及漢文讀本 巻五)' by Hamada Kosaku (濱田耕作) for high school students in Korea, which was titled 'New Excavated Artifacts in Gyeongju (慶州의 新發掘品)' with a subtitle '絶大의 發見', a slightly awkward expression in Korean, but it means 'a very big discovery'. The meaning has been introduced as a single unit, emphasizing its significance in terms of the achievements of the excavation of Geumgwanchong, academic and archaeological discoveries, and cultural history in Korean language rather than Japanese language. Since the manuscript was written immediately after the excavation, the excitement as an archaeological researcher at the time of the excavation and expectations for future research can be read as it is. In this paper, I would like to introduce the voice of the excited field leader of the Japanese Government-General of Korea after the excavation of Geumgwanchong in 2022, the 100th anniversary of the writing. In addition, the process from the discovery of the tomb to the preparation of the report was summarized in one chronological table to make it easier to understand the series of flows.

• Journal of Korean Medical classics
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• v.23 no.5
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• pp.11-22
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• 2010

Treatise on the Pathogenesis and Manifestations of All Diseases(諸病源候論)was written by Chao Yuanfang that was most active during the Sui Dynasty at A.D. 610. It classified clinical medicine by some departments of internal medicine, surgery, obstetrics and gynecology, pediatrics, and otorhinolaryngology and within each specific department, categorizes etiology and pathology according to characteristics of various diseases. It was the total disease classification book that based on the bibles of the Oriental medicine, (Huangdi''s) Internal Classic(黃帝內經), Classic of Difficult Issues(難經) and Treatise on Cold Damage and Miscellaneous Diseases(傷寒雜病論), A-B Classic of Acupuncture and Moxibustion(鍼灸甲乙經), Essential Prescriptions Worth a Thousand Gold for Emergencies(備急千金要方) and Medical Secrets of an Official(外臺秘要). It was arranged tussive causes, classes, diagnosis, prognosis and stretching for treatment by Volume 13, all symptoms of tussiculation. Dialectic part was divided into cough(咳嗽), cough with dyspnea(咳逆上氣), cough with pus and blood(咳嗽吐膿血), cough with duck crying sound(?嗽), sudden cough(暴氣咳嗽), cough with dyspnea(咳逆), cough with dyspnea and vomiting(咳逆上氣嘔吐). Disease situation part was divided into the new cough(新咳) and old cough(舊咳), deficiency syndrome(虛證) and excess syndrome(實證), visceral cough(藏府咳), etc. Out of these, cough with counterflow(咳嗽上氣), cough with dyspnea(咳逆上氣), cough with dyspnea and vomiting(咳逆上氣嘔吐), cough with shortness of breath(咳逆短氣) have a close connection with dyspnea(上氣), counterflow of qi(逆氣), dyspnea and vomiting(上氣嘔吐) and shortness of breath(短氣) in the Pathogenesis and Manifestations of All qi(氣病諸候) of vol 13. So two parts may be refer to each other. However, the content on the original book has been addition and subtraction on the original context along with many reprints. Therefore, this paper, with regard to the prints of former editions, tried to help in better comprehension of the original context through readings and Korean translation.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.32-45
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• 2012

The purpose of this research is to better understand the Dongmyo, the Eastern Shrine of GuanYu and the military costumes of the Joseon period andto develop different cultural contents. By studying relevant literature, confirmations were made about the various types of costumes and their historical changes. During the reign of King Yeongjo, the ceremonial conductors often wore armors, and the king wore a different military costume. During the reign of King Jeongjo thereafter, the ceremonial costumes were codified in the book, the Chun-gwan tonggo(General Outline for the Ministry of Rites), along with the costumes for the musicians and lower officials. However, the military features were weakened in the late Imperial Joseon years. In terms of costumes, it would be best today to restore the ceremonies of the Shrine of Guan Yu during the period of King Jeongjo. All the costumes for different figures of the Shrine are clearly confirmed, and by emphasizing the main features of the ceremonials of the Shrine, it is possible to differentiate the ceremony from other restoration activities in Korea. For the Guan Yu statue, the hat is square shaped and decorated with nine bead strings, it is dressed with a red dragon coat and a violet inner coat. This study presents methods for the restorations of the original costumes for the individual figures of the ceremonials, with necessary theoretical explanations. The king wears the lamella gold armor, while different ceremonial officials wear differentiated armors according to their different ranks. All the civil and military officials who attend the ceremony wear military clothes with horse's mane hats and swords. The musical conductor and directors are expected in armors and participating musicians also have to wear armors according to the Akhak Gwebeom (Basics of Music).

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.70-95
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• 2013

The Tejaprabha Buddha painting, located in the Korai Museum in Kyoto, Japan, was made in 1569 when Joseon Dynasty was in his $14^{th}$ year under SeonJo's ruling, and is only one of Tejaprabha Buddha paintings from the early Chosun dynasty. With its well preserved state, the painting allows clear indications of all icons and list of names that were written, and the record region also has minimal deterioration. This Buddhist painting is a GumSeonMyoHwa which is drawn with gold lining on red hemp cloth and has a relatively small dimension of $84.8{\times}66.1cm$. With the Tejaprabha Buddha in the center, the painting has two unidentified Bodhisattvas, Navagrabha, Rahu, Keto, YiSipPalSoo (28 constellation of the eastern philosophy), SipYiGoong (12 zodiacs of the western philosophy), SamDaeYookSung, and BookDooChilSung (the Big Dipper), all of which provide resourceful materials for constellation worshipin the Joseon era. This painting has a crucial representation of the overall Tejaprabha Buddhism - a type of constellation worships - from the early Joseon dynasty. Even though the composition does seem to be affiliated with the paintings from the Koryo dynasty, there are meaningful transformations that reflect changes in content into constellation worship in Joseon dynasty. As a part of the Tejaprabha Buddha, SipIlYo has become a center of the painting, but with reduced guidance and off-centered 'Weolpe (star)', the painting deteriorates the concept of SipIlYo's composition. Furthermore, addition of Taoistic constellation beliefs, such as JaMiSung (The purple Tenuity Emperor of the North Pole), OkHwangDaeChae, and CheonHwangJae, eliminates the clear distinction between Taoistic and Buddhist constellation worships. Unlike the Chinese Tejaprabha Buddha painting, the concept of YiSipPalSoo (28 constellation of eastern philosophy) in this painting clearly reflects Korean CheonMoonDo's approach to constellation which can be applied to its uniqueness of the constellation worships. The fact that the Big Dipper and ChilWonSungKoon (Buddha of the Root Destiny Stars of the Northern and central Dipper) are simultaneously drawn can also be interpreted as the increase in importance of the constellation worship at the time as well.