• 복식
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• 제50권7호
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• pp.47-58
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• 2000

Prime Minister Kim tart-song is said to have built this cave temple in the tenth year of the reign of King Kyongdok-wang(742-765) of Unified Shilla(751). The numerous stone Buddhist images in the grotto represent the best Buddhist figure of the Unified Shilla period and of all Korea. The Sokkuram Grotto is composed of the main hall, entrance to the main chamber and antechamber in space. The main hall beyond the small antechamber is round and the ceilling is domed. Within the rotunda sits a majestic Buddha(Amitabha), 3.48m in height and 2.6m in width, carved in granite and facing east. Surrounding the main Seated Buddha are eleven-headed Avalokitesvara Bodhisattva, Manjusri Bodhisattva and the other three Buddhist images, Ten disciples, Buddhist figures in the ten Niches in relief. An eleven-headed Avalokltesvara Bodhisattva of boundless mercy is sculptured on the wall behind the main Seated Buddha. Further guarding the Buddha are ten standing Arhans of the Disciples of Buddha. Next, two Devas. one on each side, stand guard. Two Bodhisattvas are the saints who are next to the Seated Buddha in importance, also one on each side. And, There are ten niches around the dome. They contain seven seated Bodhisattvas and one Vimalakirti(the name of a famous lay disciple of the Buddha). Two niches are empty. Consequently, there are total thirty-eight Buddhist images in the Sokkuram cave temple. The Buddhist images have been reguarded as masterpieces of Buddhist art and Shilla culture of Unified Shilla in the eightth century. The Buddhist images are represented very dear, elegance and beauty of detail skill

• Acta Via Serica
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• 제6권2호
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• pp.21-36
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• 2021

This paper discusses textile motifs depicted in the hunting panels inside the late Sasanian larger grotto at Taq-i Bustan. Scholars of Iranian art have referred to these rock reliefs in order to trace the origin of Sasanian textile decorations and their exportation in the whole medieval Eurasian continent. This however does not seem to be the case. In fact, the textile motifs reproduced at Taq-i Bustan could be a good term of comparison only for late Sasanian textile production. Moreover, nothing like this has appeared in previous Sasanian rock reliefs. For this reason, the present paper argues that some of those motifs could actually be importations from Central Asia where reproductions of textiles embellished with those motifs were very popular. Islamic written sources on Taq-i Bustan rock reliefs could be very useful to support some ideas expressed in this paper.

• 한국제4기학회지
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• 제2권1호
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• pp.1-11
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• 1988

라자레 동굴(니스, 프랑스)에서 발굴된 전기 구석기시대의 살림터에서는 깨어진 자갈 돌 유물을 비롯하여, 이를 이용하여 만든 석기도 나왔다. 깨어진 면의 생김새와 닳음새는 그러한 유물이 동굴 안에서 깨어졌음을 알려주고 있으며, 유적지 근처의 바닷가나 강가에서 이미 깨어진 상태로 있던 것이 당시 사람들에 의하여 굴 안쪽으로 옮겨진 다음 퇴적된 것은 아니었음을 보여준다. 동굴 안에서 자갈들이 깨어지는 요인에는 압력, 충격, 열작용 따위의 자연현상과 석기의 제작 또는 그밖의 다른 목적을 이루려는 사람의 영향 등을 들 수 있다. 실험 결과에 따르면, 라자레 유적의 살림터에서 동물화석 및 석기와 더불어 나온 깨어진 자갈 돌 유물은 그 모두가 석기의 제작과 관련되어 만들어진 것은 아니라고 생각된다. 오직 실험 가운데 1, 3, 5의 과정에서 나타난 깨진 자갈들 유물만이 사람의 의도적인 행위와 연관을 맺을 수 있을 것으로 추정된다.

• 대한건축학회논문집:계획계
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• 제35권7호
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• pp.73-80
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• 2019

This paper tried to investigate the features of French garden pavillons (jardin pavillons) in the 17th and 18th centuries, in which the royal built them, publicly enjoying culture or privately having a refuge. The scope of the garden pavilions covered those associated with a pleasure place that accommodated performances, dancing, and dinners. They included not only rustic, Chinese, Turkish and Gothic pavilions but also grottos, nymphaeums, and artificial ruins built for banquets and festivals. This paper identified the features of the 17th and 18th century French garden pavilions as follows: Those pavilions firstly established French Neoclassicism, secondly applied the techniques of pastiche, thirdly reflected women's influence, and lastly revealed the short cycles of their vicissitudes. In conclusion this study, with the summary of the main text, explained the influence of the French pavilions on Europe and America.

• Acta Via Serica
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• 제6권2호
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• pp.1-20
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• 2021

The Taq-i Bustan reliefs are representative works from the Sassanian dynasty of the 4th to 7th centuries. This study analyzes the costumes depicted in the Taq-i Bustan reliefs to gain understanding of the phenomena of cultural exchange between the East and West by observing the foreign cultural elements appearing in the Sassanian costumes of that time. Literature study and artifacts analysis were conducted in parallel. External elements appearing in Taq-i Bustan's costume were Greek-Roman and Central Asian. The tunics and trousers of the gods and the trousers of kings (Ardashir II, Shapur II and Shapur III) were made of thin fabric and showed many wrinkles, a characteristic of Greek and Roman clothing. On the spandrel above the arch of the great grotto of Khusrau II are depicted the goddesses of Victory, in a Greco-Bactrian style. Among the costume elements of Taq-i Bustan, there were also Central Asian elements observed. One Central Asian costume element was the round clasp ornament for tying the trousers. The side slits and hem of the tunic were presented in the style of the Sogd clothing of Central Asia in the 6th and 7th centuries, while the pearl rounded pattern was activated in Sogd, Kucha and Kizyl in the 7th and 8th centuries. These reliefs are considered important evidence of eastern influences in Sassanian culture.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.172-181
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• 2023

Dunhuang murals are one of the most outstanding achievements in the art of traditional grotto painting in China, and are known as a "Wall Museum". As a representative of the heyday of Dunhuang murals, an in-depth exploration of Dunhuang murals from the perspective of color will help researchers understand the laws and connotations of color in Dunhuang murals during the Tang Dynasty and fully grasp the art of Dunhuang murals. The color system of the traditional Chinese "Five colors" concept expresses the cultural attributes and emotions of the Chinese people and has distinctive national characteristics. This thesis provides a theoretical grasp of the traditional Chinese "Five colors" view of color system, the Dunhuang murals of the Tang Dynasty, and the color configuration of the color composition principles, and uses the modern design principles of color composition to conduct an in-depth analysis of the configuration of the Dunhuang murals' use of color. Explore the unique characteristics of Tang Dynasty Dunhuang murals, and help modern designers master richer color application techniques by learning from and studying the harmonious patterns of Dunhuang murals to provide a new path for the dissemination of excellent Chinese traditional culture.

• 건축역사연구
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• 제28권2호
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• pp.53-64
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• 2019

This study examines the restoration project of Sokkuram, and introduces its preliminary plans by the architect Pai Ki Hyung. The restoration project started in 1958 with an inquiry committee of the restoration project, and was completed in 1964. Despite having undergone extensive repair work under Japanese supervision from 1913 and 1923, the repair work caused water leakages inside Sokkuram, and regular cleaning work that began in 1933 caused a lot of damage to the sculpture. In result of the surveys, the top priority of this project was to protect the sculptures inside Sokkuram by improving the environment of the cave. At that time, the architect Mr. Pai participated as a head of the fourth field surveyors to plan the restoration project and to design the preliminary plans. He proposed the installation of a double dome structure to prevent further water leakages on the concrete addition that was built up around the grotto by the Japanese. However, in 1961, the Cultural Heritage Committee of Korea examined the plans of Mr. Pai and immediately rejected them. The factors of the rejection were the omitting of entrance design, system of new double dome structure that presses the existing structure, and these changes that had to be made outside of the drainage plans. The repair work of Sokkuram began in 1961, and the main construction was building double dome structure and entrance installation. In this we realize that Mr. Pai's double dome structure plans were very important key concept of this project. This study attempts to demonstrate the double dome installations that Mr. Pai initially proposed, which ultimately remains as emblematic factors of Sokkuram's legacy.

• 대한임상검사과학회지
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• 제36권1호
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• pp.27-32
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• 2004

Bone marrow transplantation(BMT) is widely used as curative means of various malignant and nonmalignant hematologic disorders, and early and accurate determination of engraftment is very important for critical management decisions. Reticulocyte counts performed by automated flow cytometric methods is a good indicator of erythropoietic activity and its evaluation has been proposed as an early predictor of bone marrow regeneration. Some reports highlighted the usefulness of the percentage of highly fluorescent reticulocytes and the sum of highly and medium fluorescent reticulocytes(immature reticulocyte fraction, IRF). In Asan Medical Center, the criteria for engraftment following BMT or PBSCT was defined as the first day of a 3-day trend of absolute neutrophil count(ANC)${\geq}500/uL$ and platelet count${\geq}30{\times}10^3/uL$. In 1999, Grotto et al proposed an indidator of bone marrow recovery as the first day on which the IRF was twice the minimum value after bone marrow transplantation. To compare the both criterias, we got consecutive datas of immature reticulocyte fraction, absolute neutrophil count(ANC), WBC count, platelet count and reticulocyte count by XE-2100 automated hematology analyzer(Sysmex Co. Japan) from 33 patients daily after BMT. When compared to standard neutrophil engraftment(10-30 days, $16.2{\pm}4.6days$), IRF engraftment (5-21 days, $11.0{\pm}3.9days$) occured significantly earlier in 87.9% of patients(P<0.05). The mean engraftment day for WBC count(11-29 days, $16.4{\pm}4.3days$) was similar to ANC, but platelet count and reticulocyte count revealed more delayed data (10-49 days, $19.1{\pm}7.4days$ vs 17-64 days, $31.4{\pm}14.1days$). In conclusion, our results confirm that an increase in the immature reticulocyte population is the earliest sign of the hematopoietic recovery after BMT and that automated reticulocyte quantification including immature fraction may be integrated into clinical protocols to evaluate bone marrow reconstitution.

• 한국전통조경학회지
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• 제40권4호
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• pp.49-57
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• 2022

본 연구는 이탈리아 르네상스 정원의 조영배경, 입지 및 공간구성특성 구명에 있어 주요한 역할을 점유하고 있는 빌라 데스테의 정원건축적 특성을 구명하는데 목적을 두고 수행되었다. 연구를 위한 조사는 문헌조사와 현지조사로 구분하여 이루어졌으며, 자세한 내용은 다음과 같다. 첫째, 조영의 경우 16세기 중후반 설계가 피로 리고리오(Pirro Ligorio)가 이폴리토 데스테(Ippolito d'Este) 추기경의 지시 하에 빌라 조영이 시작되었으며, 이후 데스테 가문 소유로 계승되다 재정난으로 1850년 추기경 구스타프 폰 호엔로헤(Gustav von Hohenlohe)에게 소유권이 이전되어 훼손된 정원 복구에 힘썼고 세계 1차 대전을 겪으며 이탈리아 정부 소속으로 소유권이 넘겨진 빌라 데스테는 전쟁으로 인해 무너진 빌라의 대규모 복구 작업이 시작되고 세계 2차 대전을 겪었다. 또 한번 피해를 입은 빌라 데스테는 복구 과정까지 거친 후 현재는 많은 방문객을 받으며 운영되어지고 있다. 둘째, 입지의 경우 도심에 위치하는 우르바나 성격을 가지며, 산기슭에 위치한 계곡형의 지형조건을 가지고 있다.셋째, 공간구성의 경우 16세기 초기 코르틸레 델 벨베데레와 빌라 마다마의 노단의 설치, 기하학적 대칭 등의 조영원칙들에 영향을 받아 축선과 직교하며 정원의 각 부분이 전개된다. 주요 건물은 구릉에 위치하여 한눈에 정원과 주변 경관을 조망할 수 있도록 하였다. 넷째, 구성요소 중 건조물의 경우 계단, 로지아, 중정, 석굴 등이 있었고 구성요소 중 빌라 데스테의 가장 두드러지는 특징인 수경관에는 분수, 캐스케이드, 벽천, 연못 등이, 식생으로는 월계수, 가시나무, 감탕나무 등이 있다.

• 헤리티지:역사와 과학
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• 제57권2호
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• pp.52-78
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• 2024

본 연구는 근대기 한국 불교미술의 주요 인물인 석하시찬(石霞施讚, 1893~1958)의 조각 예술을 분석하여 그의 작품이 한국 불교미술사에서 차지하는 위상과 기여를 재조명하였다. 시찬은 스승 완호낙현(玩虎洛現)으로부터 받은 전통적 조형 기법을 바탕으로 독창적인 양식을 개발하여 근대기 한국 불교미술의 경계를 확장하였다. 시찬의 작품 특징과 조형적 변화를 중심으로 그의 예술적 발전 과정을 규명하였다. 시찬의 초기 작품은 석굴암 본존불을 모델로 한 작품과 스승 완호낙현(玩虎洛現)의 영향이 짙게 드러나는 소형 조각들로 구성되어 있다. 후기 작품에서는 육중한 괴량감이 느껴지는 조형감, 작품의 대형화, 자세의 직립화, 불상과 대좌의 일체화, 그리고 옷주름의 장식화 등의 특징이 두드러진다. 이러한 변화는 시찬이 사회적 변화에 대응하며 자신의 내면적 성찰과 예술적 탐구를 작품에 반영한 결과로 해석된다. 본 연구는 문헌 조사와 새롭게 발견된 시찬의 작품을 통해 스승 완호낙현(玩虎洛現)의 영향, 퇴운원일(退雲圓日)과의 협업, 후원자 김지성화(金至誠華)와의 교류, 계승자 금춘성필(金春性必)과의 사승 관계 등을 밝혀냈다. 시찬의 작품과 그의 예술적 변화 과정은 근대기 한국 불교조각사의 중요한 이정표로, 전통과 근대적 감각을 융합한 독창적인 조형성을 보여준다. 본 연구는 시찬의 예술적 유산이 후대에 어떻게 계승되고 발전했는지를 보여주며, 한국 근대 불교조각사 연구에 중요한 자료를 제공한다.