• Journal of Broadcast Engineering
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• v.15 no.4
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• pp.563-581
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• 2010

In this paper, we perform subjective visual quality assessments on UHD video for UHD TV services and analyze the assessment results. Demands for video services have been increased with availabilities of DTV, Internet and personal media equipments. With this trend, the demands for high definition video have also been increasing. Currently, 2K-HD ($1920{\times}1080$) video have been widely consumed over DTV, DVD, digital camcoders, security cameras and other multimedia terminals in various types, and recently digital cinema contents of 4K-UHD($3840{\times}2160$) have been popularly produced and the cameras, beam projects, display panels that support for 4K-UHD video start to come out into multimedia markets. Also it is expected that 4K-UHD service will appear soon in broadcasting and telecommunications environments. Therefore, in this paper, subjective assessments of visual quality on resolutions, color formats, frame rates and compression rates have been carried to provide basis information for standardization of signal specification of UHD video and viewing environments for future UHDTV. As the analysis on the assessments, UHD video exhibits better subjective visual quality than HD by the evaluators. Also, the 4K-UHD test sequences in YUV444 shows better subjective visual quality than the 4K-UHD test sequences in YUV422 and YUV420, but there is little perceptual difference on 4K-UHD test sequences between YUV422 and YUV420 formats. For the comparison between different frame rates, 4K-UHD test sequences of 60fps gives better subjective visual quality than those of 30fps. For bit-depth comparison, HD test sequences in 10-bit depth were little differentiated from those in 8-bit depth in subject visual quality assessment. Lastly, the larger the PSNR values of the reconstructed 4K-UHD test sequences are, the higher the subjective visual quality is. Against the viewing distances, the differences among encoded 4K-UHD test sequences were less distinguished in longer distances from the display.

• Journal of Fashion Business
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• v.1 no.2
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• pp.74-85
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• 1997

폴 푸아레 (1879-1944)가 패션 역사상 혁명적이라고 할 수 있는 여성의 코르셋을 제거시켰다는 것은 익히 알려진 사실이다. 그리고 그러한 결과로 인해 발생된 새로운 직선형의 실루엣에 화려한 색채와 장식을 하여 이전 시대와는 전혀 다른 현대패션의 근원이 되었다. 본 연구는 푸아레의 새로운 직선 실루엣과 화려한 색채와 경이적 장식의 근원이 다름아닌 동양이라는데 중점을 두었다. 이미 국내의 몇편의 논문에서 이러한 논의가 지적되어 왔으나 다른 논제를 다루는 중에 언급이 되었고 당시의 작품이나 동시대의 자료를 분석한 것이 아닌 근래의 출판물에 의존한 연구가 대부분이었다. 따라서 본 연구에서는 그의 동양풍 디자인의 근원을 밝히는데 있어 가능한한 1 차적 자료의 접근을 시도하였다. 1912년 작품인 이브닝 드레스, 터번, 숄, 구두 각 1점과 그의 작품 의도와 생애의 추구를 말해주는 자서전(1930년 불어본 및 1931년 영어본)과 보그(Vogue)지의 기사(1920년 2월호, 9월호) 등을 통하여 그의 동양에 대한 관심을 살펴보았다. 그 결과 푸아레의 동양 영향의 근원은 19세기 말 유럽에서 절정을 이룬 'Sino-Japonism'(중국-일본주의)의 심취, 러시아 발레단의 의상과 색채, 천일야화의 영향에 의한 중동(페르시아)에 대한 열망, 그리고 인도 토민병의 복식에서 비롯된 터번에의 매료 등이었음을 알 수 있었다. 이러한 근원에서 탄생된 디자인으로는 직선형의 튜닉, 기모노 소매(처음엔 푸아레 자신도 중국의 것으로 혼동을 하기도 했지만), 하렘팬츠, 비대칭적인 카프탄식의 코트, 원색의 사용, 극동지역의 직물과 문양, 술장식, 터번 등으로 나타내었다. 따라서 폴 푸아레의 동양적인 관심은 단지 개인적 '취향 혹은 취미(taste)'가 아니라 한 시대양식으로 자리잡은 '동양주의(Orientalism)'라 할 수 있으며 이러한 푸아레의 동양주의는 당시의 패션에 있어 신체의 선을 부정하여 코르셋을 제거 시키게한 그의 모더니즘의 근거가 된다. 본연구의 제한점으로 1차적 자료를 수집하는데에 있어 보다 폭넓지 못했던 점을 밝혀둔다.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• The Journal of Fisheries Business Administration
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• v.35 no.1
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• pp.133-168
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• 2004

The purpose of this study is to examine the state and characteristic of seafood marketing in Korean West Coast during the colonial period ruled by Japan. To accomplish the purpose, we tried to set the fisheries statistical database by reviewing of $\boxDr$Statistical Annual Report of Chosun Chongdokbu$\boxUl$ and $\boxDr$Official Report of Chosun Chongdokbu$\boxUl$. A trend analysis was carried out with the data. Also, by reviewing of articles related to the state of seafood marketing via $\boxDr$Daehan Maeil Newspaper$\boxUl$, $\boxDr$Maeil Newspaper$\boxUl$ issued at the period, we could find out some meaningful findings which backed up the statistics in realistic facts. For numbers of businessman in seafood marketing, it was clear that the number of Japanese businessmen increased more quickly than that of Korean compared with other sphere of fisheries. That means Japanese grasped Korean seafood market in a short time. In price of seafood in terms of cities, Kunsan was comparatively higher than Incheon and Mokpo. In price of seafood in terms of species, ‘Snapper’ was mostexpensive, and ‘Mackerel Pike’, ‘Anchovy’, ‘Mullet’, ‘Eel’, ‘Flatfish’ followed in that order. In price of a species in terms of ‘Yellow Croaker’, which was famous in West Sea, ‘Croaker with salt’ was more expensive than dried and fresh one. For the transition trend of number of fish market, we could ascertain that the number of market increased until 1919, however, it decreased slowly from 1932. That means Japanese government went to war against China from 1931. Of the West Coast, the number of fish market in Chungnam province was most high, but that of Chonbuk outrun from 1940. At that time, the number of fish market in West Coast reached to 34% out of that of whole country. In 1919, the proportion of seafood sales amount of West Coast neighboring provinces, such as Kyunggido, Chungnam, and Chonbuk, was 23% of whole country which rose to 28% in 1929, and 29% in 1939. Therefore, we could assure that seafood marketing was very active at that time in the region. When we consider the trend of seafood export at the main ports of West Coast, in 1910's, the export through Mokpo and Inchon port was very live but that of Kunsan was very tiny. However, in 1920's, the export amount of Inchon port did not much change, but that of Mokpo decreased, whereas, that of Kunsan increased. In the early and middle of 1910' s which was around beginning of Japanese ruling period, we realized that the imperialist Japan was very eager in political efforts to enhance the mind of seafood's quality improvement through the opening of several fisheries competitive shows and fairs.

• Sijohaknonchong
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• v.44
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• pp.75-103
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• 2016

The purpose of this study is to demonstrate that the main creative attitude in Lee Eun-sang's Sijo relies upon the juxtaposition technique, with paying attention to juxtaposition of being found in the works of being put in the Nosan Sijojip(時調集, collection of Sijo poems), and that this creative attitude provides readers with the easiness for understanding. A type in the juxtaposition technique, which was shown in "Nosan Sijojip", was divided in the dimension of the anaphora in a meaning and the confrontation in a meaning. The anaphora of a meaning was classified into synonymous juxtaposition, comprehensive juxtaposition, specific juxtaposition and syntactic juxtaposition. The confrontation of a meaning was examined in the contradictory juxtaposition. Most of Lee Eun-sang's works are applying this juxtaposition technique. Also, the dynamic of image, which is indicated in juxtaposition, is what was influenced by the British and American imagism. This study will be able to solve problems that modern Sijo has to some extent, and will be helpful even for acquiring the identity in Sijo.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.150-169
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• 2020

Surveys of Buddhist ruins at Namsan in Gyeongju began in earnest during the Japanese colonial era, undertaken by Japanese scholars. These surveys of Buddhist remains in Namsan made during the colonial period should be seen as previous research which cannot be ignored in any in-depth study of Buddhist ruins in Gyeongju. Full-scale surveys of Buddhist ruins at Namsan began in the 1920s. Previous surveys conducted around the time of the Japanese annexation of Korea in 1910 are generally viewed as only representing preliminary investigations and, thus, have not received much attention. However, these early surveys are significant in that they led to the Buddhist ruins on Namsan becoming widely known in the 1910s and served as the foundations for later studies. The removal of the Seated Medicine Buddha from Samneung Valley in Gyeongju in 1915 and its subsequent exhibition at the Joseon Local Products Expo, which marked the fifth anniversary of the Japanese administration of Korea, was especially important in garnering attention for Namsan's wealth of Buddhist artifacts, as the statue was placed in the main hall of the art museum and attracted a great deal of interest from visitors. It is typically thought that this Seated Medicine Buddha was exhibited in 1915 because it was the most beautiful and well-preserved statue from Namsan. However, the removal of this statue was closely related to the proposed move of the Seokguram statue to Seoul around the time of Korea's annexation. The plan to move Seokguram to Seoul was primarily devised by Terauchi Masatake, and the plan, based on Ilseontongjo-ron ('日鮮同祖論'), a historical theory that prehistoric Korean and Japanese people were of the same blood, and Joseon Jeongcheasoeng-ron ('朝鮮停滯性論'), a historical theory arguing that development had stagnated in Korea, was intended to be a visual demonstration of a new era for Korea. This new era was to proceed under the rule of the Japanese Empire through the dissolution of Gyeongbokgung, the symbol of the Joseon Dynasty, which would be replaced with past glories as symbolized by the statue of Buddha. However, as the plan floundered, the replacement for Seokguram in Seoul ended up being none other than the Seated Medicine Buddha of Samneung Valley. Surveys of the Seated Medicine Buddha began in 1911, administered by Sekino Tadashi, but he likely learned of the statue's location from Moroga Hideo or Kodaira Ryozo, Japanese residents of Gyeongju. It is also probable that these Japanese residents received a request from the Japanese Government General of Korea to find a Buddha statue that was worthy of being displayed at exhibitions. In this way, we can say that the transfer of the Seated Medicine Buddha to Seoul was the result of close cooperation between the Government General, Sekino Tadashi, and Japanese residents of Gyeongju. This also had the effect of removing the magical veil which had shrouded the Buddhist ruins of Namsan. In other words, while the early surveys of Buddhist ruins on Namsan are significant, it is difficult to argue that the surveys were undertaken for purely academic purposes, as they were deeply related to the imperial ambitions of Governor-General Terauchi which encompassed the plans to move Seokguram to Seoul and the successful hosting of the 1915 Expo. It should also be pointed out that the failure of the plan to move Seokguram to Seoul and the preservation of the Seated Stone Buddha of Mireuggok at Namsan was in no small part due to resistance from Korean residents in Gyeongju. Although it is not described in detail in the paper, research is needed which shows that the Korean residents of Gyeongju were not simple bystanders, but agents of history.

• Journal of the Korean association of regional geographers
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• v.3 no.2
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• pp.37-87
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• 1997

As a results of researches on the cultivation processes and settlement developments on the Mangyoung river valley as a whole could be have four 'Space-Time Continuity' through a [Origin-Destination] theory model. On a initial phases of cultivation, the cultivation process has been begun at mountain slopes and tributory plains in upper part of river-basin from Koryo Dynasty to early Chosun Dynasty. At first, indigenous peasants burned forests on the mountain slopes for making 'dryfield' for a cereal crops. Following population increase more stable food supply is necessary facets of life inducing a change production method into a 'wetfield' in tributory plains matching the population increase. First sedentary agriculture maybe initiated at this mountain slopes and tributory plains on upper part of river basin through a burning cultivation methods. Mountain slopes and tributory plains are become a Origin area in cultivation processes. It expanded from up to down through the valleys with 'a bits of land' fashion in a steady pace like a terraced fields expanded with bit by bit of land to downward. They expanded their land to the middle part of river basin in mid period of Chosun Dynasty with dike construction techniques on the river bank. Lower part of river cultivated with embankment building techniques in 1920s and then naturally expanded to the tidal marshes on the estuaries and river inlets of coastal areas. 'Pioneer fringes' are consolidated at there in modern times. Changes in landscapes are appeared it's own characters with each periods of time. Followings are results of study through the Mangyoung river valley as a whole. (1) Mountain slopes and tributory plains on the upper part of river are cultivated 'dryfields' by indigenous peasants with Burning cultivation methods at first and developed sedentary settlements at the edges of mountain slopes and on the river terrace near the fields. They formed a kind of 'periphery-located cluster type' of settlement. This type of settlement are become a prominant type in upper part of river basin. 'Dryfields' has been changed into a 'wetfields' at the narrow tributory plains by increasing population pressure in later time. These wetfields are supplied water by Weir and Ponds Irrigation System(제언수리방법). Streams on the tributory plains has been attracted wetfields besides of it and formed a [water+land] complex on it. 'Wetfields' are expanded from up to downward with a terraced land pattern(adder like pattern, 붕전) according to the gradient of valley. These periphery located settlements are formed a intimate ecological linkage with several sets of surroundings. Inner villages are expanded to Outer villages according to the expansion of arable lands into downward. (2) Mountain slopes and tributory plains expanded its territory to the alluvial deposited plains on the middle part of river valley with a urgent need of new land by population increase. This part of alluvial plains are cultivated mainly in mid period of Chosun Dynasty. Irrigation methods are changed into a Dike Construction Irrigation method(천방수리방법) for the control of floods. It has a trend to change the subjectives of cultivation from community-oriented one who constructed Bochang along tributories making rice paddies to local government authorities who could be gather large sums of capitals, techniques and labours for the big dike construction affairs. Settlements are advanced in the midst of plains avoiding friction of distances and formed a 'Centrallocated cluster type' of settlements. There occured a hierarchical structures of settlements in ranks and sizes according merits of water supply and transportation convenience at the broad plains. Big towns are developed at there. It strengthened a more prominant [water+land] complex along the canals. Ecological linkages between settlements and surroundings are shaded out into a tiny one in this area. (3) It is very necessary to get a modern technology of flood control at the rivers that have a large volume of water and broad width. The alluvial plains are remained in a wilderness phase until a technical level reached a large artificial levee construction ability that could protect the arable land from flood. Until that time on most of alluvial land at the lower part of river are remained a wilderness of overgrown with reeds in lacks of techniques to build a large-scale artificial levee along the riverbank. Cultivation processes are progressed in a large scale one by Japanese agricultural companies with [River Rennovation Project] of central government in 1920s. Large scale artificial levees are constructed along the riverbank. Subjectives of cultivation are changed from Korean peasants to Japanese agricultural companies and Korean peasants fell down as a tenant in a colonial situation of that time in Korea. They could not have any voices in planning of spatial structure and decreased their role in planning. Newly cultivated lands are reflected company's intensions, objectives and perspectives for achieving their goals for the sake of colonial power. Newly cultivated lands are planned into a regular Rectangular Block settings of rice paddies and implanted a large scale Bureaucratic-oriented Irrigation System on the cultivated plains. Every settlements are located in the midst of rice paddies with a Central located Cluster type of settlements. [water+land] complex along the canal system are more strengthened. Cultivated space has a characters of [I-IT] landscapes. (4) Artificial levees are connected into a coastal emnankment for a reclamation of broad tidal marshes on the estuaries and inlets of rivers in the colonial times. Subjectives of reclamation are enlarged into a big agricultural companies that could be acted a role as a big cultivator. After that time on most of reclamation project of tidal marshes are controlled by these agricultural companies formed by mostly Japanese capitalists. Reclaimed lands on the estuaries and river inlets are under hands of agricultural companies and all the spatial structures are formed by their intensions, objectives and perspectives. They constructed a Unit Farming Area for the sake of companies. Spatial structures are planned in a regular one with broad arable land for the rice production of rectangular blocks, regular canal systems and tank reservoir for the irrigation water supply into reclaimed lands. There developed a 'Central-located linear type' of settlements in midst of reclaimed land. These settlements are settled in a detail program upon this newly reclaimed land at once with a master plan and they have planned patterns in their distribution, building materials, location, and form. Ecological linkage between Newly settled settlemrnts and its surroundings are lost its colours and became a more artificial one by human-centred environment. [I-IT] landscapes are become more prominant. This region is a destination area of [Origin-Destination] theory model and formed a 'Pioneer Fringe'. It is a kind of pioneer front that could advance or retreat discontinously by physical conditions and socio-cultural conditions of that region.

• Journal of Gifted/Talented Education
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• v.14 no.3
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• pp.41-52
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• 2004

No educational provision for the gifted and talented works in a cultural vacuum, and this is as true for out-of-school activities as for what happens in school itself. There is evidence that excellence in children's achievements can come from widely differing special provision or from no special provision at all. Cultural influences affect attitudes as to who might be gifted and talented and what might be done for them. Whatever the size and influence of special centres anywhere, there is always overlap between in-school and out-of-school activities. For all styles of provision, cooperation between the two is a vital aspect of success. The major cultural dichotomy in this field is between the perception, usually found in the Far East that 'most children have gifted potential' and the largely Western view that 'few children have gifted potential'. It is safe to say that children who are selected for aptitude and ability, and who are keen to learn, will get more from special enrichment than those who of equal potential who have not had that experience. But this does not necessarily show the provision as the best possible method for enhancing gifts and talents. In fact, I do not know of a single scientific investigation, either cross-culturally or within one country, which compares any aspect of an out-of-school programme with another. As a result it is hard to say what type of provision would be most appropriate and effective in any given situation. Outcomes are also dependent on the enthusiasm, organisation and money put into any scheme - as well as the way youngsters are chosen for it. Some of the largest and most influential out-of-school American institutions were founded on the psychological understanding of human abilities that was current in the 1920s. These early influences of seeking an IQ cut-off point (or equivalent) to identify the gifted still affect their practice. in addition, the big American Talent Searches so often select youngsters for summer-schools not only by their high-level achievements, but also by their parent's ability to pay the sometimes high fees. Opinions about the identification of the brightest children and consequential educational practice underlie all provision for their education, whether in or outside school hours. Because of cross-cultural differences, it would not seem wise to copy any action directly from one culture to another without recognising these influences and possibly modifying the model. The growing trend around the world is to offer high-level opportunities to as many youngsters as possible, so that no keen learner is turned away without even a change of sampling them.

• Cartoon and Animation Studies
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• s.48
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• pp.85-116
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• 2017

The purpose of this study is to analyze conditions that robots depicted in cinematographic works like animations or movies sympathize with and form an attachment with the nuclear person and organize characterizing strategies for emotional sympathetic robots. Along with the development of technology, the areas of artificial intelligence and robots are no longer considered to belong to science fiction but as realistic issues. Therefore, this author assumes that the expressive characteristics of emotional sympathetic robots created by cinematographic works should be used as meaningful factors in expressively embodying human-friendly service robots to be distributed widely afterwards, that is, in establishing the features of characters. To lay the grounds for it, this research has begun. As the subjects of analysis, this researcher has chosen robot characters whose emotional intimacy with the main person is clearly observed among those found in movies and animations produced after the 1920 when robot's contemporary concept was declared. Also, to understand robots' appearance and behavioral tendency, this study (1) has classified robots' external impressions into five types (human-like, cartoon, tool-like, artificial bring, pet or creature) and (2) has classified behavioral tendencies considered to be the outer embodiment of personality by using DiSC, the tool to diagnose behavioral patterns. Meanwhile, it has been observed that robots equipped with high emotional intimacy are all strongly independent about their duties and indicate great emotional acceptance. Therefore, 'influence' and 'Steadiness' types show great emotional acceptance, the influencing type tends to be highly independent, and the 'Conscientiousness' type tends to indicate less emotional acceptance and independency in general. Yet, according to the analysis on external impressions, appearance factors hardly have any significant relationship with emotional sympathy. It implies that regarding the conditions of robots equipped with great emotional sympathy, emotional sympathy grounded on communication exerts more crucial effects than first impression similarly to the process of forming interpersonal relationship in reality. Lastly, to study the characters of robots, it is absolutely needed to have consilient competence embracing different areas widely. This author also has felt that only with design factors or personality factors, it is hard to estimate robot characters and also analyze a vast amount of information demanded in sympathy with humans entirely. However, this researcher will end this thesis as the foundation for it expecting that the general artistic value of animations can be used preciously afterwards in developing robots that have to be studied interdisciplinarily.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.95-130
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• 2006

Japanese government college researchers, including Sekino Tadashi(關野貞), have conducted research studies and collected data, on overall Korean cultural relics as well as Silla tumuli(新羅古墳) in the early modern times under the Japanese imperialistic rule. They were supported by the Meichi government in the early stage of research, by the Chosun government-general, and by their related organizations after Korea was coIonialized to carry out investigations on Korean antiquities, fine arts, architecture, anthropology, folklore, and so on. The objective for which they prosecuted inquiries into Korean cultural relics, including Silla tumuli, may be attributed to the purport to find out such data as needed for the theoretical foundation to justify their colonialization of Korea. Such a reason often showed locally biased or distorted views. Investigations and surveys had been incessantly carried out by those Japanese scholars who took a keen interest in Korean tumuli and excavated relics since 1886. 'Korea Architecture Survey Reports' conducted in 1904 by Sekino in Korea gives a brief introduction of the contents of Korean tumuli, including the Five Royal Mausoleums(五陵). And in 1906 Imanishi Ryu(今西龍) launched for the first time an excavation survey on Buksan Tumulus(北山古墳) in Sogeumgangsan(小金剛山) and on 'Namchong(南塚)' in Hwangnam-dong, which greatly contributed to the foundation of a basic understanding of Wooden chamber tombs with stone mound(積石木槨墳) and stone chambers with tunnel entrance(橫穴式石室墳). The ground plan and cross section of stone chambers made in 1909 at his excavation survey of seokchimchong(石枕塚) by Yazui Seiyichi(谷井第一) who majored in architecture made a drawing in excavation surveys for the first time in Korea, in which numerical expressions are sharply distinguished from the previous sketched ones. And even in the following excavation surveys this kind of drawing continued. Imanishi and Yazui elucidated that wooden chambers with stone mound chronologically differs from the stone chambers with tunnel entrance on the basis of the results of surveys of the locational characteristics of Silla tumuli, the forms and size of tomb entrance, excavated relics, and so forth. The government-general put in force 'the Historic Spots and Relics Preservation Rules' and 'the Historic Spots Survey Council Regulations' in 1916, establishing 'Historic Spots Survey Council and Museum Conference. When museums initiated their activities, they exhibited those relics excavated from tumuli and conducted surveys of relics with the permission of the Chosun government-general. A gold crown tomb(金冠塚) was excavated and surveyed in 1921 and a seobong tomb(瑞鳳塚) in 1927. Concomitantly with this large size wooden chamber tombs with stone mound attracted strong public attention. Furthermore, a variety of surveys of spots throughout the country were carried out but publication of tumuli had not yet been realized. Recently some researchers's endeavors led to publish unpublished reports. However, the reason why reports of such significant tumuli as seobong tomb had not yet been published may be ascribed to the critical point in those days. The Gyeongju Tumuli Distribution Chart made by Nomori Ken(野守健) on the basis of the land register in the late 1920s seems of much significance in that it specifies the size and locations of 155 tumuli and shows the overall shape of tumuli groups within the city, as used in today's distribution chart. In the 1930s Arimitsu Kyoichi(有光敎一) and Saito Tadashi(齋藤忠) identified through excavation surveys of many wooden chamber tombs with stone mound and stone chambers with tunnel entrance, that there were several forms of tombs in a tomb system. In particular, his excavation survey experience of those wooden chamber tombs with stone mound which were exposed in complicated and overlapped forms show features more developed than that of preceding excavation surveys and reports publication, and so on. The result of having reviewed the contents of many historic spots surveyed at that time. Therefore this reexamination is considered to be a significant project in arranging the history of archaeology in Korea.