• Journal of Ginseng Culture
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• v.3
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• pp.38-53
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• 2021

This research uncovered that the world-renowned British Museum has displayed ginseng as part of notable exhibitssince its opening. The British Museum was established in 1753 upon the bequest of Sir Hans Sloane, a famous physician, scientist, and collector. At the heart of his collections was the vast amount of vegetable substance specimens. This study first reconstructed Sloane's collection activities in the context of British Imperialism and botanical science in the early modern period. It then traced the origins and routes by which four ginseng specimens were obtained: Radix Ginseng or ninzin from China (VS 532), Ginseng. Id (VS 8,198), the roots and seeds of ginseng (VS 7,825), and ginseng root (VS 12,140). These specimens were presumed to originate from one type of Korean ginseng from China, a Japanese ginseng variant from Japan, and two ginseng species from North America. The English public learned about ginseng and ginseng exhibits via a flourishing printing culture. In England, Korean ginseng was appreciated much more highly than American ginseng.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.155-162
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• 2007

The purpose of this comparative study is to analyze the characteristics of art museums of Louis I. Kahn. Kahn's main architectural thoughts of 'what it wants to be' and 'how it was done' act as a basis for this research. 'What it wants to be' means the existence of architecture and relates to the concept of 'room'. 'How it was done' shows the tectonic aspects of architecture and construction process to enhance its presence. Detailed items from these two thoughts applied to clarify the order in dynamics, the visualization of construction process, and the relationship between structure and light in the space of Kahn's art museums. Yale university art gallery was the first major project of Kahn and he showed tectonic characters through tetrahedral concrete slab. The unity of structure, space and light can be found in the Kimbell art museum through the vaulted structural unit. Yale center for British art is the best example of the concept of 'room' and 'tectonic' because it clearly shows the unity of spatial and structural system, and their relation to light. As a result, this study tries to find out that Kahn had consistently developed his thoughts of'room' and 'tectonic', and tried to keep them in his art museum designs.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.29-36
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• 2024

The public can now access movies faster and more easily thanks to over-the-top (OTT) services. The audience may be impacted by period dramas, where accurate costume reproduction is crucial. For filmmakers, it is critical to replicate period costumes using precise historical information. The goal of this study is to act as a reference so that, when it comes to period dramas, viewers can evaluate them using impartial criteria and movie producers can use data based on fact to plan their costumes. The film Napoleon won the British Academy Award for Costume after hiring costume experts to create 95% of the entire costume, according to data from the Napoleon I Museum. Following the French Revolution, the ostentatious and ornate men's attire vanished, to be replaced by a more modest and functional outfit. For tops, vests were cut to waist length, shirts, cravats, and carrick were worn, and tailcoats were the norm. The pants were swapped out for loose-fitting ones. The glitzy hues and embellishments from the bygone era progressively vanished and formed the foundation of the contemporary men's costume, which is dominated by black. The hats worn were tricorn, bicorn, top hat, and bowler, and the hairstyle changed from long to short gradually. The civil class wore short tops called carmagnoles. Napoleon wore a high-collared Napoleon collar and a tailcoat with a bicorn, which became his emblem. Green, navy, and white were the colors of the uniform, and a gray woolen coat was worn outside. The elaborately decorated costumes were worn to court and to banquets; the Napoleonic coronation costume was embellished with gold embroidery on silk, red velvet, and martyred hair; the post-revolutionary costumes gradually became more colorful. In the movie Napoleon, period clothing items were well represented, with the aristocracies wearing dark tailcoats, vests, shirts, and cravats. Based on the data from the men's costume, Napoleon's outfit in the movie was made more similarly. This study's limitation is that not every character in the movie could have their costume examined, and the material matter could not be precisely determined by examining the images displayed on the screen. Given that portraits typically feature a great deal of noble imagery, the clothing worn by common people is also associated with data limitations when it comes to movie costume design.