• Communications of Mathematical Education
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• v.23 no.4
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• pp.1093-1130
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• 2009

The purpose of this study is to examine obstacles to progress for 20th century Korean mathematics. In 1945, shortly after Korea was liberated from Japan, there were no Korean mathematics Ph.D. holders, less than ten bachelor degree holders, and only one person with a master's degree in mathematics. We investigate the reasons for this. Korea has to overcome such an unforgiving condition and rebuild quality education programs in higher mathematics over the last several decades. These debilitating circumstances in higher mathematics were considerable obstacles in developing a higher level of mathematical research for the mainstream of 20th century world mathematics. We study policy and curriculums of Korean school mathematics in the late 19th and early 20th century, with some educational and socio-political background.

• Journal of the Korean Society for Library and Information Science
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• v.42 no.4
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• pp.391-415
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• 2008

Gwa-ik Wonjong Gongsin-Nokgwon(佐翼原從功臣錄券) is a book which recorded the titles of position and the names of retainers who made Se-jo into Chosun dynasty's king. This study aims to research into existing 4 books of Gwa-ik Wonjong Gongsin-Nokgwon, which were to analyze the reasons of grant, structure and forms, the characteristics of meritorious retainers' official positions and social status. As the result, Gwa-ik Wonjong Gongsin-Nokgwon is the metal typologic book which was made up Choju-Gapin(初鑄甲寅) letter type. The structure of the Gwa-ik Wonjong Gongsin-Nokgwon was composed of the beginning(卷首) the body(本文) the end(卷末). Gwa-ik Wonjong meritorious retainers formed the total of 2,356 persons(1st grade: 80 persons, 2nd grade: 846 persons, 3rd grade: 1,430 persons) with 295 official titles. Also an analysis of their social status confirmed that 2,265 persons were Yang-ban(兩班) which constituted the largest group, Jung-in(中人) were 71 persons, Chun-in(賤人) were 11 persons and Yang-in(良人) were 9 persons.

• The Korea Journal of Herbology
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• v.38 no.5
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• pp.21-29
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• 2023

Objects : This study aimed to identify the origin species of Ulmi Cortex and Ulmi Semen Pasta. Methods : I searched for different types of 'Yu(楡)' from Zhong Xiu Zheng Huo Jing Shi Zheng Lei Bei Yong Ben Cao (重修政和經史證類備用本草) of the Song Dynasty, then compared the descriptions of Yu with real life species. Items that were inconsistent were sequentially deleted to finally find the original species that satisfies all conditions. Results : There were five types of Yu : Jiyu(地楡), Jayu(刺楡), Langyu(郞楡), Goyu(姑楡), and Baekyu(白楡). Jiyu was Sanguisorba officinalis or Sanguisorba officinalis var. longifolia which was a herb. Jayu was Hemiptelea davidii (Hance) Planch. which had thorns on its branches. Ulmus laciniata had leaves that split into three branches. Langyu was Ulmus parvifolia which beared fruit in the fall. For these reasons, the four items above were ruled out. The fruit of Goyu was Ulmi Semen Pasta, which was the largest among fruits and was therefore Ulmus macrocarpa. The fruit of Baekyu was Yuhyup(楡莢) and the ancient coin Yuhyupjeon(楡莢錢) was resembled Yuhyup. The normal pulse of the lung resembled the appearance of falling Yuhyup. The peel of Baekyu was Yubaekpi(楡白皮), and when it was removed from coarse bark, contained an abundance of white sap; the place where this sap overflowed on the stem bark was white, therefore Baekyu was identified as Ulmus pumila. Conclusions : From the results above, the origin species of Ulmi cortex was Ulmus pumila and the origin species of Ulmi Semen Pasta was Ulmus macrocarpa.

• Conservation Science in Museum
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• v.3
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• pp.29-36
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• 2001

The hat excavated from the tomb of Hojeo-myon Wonsung-gun in Kangwon province was dry-cleaned and restored. The hat was made of wool felt and decorated with several strands of silk cord. It was very dirty and moth-eaten. After getting rid of the particle soils on a surface with painting brush, the hat was dry-cleaned using perchloroethylene applying the minimum force, and blotting paper was used for drying. During cleaning, it was supported by the stainless steel net. The weight loss was 7.94% after cleaning. The soils sticked on the hat was removed clearly. The texture of the hat became softer after cleaning. Color difference(∆E) was 2.57, which is a noticeable change. The color became clear and changed to the red and yellow range. After dry-cleaning, the hat was repaired. Dislocated silk cords were fixed to the right place by stitching with silk yarn. To keep the shape of the hat, it should be supported by a hat-shaped stiff net during exibition and storing.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.

• Korean Journal of Acupuncture
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• v.29 no.3
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• pp.371-384
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• 2012

Objectives : The meridian system is a systematic complex of empirical knowledge, which functions as a basis of acupuncture treatment. In this article, we reviewed the visualization methods of meridian and acupuncture points through the investigation of the characteristics of Diagram of Meridians, Mingtang Diagram, Diagram of Meridians and Collaterals, Bronze Statues and Diagram of Bronze Statue. Methods : We investigated the characteristics of Diagram of Meridians, Mingtang Diagram, Diagram of Meridians and Collaterals, and Bronze Statues. We reviewed the visualization methods of meridian and acupuncture points in those classical Diagrams and analyzed their relationships among them. Results : In order to explain the meridian and acupuncture points easily, ancient people usually used drawings which are named Mingtang Diagram, Diagram of Meridians and Collaterals, by their own characteristics. Owing to their limitations of drawings on the 2 dimensional plane, Chinese people designed the Bronze Statue for Acu-moxibustion and its first invention was invented in Tiansheng age of Song dynasty. For several decades and centuries, these models and drawings were inherited, also reflecting variations of meridian system. As the Bronze Statue has a deficiency in the educational use because of its limitations of mass production, Diagram of Bronze Statue drawn on the 2 dimensional plane was invented. At the beginning of Mingtang Diagram, Diagram of Meridians and Collaterals, Diagram of Bronze Statue and Bronze Statue, their own characteristics were significantly differed with other diagrams and statues. We found that both diagrams and statues were gradually combined with description of the relationship between internal organs and the skeletal structure and the meridian system. Conclusions : Our findings suggest that Diagram of Meridians, Mingtang Diagram, Diagram of Meridians and Collaterals, and Bronze Statues are the basic form of data visualization, one of the infographics. We suggest that ancient Chinese people intend to explain the empirical knowledge using the ancient infographics of meridian system, but have limitations on reflecting theorical or abstractional meaning.

• 보존과학연구
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• s.28
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• pp.121-147
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• 2007

A large variety of mineral pigments has been used for Korean paintings and it has known that organic pigments have been used together on the Buddhist painting and the portrait. Haehakbando-do, which is from Honolulu Academy Museum in the United States, 12-fold screen was commissioned by Court of the late Joseon Dynasty in order to pray for the King's longevity. Therefore, it seems that all material used including pigments were selected very carefully and a great deal of technical effort was gone into its process. The purposes of this research were to estimate the pigments and the contributory elements of each color used on Haehakbando-do, in accordance with the conservation treatment carried out by Gochang Conservation Institute throughout last year. Without extracting sample, property of pigment was measured by nondestructive method, X-ray spectral analysis, and by comparing with the data about ancient pigments. In spite of the limited range of pigment analysis by nondestructive method, it should be noted that this method would not cause damage to the cultural properites. White pigment was found in all colored parts except the background, so it can be suggested that white color was used as a grounding of other color pigments. This would be flake white[$2PbCO_3{\cdot}Pb(OH)_2$] as Pb was found. Pb was the only element could be found in yellow, however, it can be organic pigment like Gamboge as same as background. Red would be Cinnabar (HgS) as hydrargyrum (Hg) was detected. For the light purple in cloud, organic pigments were probably used since any element is not detected except for Pb, which is used for background. It is possible that green color is the mixture of Malachite[$CuCO_3{\cdot}Cu(OH)_2$] and Azurite [$2CuCO_3{\cdot}Cu(OH)_2$], which share Cu as their main element. Azurite[$2CuCO_3{\cdot}Cu(OH)_2$] was used for bluish pigments. Black is carbon compound. For gold, solid gold (Au) was detected. It shows that gold was gilded on the flake white background. Red painted on the frame of screen was identified as Cinnabar (HgS) and the gold pattern was solid gold (Au). The supporting leg of folding screen was made of brass because both copper and zinc were detected. In conclusion, white pigment was used as grounding of all colors of Haehakbando-do, and specific pigments were used for each color. Additionally, result from the analysis of several pigments shows that mineral pigment and organic pigment, or different mineral pigments were mixed to make various colors.

• (The)Study of the Eastern Classic
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• no.70
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• pp.119-156
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• 2018

Suk Dang Kim Sangjeong (1722-1788) was one of the Big Three Noron literati of the mid-18th century, and is an author worth taking note of in that he expressed the duty to pursue the Qin-Han gomoon-ron (古文論) more clearly and radically than anyone else. The literary debates that unfolded in the letters he exchanged with Ahn Doje (安道濟) and Sin Daejeon (申大傳) are the clues that may explain the continual development of Qin-Han gomoon-ron within Joseon. His gomoon-ron is a self-reflection of the Dang-Song gomoon-ron that continued as tradition in the Noron literati after Kim Changhyeop (金昌協), and also reflects his literary and periodical confidence. At the same time, he also makes a distinction with Qin-Han gomoon-ron set forth by the Seven Masters literature from the Ming Dynasty (前後七子) in that he takes precautions against plagiarism and emulation. It has rarely been shown that his sentences plagiarize and excessively cite the classics, or that he abstrusely elaborates sentences. He sorted through things of value worth recording and cleanly reenacted them based on the scenes and conversations, further, delivered applicable normative lessons through allegoric writing. This may be discussed as the portions that are possessed by the Qin-Han gomoon-ron that he pursued, and particularly that have the esthetic and contact point of historical prose. Kim Sangjeong's writing pursued the Qin-Han gomoon-ron of a prior era, and though distinguishable from authors of difficult writings, possesses unique characteristics that make it distinct from the Dang-Song gomoon-ron that focuses on argument. The direction of Kim Sangjeong's antiquarianism seeks after imperial loyalty, and is mutually intelligible with the artistic discourse of the Noron Cheongryu literati such as Lee Yunyeong, Kim Sangsuk, Lee Insang, and Hong Naksun who preferred archaeological finds and classical prose. While their literary tastes are a reflection of their conservative worldviews, they may also have been utilized as a foundation supporting their lives which were devoted to literature.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.299-331
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• 2020

In Daesoon Jinrihoe, the Supreme God descended into the mortal world by incarnating as Kang Jeungsan to save the world from imminent disaster. Daesoon Jinrihoe is regarded by some Chinese scholars as a new Korean Daoism, and Jo Jeong-san, the Lord of the Dao in Daesoon Jinrihoe, revealed the Supreme God's name to "Gucheon Eungwon Noeseong Bohwa Cheonjon Kangseong Sangje." Comparative studies are often conducted to highlight the similarities between this god and the nearly identically named god in Chinese Daoism. However, this Chinese god is only a god of natural phenomena and has no previous connections to descension into the world via human incarnation. My research has determined that the closest basis for comparison would be Emperor Huizong within the context of Northern Song Dynasty Daoism. In the Daoism of that time period, he was understood to be the Supreme God who incarnated as a human to save the world. Borrowing Eliade's Phenomenology of Religion, this paper has discovered that core archetypes of these two godheads are different due to their different soteriological missions. In order to solve the grievances among humans, divine beings, heaven, and the afterworld, Kang Jeungsan actualized the Earthly Paradise of Later World. Drawing on the archetypal notion of an Original Time, he reshaped the world into the beginning of chaos to completely eliminate the past, and to create a fundamentally and qualitatively new era. On the other hand, Emperor Huizong tried to absorb what he viewed as heretical Buddhism into something sacred that could be used to save people from its harm. He established a hierarchy radiating from the archetypal notion of the Center of the Universe, and he cosmosized Buddhism, which he viewed as barbaric, into that order. Their core godheads mainly show differences in terms of time and space. Additionally, their extended sub-godhead symbols are quite different. Emperor Huizong, like the common supreme gods of other religions, established law of order, and then retreated as the symbol of heaven, the abdicated god. His divine power was specialized as Lin Lingsu's symbol of natural phenomena. Kang Jeungsan was completely different. He always proved his power over the three realms through different symbols. The main symbols he used were the moon for healing and resurrection, water for establishing order from chaos, and light for enabling secular individuals to experience sacred profundity.

• (The)Study of the Eastern Classic
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• no.56
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• pp.147-170
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• 2014

To divide by the concept of Cheon (天) before and after the period of Song Dynasty: before Song Dynasty; according to the ancient Book of Odes (Sigyeong-詩經), "Cheon (天) gives birth to a large number of people", and, Confucius(孔子) say "Cheon(天) gave me Virtue(德)." Mencius(孟子) say "The person done with all his heart knows Seong(性, personality), so if he knows such Seong(性, personality), then he knows Cheon(天)." In Doctrine of the Mean(中庸), it says "Cheon(天) ordered it to be called - Seong(性, personality)." So, Cheon(天) had a religious meaning, such as Sangje(上帝) - Supreme Ruler. During the Song period, Cheon(天), the source of its existence, had construed as Mugeuk i Taegeuk Non(無極而太極論 - Theory of Supreme Ultimate while being Indeterminate) and Theory of li and ki (iginon-理氣論). Juja (朱子, a honorary name of Juhui, 朱熹) had said a reasonable Cheon(天), that is, Heavenly Principle (天理 - Cheolli) by interpreting Cheon(天) as Taegeuk(太極 - Supreme Polarity) and li(理) of Muwi(無爲 - uncontrived action). That's why Juja had lost the religiosity because of his reasonable frame. The purpose of this dissertation is to identify of the quality of being religious of li(理) on the basis of attribute of Cheon(天) argued by Toegye and Juja. In the text of Seomyeong(西銘 - Western Inscription), we can see their interpretation of the content that Toegye as "西銘考證講義"(Lecture on Historical Research of Western Inscription), and Juja as "西銘解"(Commentary on the Western Inscription). Seomyeong(西銘 - Western Inscription) was expounded as a logic of 'iil bunsu' (理一分殊 - coherence is one and distinguished into many). '理一分殊' means to live in as meaningful as possible according to the human nature that has been bestowed upon thyself. Juja and Toegye both said that in the aspect of 'iil'(理一 - coherence is one), Reverence(事天) ought to be done, but to look into the aspect of 'bunsu'(分殊-distinguished into many), Juja argued that people should follow the order of Heavenly Principle(天理 - Cheolli), and Toegye argued that people should have to perform the filial piety(孝). There are differences in methods of Toegye and Juja on account of distinction between attributes of Cheon(天). Such a distinction affects the attribute of li(理). Juja said divisively that Soiyeon(所以然-why its principle is so) is li(理), and Sodangyeon(所當然-what should be so) is Sa(事-divine project). Toegye argued that Sodangyeon(所當然-what should be so) is indeed li(理). It is the position of Toegye that to know Seong(性-the personality) of Sodangyeon(所當然-what should be so) is the first, rather than to know Cheon(天) of Soiyeon(所以然-why its principle is so) that is out of reach in a faraway place. Seong(性-the personality) is li(理) that bestowed by Cheon(天). In view of discussion about the essence and existence, for Toegye, the existence is the first, rather than the essence. The issues of existence is now enabled to talk about amid the discussion of metaphysics, namely li(理). Different from Juja, a theory noticed in Toegye is the theory of 'Lijado'(理自到). 'Lijado'(理自到) denotes 'Li(理) leads on their own.' It tells that separate from thing-in-itself, there is an energy that moves and oversees the thing. This is an issue of response between "I" as the principal agent and other people. If "I" as the principal agent is sincere to others, the others will come to me insomuch as they will be revealed through me. Here, a problem between the host and guest arises. Toegye perceived this problem that do not see me and others as same, and also do not see me and others as two. This is the logic of 'ilii iiil'(一而二 二而一 - looks like one but two, looks like two but one) of '理一分殊' (coherence is one and distinguished into many). The first thing to do between these two processes is to recognize the existence of 'iil'(理一). Toegye strongly displays a religious attitude identifying Cheon(天)=Li (理)=Sangje(上帝- Supreme Ruler) in the same light.