• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.10 no.11
• /
• pp.3514-3523
• /
• 2009

Before 1990's, Korea had only few colleges that had film and film related majors. As Korean film industry started its marvelous improvement in both commercial and artistic phase, many colleges were interested in this new academic field. They hurried up to launch this new and profitable major; as a result, Korea now has more than hundred colleges and universities that has film related majors. Each college enumerates numbers of academic courses that may look reasonable; they have almost every course a fine film school should provide such as film theory, production, and performance in film. Lots of film schools offer lots of film courses; and they look alike. One unique thing in film major is its vast sub fields and categories. After you decide to study film, you have to select what specific field in film you want to study. Studying film theory and film production can be as different as majoring physics and physical education. The problem Korean colleges are dealing with is that there are too much film schools, and moreover those colleges have similar curriculums that just look like a department store that sells everything. One suggestion is specializing its curriculum in which the school can take advantages using their special conditions. San Francisco Art Institute is one of United States well known private film schools, but many people remember this school as a specialized film school in experimental film. San Francisco where this school is located has had many liberal and experimental artists as the city has been supporting and offering them an environment they can concentrate their work. Naturally, the school has world famous faculty members in experimental film, and students who want to study and make experimental film come to this school from all over the world because they know this school would be the best to study experimental film. There are many film schools in metro Los Angeles area; since its location near Hollywood, no wonder these schools concentrate on film producing and film production. They take advantage of their geographical location to hire film industry professional and to focus on commercial feature film productions. What we can do now to adjust the curriculum in film and film related major in Korean colleges is to adapt new standards in this changed film industry. One school can emphasize digital production while another school focuses on digital intermediate process. But if one school tries to both fields or all fields of film major just like we have done so far, the school could not take care of all the equipment and the faculty that the fields would need. Korean film schools should devide the field in film major and concentrate what they selected. Selection and concentration can be and should be applied in Korean film schools.

• Korea Science and Art Forum
• /
• v.37 no.2
• /
• pp.219-230
• /
• 2019

According to the National Statistical Office, the number of senior citizens aged 65 or over has exceeded 7 million as of 2017, and the number of senior citizens who live alone among them exceeded 1.3 million. Most of the senior citizens who live alone suffer from absolute poverty (68.5% of them has monthly income less than 500,000 won) and they have difficulties for basic living in the blind spot of our society. In particular, the heating is quite a serious issue for the senior citizens who live alone and belong to vulnerable social group in the winter, and to make it worse, they are exposed to frequent fire accidents due to the negligence in handling electric appliances such as electric heaters and electric pads. The main reason the indoor tent products are being used by senior citizens who live alone is that it saves energy, ensures warm sleep, and improves fire safety. Following the expansion of the indoor tent market, this study focused on the idea that there is a need for an in door tent suitable for senior citizens who live alone and belong to low income bracket and intended to improve its efficiency in relation to use, resting, and storage. For this, a basic survey was conducted on the products of existing brands to analyze advantages and disadvantages and it was possible to understand the demands that consumers have for existing products. Accordingly, a survey on consumer preference was conducted using a designed model and the Zabara typp, which demonstrated the best efficiency in terms of installation convenience, space usability, and appearance design was selected. Based on the results of selection, the product design and final prototype were completed. The results and details of the study are as follows; First, factors that were not recognized in product development phase could be identified through usability survey and interview with actual users. Second, for the effective aspect of the prototype, senior citizens could install and fold the tend more easily and quickly than expected. Based on these results of this study, it is expected that not only senior citizens who live alone but also various other users can use the tent to create another comfortable private space indoors.

• Korea Science and Art Forum
• /
• v.37 no.4
• /
• pp.297-308
• /
• 2019

Air pollution due to the fine dust level updating every day, and the problem of indoor air pollution due to ventilation difficulties and indoor discharge pollutants is also serious. In order to improve the indoor air quality, the air purification effect using the plants is prominent. In this study was started to investigated the living environment of modern people, the risk of indoor air pollution and the improvement function of plants, and to activate plant application. The purpose of this study is to analyze the main functions and design status of domestic and overseas plant - related applications, and to understand the actual use of modern plant applications and to help them learn more convenient plant - related knowledge. Therefore, this paper attempted to establish a basis for suggesting a new plant application by conducting a survey on the health effects of indoor air pollution and user awareness of plant - related applications. The results and contents of the study are as follows. First, as a theoretical review, indoor air pollution is more dangerous to modern people who have a high proportion of indoor living time and adversely affects their health. In order to solve such a problem, it has been shown that air conditioning and stress reduction can be effectively achieved by placing plants in the indoor space. Second, the analysis of the previous study shows the risk of indoor air pollution and its adverse effects on health. In addition, I have been able to find some researches related to the improvement of the indoor air by using the air purifying plants, and I can see the improvement of the user's behavior through the development or improvement of the application. Third, as a result of the survey on the status of domestic and overseas plant application, the main function of the application having high installation number was watering notification, provision of basic information of plants, and most of the functions were plant discerment through cameras. Fourth, most of the survey respondents have either raised or raised plants. Those who have little experience with plant applications have also shown positive feedback in the future on the use of plant-related applications. In addition, due to social problems such as air pollution, air purification using plants and functional plants showed high interest. Based on these results, we propose the need for a multi-functional plant application that can improve the indoor air pollution and facilitate the provision of information related to it.

• Korea Science and Art Forum
• /
• v.19
• /
• pp.293-305
• /
• 2015

At the same time the unique cultural traits of each country are valued, it has become an essential element to establish the cultural identity of a country. This study is aimed at comparing the residence architectural cultures in East-Asia and thus identifying Korea's own unique traits by determining the application characteristics of traditional architectures of Korea, China and Japan through practical investigation of materials, a basic element of architectural shaping. Literature survey and field study were conducted in parallel for this study, and architectural buildings under investigation included Mucheomdang House in Korea, Prince Gong Mansion in China and Dokyudo Building in Japan. Construction materials in Korea, China and Japan include natural materials such as wood, stone and clay, and artificial materials such as metals, paper, roof tiles, plug and glass. and the buildings were constructed with the combination of these materials. This commonality can be often found in the architectural composition. However, in the interior composition, the choice and application of different materials were clear between three countries, which were shown to be different depending on climates, processing methods and living culture of each country. First of all, since each country selected materials under the influence of its own vegetation and climates, living environment of each country could be seen via its residence. Also, it could be seen that while Korea and Japan show a certain similarity such as the traits of standing-sitting culture and the finish of paper in the interior, China is clearly different. In particular, regarding the material processing, the artificial processing was minimized in Korea, which mainly gave rough and crude feelings while due to the use of straight timbers, the architectural representation with organized and refined feelings was made in Japan. China showed the highest percentage of artificial processing of materials among three countries, which was highly associated with the coloring culture of China. Also, it could be seen that technology related to fine architectural materials such as bricks and glass was greatly advanced in China. Thus, how immaterial elements such as natural characteristics, functionality and aesthetics were applied in relation to residence in Korea, Japan and China could be determined through the comparison of architectural materials.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.361-392
• /
• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.18-53
• /
• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Journal of Yeungnam Medical Science
• /
• v.4 no.2
• /
• pp.39-50
• /
• 1987

The authors studied paranoid ideation and obsession, using Derogatis s' SCL-90, in the subjects of 2,564 male and 1,252 female college freshmen of Yeungnam University. The authors collected the reports of Self-Rating Paranoid ideation and Obsession Scale during the periods from January to February, 1987, and applied ANOVA and t-test on paranoid ideation and obsession scores in order to compare them between various psychosocial factors, and sexes. The results are as follows: 1. There was not significant difference in the mean averages of total paranoid ideation scores between male and female students : male students scored $4.16{\pm}3.09$, female students scored $4.16{\pm}2.91$. 2. High scored items were delusion and suspiciousness. 3. Fifty-nine male students (2.3%) showed high paranoid ideation scores of 12 or higher, while twenty-six female students(2.1%) showed the same scores. 4. There was strong tendency toward higher paranoid ideation scores in the students who were dissatisfied with their home atmosphere, college, department and familiarity of parents and those who had pessimistic view of self in the past, present or future in both group(respectively P<0.001). The male students who believed protestantism showed higher level of paranoid ideation scores (P<0.01). The male students who attened the department of fine art showed higher level of paranoid ideation scores (P<0.05). 5. There was significant difference in the mean averages of total obsession scores between male and female students (P<0.05) : male students scored $10.40{\pm}5.43$, female students scored $10.75{\pm}5.02$. 6. High scored Items were perfectionism, indecisiveness, inattention & obsessive thoughts. 7. Thirty-eight male students(1.6%) showed high obsession scores of 25 or higher, while fifteen female students(1.2%) showed the same scores. 8. There was strong tendency toward higher obsession scores in the students who were dissatisfied with their home atmosphere, college, department and familiarity of parents and those who had pessimistic view of self in the past, present, or future in both group(respectively P<0.001). The female students who attended the department of home economics & whose educational fees were paid by her brothers & sister, showed higher level of obsession scores(respectively P<0.01).

• Journal of Nuclear Fuel Cycle and Waste Technology(JNFCWT)
• /
• v.1 no.1
• /
• pp.11-23
• /
• 2003

A study on the electrolytic dissolution of SUS-304 and Inconel-600 specimen was carried out in neutral salt electrolyte to evaluate the applicability of electrochemical decontamination process for recycle or self disposal with authorization of large amount of metallic wastes contaminated with uranium compounds generated by dismantling a retired uranium conversion plant in Korea. Although the best electrolytic dissolution performance for the specimens was observed in a Na2s04 electrolyte, a NaNO$_3$ neutral salt electrolyte, in which about 30% for SUS-304 and the same for Inconel-600 in the weight loss was shown in comparison with that in a Na$_2$SO$_4$ solution, was selected as an electrolyte for the electrochemical decontamination of metallic wastes with the consideration on the surface of system components contacted with nitric acid and the compatibility with lagoon wastes generated during the facility operation. The effects of current density, electrolytic dissolution time, and concentration of NaNO$_3$ on the electrolytic dissolution of the specimens were investigated. On the basis of the results obtained through the basic inactive experiments, electrochemical decontamination tests using the specimens contaminated with uranium compounds such as UO$_2$, AUC (ammonium uranyl carbonate) and ADU (ammonium diuranate) taken from an uranium conversion facility were performed in 1M NaNO$_3$ solution with the current density or In mA/$\textrm{cm}^2$. it was verified that the electrochemical decontamination of the metallic wastes contaminated uranium compounds was quite successful in a NaNO$_3$ neutral salt electrolyte by reducing $\alpha$ and $\beta$ radioactivities below the level of self disposal within 10 minutes regardless of the type of contaminants and the degree of contamination.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.99
• /
• pp.50-71
• /
• 2021

The Five-story Stone Pagoda from the Dongsa-ri Temple Site in Buyeo, dated to early Goyeo Dynasty, is valuable in that it is the southernmost example of the capital Kaesong pagoda style. This pagoda exhibits characteristics of the central Goryeo style featured in the pagodas built in and around the capital Kaesong, such as the diagonally curved section of the support for the cover stone above the upper stereobate. It also shares stylistic affinities with eleventh-century stone pagodas. The ansangmun (elephant eye patterns) in the lower stereobate of the Dongsa-ri Five-story Stone Pagoda resemble those in the pedestal of the Stone Seated Buddha (which was likely repaired in 1028 during the reign of King Hyeonjong), at the Jeongrimsa Temple site in Buyeo. It also reflects elements found in the flagpole supports from the Cheonheungsa Temple site in Cheonan. The sculpting techniques used in these patterns are also similar. Such congruencies suggest that the Dongsa-ri Five-story Stone Pagoda was built in the eleventh century. The Dongsa-ri Temple Site in Buyeo, located near the Geumgang River, served as a principal route for transporting grain-tax during the Goryeo Dynasty. It was also situated along the way to the Goryeo royal temple, Gaetaesa Temple. The geographical significance of the site and the extensive repairs undertaken at Jeongrimsa Temple during the reign of King Hyeonjong (r. 1009-1031) of the Goryeo Dynasty appear to have impacted the production of the Dongsa-ri Five-story Stone Pagoda. The Dongsa-ri Five-story Stone Pagoda also bears stylistic resemblances to the stone pagoda and flagpole supports found at neighboring Cheonheungsa Temple, which is presumed to be related to the establishment of Honggyeongsa (or Honggyeongwon) Temple in 1021 in Cheonan. This indicates the route of the transmission of the Kaesong pagoda style. The Five-story Stone Pagoda from the Dongsa-ri Temple Site pays testimony to the cultural accomplishments of eleventh-century stone artworks in Buyeo and adjacent regions. This pagoda embodies the majestic and assertive aesthetics that define of the Goryeo Dynasty, as do early Goryeo colossal Buddhist sculptures, including the Stone Standing Maitreya Bodhisattva at Daejosa Temple in Buyeo, the Stone Standing Buddha Triad at Gaetaesa Temple in Nonsan, and the Stone Standing Maitreya Bodhisattva at Gwanchoksa Temple in Nonsan. All of these bear similarities to the massive stone lantern and pagoda at Hyeonhwasa Temple in the capital Kaesong. The production of the light, sleek, sharp, and sophisticated Dongsa-ri Five-story Stone Pagoda is presumed to reflect the maturity of the cultural competence of the people in Dongsa-ri, Buyeo under the influence of Buddhist culture from the capital Kaesong during the eleventh century, a time marked by active cultural exchanges among regions.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.97
• /
• pp.69-86
• /
• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.