• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.1-14
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• 2004

World state of the arts of the conservation of stone monuments is reviewed and the modern conservation program based on conservation science is proposed for the scientific conservation of stone monuments in Korea. The conservation program suggests that the site environment diagnosis, decay diagnosis, petrophysical property analysis, and conservation experiment should always be carefully studied before conservation treatment. It is an up-to-date widely accepted concept in the world of stone conservation science. Our urgent national tasks that should be accomplished for the scientific conservation of stone monuments in Korea are proposed in the following: 1) The stone monument conservation projects should be planned in accordance with 'Conservation Concept of Stone Cultural Properties' and executed in accordance with the proposed 'Conservation Program for Stone Cultural Property' based on conservation science. 2) It is proposed that 'National Institute of Conservation Science for Cultural Properties' be established for systematic conservation research on the tangible cultural properties. 3) The conservation projects of stone monuments should be executed under the control of stone conservation specialist for their quality control. 4) Special national budget should be prepared for quick development of researches on conservation science in Korea.

• Journal for History of Mathematics
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• v.12 no.2
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• pp.119-133
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• 1999

In this paper, we consider the abstraction of mathematics and arts. In particular, we compare cave arts of Palaeolith stone ages with those of Neolith stone ages and analyze paintings of a child. After the Middle ages, in Renaissance period the new technique, perspective was introduced by painters for the sake of realistic description. We consider the social background of perspective. In 19th century, European society became familiar with the abstraction of mathematics and arts. And we also study the mathematical concepts and the abstract paintings on the basis of the social backgrounds.

• Journal of Digital Convergence
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• v.18 no.10
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• pp.429-435
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• 2020

History is bound to change according to the interpretation of modern people, and based on this, we must find the will to practice for our future. In order to examine the ideology of a country, we can know the cultural aspect of that country through its religious ideology and its cultural heritage. This paper focuses on the stone pagoda of the Baekje period. In order to collect data on the 5-story stone pagoda of Jeongnimsaji, I would like to study the formative features of the 5-story pagoda of Jeongnimsaji by visiting the Jeongnimsaji Museum and familiarizing myself with domestic and foreign professional books, preceding papers, and references based on prior research.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.4
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• pp.94-100
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• 1999

Stone is one of the oldest material for construction and artistic works. This study investigates the current use of stones in landscape constructional works, and the design criteria to advance the arts of natural stone arrangements. Thirty four experts and thirty two others were surveyed with various photos of simulated construction works of natural stone arrangements fond improved design guidelines. Major findings are as follows: -The payment for the use of stones ranges approximately 5 to 10% of total cost of landscape constructional works. More stones may be used when better retailing system is introduced, working skill is standardized, and more of the substitute natural stones made of blasted rocks are provided and the cost goes down. -Preferences showed little difference for the mixed use of different sizes, colors and shapes of stones, and for the use of similar ones, in the construction of walls. This does not match with the current design guidelines. -Arranging three stones, which symbolizes heaven, earth, and human being, was the most preferred. As the supply of natural stones is limited and more substitute stones are used, it its needed to establish guidelines for the production of substitute stones. -Grasses are much more preferred between pavement stones than mortars. -In current practices, top of piled up natural stones is usually arranged level. More freely curved top lines are preferred to straight line.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.12-23
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• 2008

This study reports the costume changes and the factors of the changes from stone status in joseon dynasty. It can be summarized as follows: First, the artisan for the statues is one of the most important factors for the costume changes. The artisans who were involved in building the King's tomb were also made the stone statues for scholars' tombs. This results in that the style of the King's tomb influenced the costumes of stone statues for scholars' tombs. Some craftsmen who were buddhist monks also influenced the introduction of buddhist arts. Second, the stone statues are classified into 3 types according to the dead's social position: the civil officer statues, the military official statues, and the servant statues are installed for the civil officer, the military officers, and others, respectively. This principle was applied well. However, the civil official statues are mainly installed in late joseon dynasty because the civil officers are socially preferred to the military officers in late joseon dynasty. Third, there are two types of civil officer statues; Gongbok type and jobok type. Civil officer statues of Gongbok type were mainly installed in early joseon dynasty and civil officer statues of jobok type were begun to be installed in the early 16th century. Civil officer statues of Gongbok type were fade out after the late 17th century. Fourth, there are three reasons why civil officer statues of jobok type were installed at the officers's tombs 270 years earlier than at the Kings' tombs: 1) Introduction of Daemyunghoejeon and its application, 2) an establishment of a system that requires to prepare jobok individually, and 3) self-confidence of scholars' class on political and cultural maturity.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.184-205
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• 2019

Buddhism was introduced to Gyeonggi-Do early on and thus created various types of Buddhist culture there. Since the introduction of Buddhism into Gyeonggi-do, the there has been continuous construction of stone stupas. More stone stupas were built in southern Gyeonggi than in northern Gyeonggi-do. In particular, Anseong, Icheon, Yongin, and Yeoju were centers of construction. Looking at the characteristics of each period, stone stupas remain from the Unified Shilla Period to Joseon, indicating that stone stupas were steadily built during this period. The stone stupa corresponding to the Unified Shilla Period is meaningful in that it shows the northern limit of Shilla Buddhist culture. Since then, the stone stupas of the Goryeo Dynasty were actively constructed in the southern part of Gyeonggi-do in the early Goryeo Dynasty. By the late Goryeo Dynasty, the stupas were built throughout Gyeonggi-do, indicating that the construction of the stupa was active. In the Joseon Dynasty, stone stupas were built in temples near Hanyang and deeply related to the royal family. Stone pagodas were erected mainly on major traffic routes. Stone stupas built in Gyeonggi-do have a variety of artistic and historical significance.

• Culinary science and hospitality research
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• v.19 no.5
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• pp.158-169
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• 2013

Finespotted flounder, used for a representative raw fish in spring, is considered comparatively difficult to breed, which causes small Olive flounder and Stone flounder from China, similar kinds of flounders, to appear on the market for sale under the name of 'Finespotted flounder.' The reason lies under the considerations that small Olive flounder and Stone flounder from China are relatively lower priced and in higher supply and demand, being difficult to distinguish from Finespotted flounder when sliced with bones. Thus, the purpose of our thesis is to distinguish Finespotted flounder from similar kinds of fish analyzing the lipid content in slices of raw fish and SDS-PAGE(sodiumdodecylsullipide-polyacrylamide gel eletrophoresis). Upon comparing the main components between sliced Finespotted flounder and similar kinds of fish, such as small Olive flounder and Stone flounder from China, we found that there are no noticeable differences among them in moisture content, and little, if any noticeable differences, in crude protein and ash content(P>0.05). Based on these analyses, we have conclude that commercial raw fish restaurants sell small Olive flounder and Stone flounder under the name of Finespotted flounder. However, a variety of factors have an effect on our analysis, such as the individual characteristics of fish and a seasonal variation. The aim of our analysis is to enhance more accurate distinction criteria, although some fish kinds can be discerned with our present technique of examining lipid content and SDS-PAGE. Through more sophisticated analyses developed by consistent research, we look forward to attaining more accurate techniques for discerning between Finespotted flounder and different kinds of similar fish.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.34-51
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• 2012

Jangneung (the Royal Tomb of King Danjong) and Sareung (the Royal Tomb of Queen Jeongsun) are simple in their design and layout. Not only are the sizes of the stone statues small, but stone soldiers are not installed at all despite the fact that Danjong at one point served as the King of Joseon. Moreover, only a pair of seoksu (stone animal) is installed for each Tomb. These royal tombs were originally made as common tombs and later upgraded as Royal Tombs when Danjong's royal status was reinstated posthumously in 1698. Thus, in comparison to royal tombs in general, the scale of these tombs is by far modest. For this paper, archival records and other literature for the burial upgrade process and the stone sculptures are examined; also, the stone sculptures have been examined and measured on-site, and they have been compared and analyzed based on the data thus obtained. Furthermore, this paper traces the historical context of the period in which the simplification of the stone sculptures took place for Jangneung and Sareung. The paper argues that the cause of the modest scale lies not so much in the fact that King Danjong had been dethroned as a commoner, but in the cataclysmic famine and epidemic that swept the country during the time when the two royal tombs were upgraded as such.