• The Korean Journal of Archival Studies
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• no.20
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• pp.151-212
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• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.4-23
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• 2010

Danggol, in other words the hereditary shaman, is a person who is performing the Gut(the Korean shamanistic ritual) as the job but fortuneteller simply tells someone's fortunes. Nowadays most of fortunetellers think their works are wholly managed the Gut as the holy jobs. But Generally this kinds of jobs, we think it is lower than ordinary people's level of education in the korea. Actually we can meet eleven fortunetellers who have a college diploma out of them, so we can know that their education's level is increasing gradually. On the other hand a house of fortunetellers is the place where can lead the way of our lives in the method of seeing one's past life or making predictions of someone's coming events etc. Gradually this place seems to be separated with a private home, so the most of them is managing as the monthly rent. Consequently this houses are heavily located at the Gyerim five-way crossing, the Yang-dong Dakjeonmeory street, Jungheung-dong local culture street area. Each fortunetellers have the different ways of fortune-telling because this methods are decided by their one's characters. So their fortune-telling time and its time required for a task is far different. The methods of telling it is very much different in accordance with the learning fortuneteller or spiritualistic fortuneteller. But the process of fortune-telling is common like as a preparatory stage, carrying a Jumsa(fortune-telling) stage and acting by a Jumsa stage. These steps are sequential but linked together. There are six special features of fortune-telling culture in Gwang-Ju. 1. The role of a fortuneteller and Bosal(spirit-descended shaman) runs at the same time. 2. The house of fortune-telling is doing Gutdang(ritual house)'s works. 3. Its location are heavily collectivized at the specific districts. 4. The learning fortuneteller are increasing gradually. 5. The youth are growing use in the fortune-telling house. 6. There are many person that are visiting this house because of individual problems not their family's problems.

• 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."

• The Korean Journal of Archival Studies
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• no.36
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• pp.35-67
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• 2013

As the office of crown properties expanded to financial structure having jurisdiction over various nation's purse in the Great Han Empire, its official document form has been changed. Unlike the early days, they had used official paper stamped with the words 'the Office of Crown Properties' eliminating 'Department of the Royal Household'. Also, the title on stamp of government position changed to 'Recipient of the Official of Crown Properties'. As the office of crown properties expanded as a great financial structure, it has grown in stature as an independent structure, and it was reflected in official document form. Such change was shown in document distribution system. The recipient of report from each district was the First Lord of Department of the Royal Household until 1897; however, the recipients of reports were mostly the office of Crown Properties from 1899. The Office of Crown Properties could not issue an official order before Aug 1899, since then the Office of Crown Properties had issued official orders to each district. However, the Office of Crown Properties could not handle the document in an equal position to the central organization yet. However, from Sep. 1900, the Office of Crown Properties handle the document with district organizations in equal position to the central organization, and a records office had been established in the Office of Crown Properties. Also, the Office of Crown Properties had handled official documents as an independent organization getting out of belonging organization to the department of Royal Household. Since the records office was established in Sep. 1900, the Office of Crown Properties had written receipt book autonomously. Comparing the receipt books in 1901 to the receipt books in 1905 and 1906, receipt numbers had been appeared from the book in 1905 and the organization in charge of the documents was recorded on some documents. Since no receipt book was found in 1902~1904, it is unknown when receipt number had been started indicating on the book. Seeing that the receipt number on the book of 1905 matched with contents on the receipt stamp, the receipt number has started indicating from around July, 1902; the period the receipt stamp has been started to use. Unlike the receipt stamp, the department in charge was indicated on the receipt book. It is because that the Office of Crown Properties changed writing system. Instead of classifying divisions, the Office of Crown Properties recorded in a book by order to receive, provided serial number, and wrote the department on the bottom of receipt book to classify by department in charge. Since establishment of the records office in Sep. 1900, the Office of Crown Properties had confirmed the receipt of document by stamping 'receipt of the Office of Crown Properties' and made receipt books as the office had started handled documents independently. Also, the Office of Crown Properties changed its system integrating division and recording in one book from the intial system classifying the book by division then receipt number and department in charge were indicated on the book. Also, receipt system has stabilized by stamping the receipt date and number on the received document.

• (The)Study of the Eastern Classic
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• no.57
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• pp.231-262
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• 2014

Seeing so many people who use trickery and schemes become successful these days, a lot of people are concerned that the ethical values of our society are breaking down. The saint who created I'Ching presents ways to see through the characteristics of people and ethical values, claims that carrying out these values in everyday life while being aware of misfortunes can lessen our faults or make them disappear, and presents ways to conduct moral actions to people with the hopes of walking down the right road. The Do in Dodeok, which means "ethics" in Korean, stands for "body." Until now, there has been a lack of research on the do in I'Ching. Therefore, the goal of this study was to research the idea and specific actions of Do implied in Gyeomun and Shibik of I'Ching, to aid application of abstract Do to fit the different situations of people. In the beginning, Do was not categorized. It was heavens Do if it was in the heavens, earth Do if it was on the earth, and human Do if it referred to people. I'Ching presents various different ideas of Do to apply natural Do to people. The researcher divided Do largely into heavens Do, earth Do, human Do, heavens, earth and human Do, middle Do and changing Do, and aimed to present various examples of application of Do including Do of a man, Do of heaven and earth, Do of heavens and gods, orders of the heavens, Do of a woman, Do of a family, Do of a saint, Do of a great person, Do of a noble man, Do of a child, Do of a household, Do of the heavens, earth and people, good fortune of men, and wrong Do and frugal Do, to show how and when Do is used and aid in execution of Do through I'Ching. The practice principle of Do according to I'Ching is for people to understand the various types of Do presented by I'Ching, and help all people become saints and noble men by conducting Do at the right time and place. If people make an effort to keep the principle of Do presented in I'Ching, all trickery and schemer will disappear and a society of great unity will be created, where all members are happy.

• (The)Study of the Eastern Classic
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• no.59
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• pp.157-181
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• 2015

This thesis pursued exchanges of Hwangsang with Chusa Family, who existed in the 19th century. What was Chusa to Hwangsang and what was Hwangsang to Chusa? The answer is concluded to the question of which existence Chusa was to Hwangsang but not of which existence Hwangsang was to Chusa. However, disregarding social positions of the nobles and the commoners, brothers of Chusa also cherished Hwangsang and respectfully treated him as a poet at all times. Chusa was a critic who recognized Hwangsang as a successor to Dasan poetics and became a patron of the literary circles on the other hand. Hwangsang's Chinese poems related to Chusa Family are counted as 45 JE 52 SU in total which consist of 31 JE 34 SU in "CHIWONYUGO" and 14 JE 18 SU in "CHIWONSOGO", On the other hand, Chinese poems which Chusa wrote for Hwangsang are only a few pieces shown in "WANDANGJEONJIP". Hwangsang first met three brothers including Chusa in September 1853 when he came up to the capital for the 4th time. Jeong Hak-yeon, the oldest son of Dasan Jeang Yak-yong, played an important role in the whole process that Hwangsang met Chusa's three brothers and was recognized as a poet. As the oldest son of Dasan Family, Jeong Hak-yeon made efforts in various ways for Hwangsang. Hwangsang tried his efforts to exhibit his ability as a poet to Chusa and to get Chusa's introduction of his poetical works. Considering Chusa's importance in then literary circles, the introduction seemed to reflect recognition by the literary circles in the metropolis and it also showed that Hwangsang was no more than an obscure poet in the provincial area. Poetical composition of Hwangsang for Chusa three brothers commonly contained friendship, intimacy and special respect at all times. Seeing from exchange process between Hwangsang and Dasan Family or Chusa Family, it is found that mutual exchanges were actively made in the mid-nineteenth century overcoming regional differentiation between capital and province, or feudalism class distinction of social positions of the nobles and the commoners.

• Korean Journal of Optics and Photonics
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• v.33 no.4
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• pp.167-176
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• 2022

Adaptive optics (AO) systems compensate for atmospheric disturbance, especially phase distortion, by introducing counter-wavefront deformation calculated from real-time wavefront sensing or prediction. Because AO system implementations are time-consuming and costly, it is highly desirable to estimate the system's performance during the development of the AO system or its parts. Among several techniques, we mostly apply statistical analysis, computational simulation, and optical-bench tests. Statistical analysis estimates performance based on the sum of performance variances due to all design parameters, but ignores any correlation between them. Computational simulation models every part of an adaptive optics system, including atmospheric disturbance and a closed loop between wavefront sensor and deformable mirror, as close as possible to reality, but there are still some differences between simulation models and reality. The optical-bench test implements an almost identical AO system on an optical bench, to confirm the predictions of the previous methods. We are currently developing an AO system for a 1.6-m ground telescope using a deformable mirror that was recently developed in South Korea. This paper reports the results of the statistical analysis and computer simulation for the system's design and confirmation. For the analysis, we apply the Strehl ratio as the performance criterion, and the median seeing conditions at the Bohyun observatory in Korea. The statistical analysis predicts a Strehl ratio of 0.31. The simulation method similarly reports a slightly larger value of 0.32. During the study, the simulation method exhibits run-to-run variation due to the random nature of atmospheric disturbance, which converges when the simulation time is longer than 0.9 seconds, i.e., approximately 240 times the critical time constant of the applied atmospheric disturbance.

• Journal of Christian Education in Korea
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• v.66
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• pp.113-145
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• 2021

As a contemporary exponent of Bauderillard's Simulation and Simulacra, this paper aims to reflect on the 'consumer culture' criticized by Baudrillard from the lens of Christian Education in reading the Drama, Penthouse related to the notions of the consumption-ideology, the desire and violence of image in the post-Covid 19 era. As Baudrillard begins to realize that the concept of simulation rooted from mass media in the modern society, he explains mass media as the emerging of Simulation or the process of Simulation will lead to the impulsion of reality, which ends up with vanishing the original reality. Baudrillard is explaining in his argument that the process of Simulation proceeds among various areas of the contemporary society being manipulated by mass media. While Simulation is the process of producing the hyperreality characterized by the excess of images that seems more real than the original reality, Simulation brought about Simulacra as excess reality or consequently exploding reality. Christian educators in the post-Covid 19 must know how to deal with critical theory by considering positive ways of avoiding questioning of how to articulate what the norm of universal consensus is in the specific situation. In other words, it should be noted that the nature of the ruling ideology and the ideology of consumption has been influenced or manipulated by mass media. Christian educators especially have to help young people in seeing the messages from the images of the screens, television, soap-opera, and commercial advertising making reality as Simulacre which is more real than the original reality. When the medium becomes the message, the power of medium makes the consumer not reach communication with it. This is the main reason in the controversy about the images on television drama, Penthouse and the impact of images on people's mind. As an exponent of McLuhan's belief that "the medium is the message", Baudrillard argues although the message and a subject of Simulacra(excessive reality) is unexpectedly disappearing, the medium itself is vanished through the silence of image. However, the task of Christian education has to fuel how we teach, learn, share and pass on the Word of God as the Message. Furthermore, it is worth noting that the Message of God cannot be vanished or burst with the impulsion of it, but exists forever. With Baudrillard's ideas of Simulation and Simulacra in mind, the work of Christian education as an observation platform can better engage the reflection on a consumer society of consumerism that makes Church community and a consumer irresistible against the Fake world.

• Journal of Korean Elementary Science Education
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• v.41 no.2
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• pp.283-294
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• 2022

Although the concept of light is important in the elementary school curriculum, substantial research suggests that students and teachers have difficulties in understanding it. Therefore, it is necessary to analyze the reasons for these difficulties-whether it is due to the content or due to the presentation method of contents, structure, and expression. The national curriculum and textbooks of Korea, the US, China, and Japan were comparatively analyzed from the following perspectives: 1) key concepts of light, 2) structure of light units in the textbook, 3) materials, light sources, and optics used in light units. Consequently, there were differences between countries in their inclusion of the concept of light in the curriculum. In particular, the Korean curriculum studies the concept of refraction by a convex lens, whereas the concept of light, light source, and vision is not introduced. Furthermore, countries also differed in their structuring of units. The Korean curriculum was presented segmentally by concept rather than structured according to core ideas or perspectives, and the connection between concepts was unclear. In addition, there were differences between the countries in materials, light sources, and optical instruments to explain key concepts. On using light, the US curriculum provides a purpose and uses light to achieve it, and China and Korea understand the concept. It was divided into the method of using the material to deepen. Based on the results of this analysis, the implications for the elementary science curriculum in Korea were derived as follows. First, it is necessary to introduce concepts sequentially and organize them so that the connection between concepts is well expressed. Second, it is necessary to introduce light and light sources as the predominant concepts. Third, it is necessary to include the principle of seeing objects. Fourth, it is necessary to adjust the material and content level of the refraction concept included in the light and lens unit. Fifth, an integrated approach is required because light has a deep connection with various concepts included in the elementary science curriculum.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.24-33
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• 2022

The travel notes and nature poems found in historic literary men's works can be considered historical records related to scenic sites. Such travel notes and nature poems are based on the writers' personal characters, experiences, learning and etc. Such works clearly show the characters of each literature, information of the related objects and the writers' thoughts of the objects. This study, thus, looked into Euisang on Xīsāishān Mountain that could be the origin of Eobusa(漁父詞) loved and sung by Korean historic literary men, and found that the Korean and Chinese literary men's thoughts were shown through their ways to enjoy Xīsāishān Mountain and their Euisang on the mountain, which was different between the Korean and Chinese literary men depending on the geographical locations described in their poems. In detail, the study results are: 1. Such difference of the ways to enjoy Xīsāishān Mountain, the scenic site described in historic Korean and Chinese literary men's work is broadly classified into the ways to enjoy the scenic site by seeing it in person and the ways to enjoy it under the mental structure of speculation. 2. Xīsāishān Mountain in Wuxing is the background of Yújiāzi(漁家子) of the painting Zhāngzhìhé, is boasting its distinguished beautiful nature, and is the place where the Confucian Study of Hú(湖學) was originated. It is also the place known of its warmhearted climate. Therefore, Euisang on Xīsāishān Mountain under such beautiful and warmhearted circumstance are realized as the complete freedom and seclusion in Taoism and the satisfaction with the given environment and position in Confucianism. 3. Xīsāishān Mountain in Wǔchāng is a military strategic point with rugged mountain terrain and scenery that has been a historic ferocious battlefield and related with the loyal civil servant Qū Yuán. The Euisang on Xīsāishān Mountain in Wǔchāng, therefore, represents the nature scenery of a rugged fortress and patriotism of Confucianism. 4. The Korean literary men's way to enjoy Xīsāishān Mountain is Shinyu(神遊: spiritual travel), so that their Euisang is formed according to the direction of the writer's values. Especially it is noted that Korean Euisang on Xīsāishān Mountain is originally based on the painting Zhāngzhìhé that shows the complete free mood of Taoism; and the Euisang on Xīsāishān Mountain that came from the mindful image by the poet monk Qíjǐ of Tang dynasty and Kim Si-seup appears with such Buddhist ways to seek the truth as SakGongIlYeo(色空一如: Being full is essentially as same as being vacant) and GyeonSeongSeongBul(見性成佛: Everybody can become Buddha by enlightenment).