1.
Hangul
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The Korean alphabet, known as Hangul in South Korea and as Chosŏngŭl/Chosŏn Muntcha in North Korea is the alphabet that has been used to write the Korean language since the 15th century. It was created during the Joseon Dynasty in 1443 by King Sejong the Great, in South Korea, Hangul is used primarily to write the Korean language as using Hanja in typical Korean writing had fallen out of common usage during the late 1990s. In its classical and modern forms, the alphabet has 19 consonant and 21 vowel letters, however, instead of being written sequentially like the letters of the Latin alphabet, Hangul letters are grouped into blocks, such as 한 han, each of which transcribes a syllable. That is, although the syllable 한 han may look like a single character, each syllabic block consists of two to six letters, including at least one consonant and one vowel. These blocks are arranged horizontally from left to right or vertically from top to bottom. Each Korean word consists of one or more syllables, hence one or more blocks, of the 11,172 possible Hangul syllables, the most frequent 256 have a cumulative frequency of 88. 2%, with the top 512, it reaches 99. 9%. The modern name Hangul was coined by Ju Sigyeong in 1912, han meant great in archaic Korean, and geul is the native Korean word for script. Taken together, then, the meaning is great script, as the word han had also become one way of indicating Korea as a whole the name could also potentially be interpreted as Korean script. Korean 한글 is pronounced, and in English as /ˈhɑːn. ɡʊl/ or /ˈhɑːŋɡʊl/, when used as an English word, it is often rendered without the diacritics, hangul, and it is often capitalized as Hangul, as it appears in many English dictionaries. Hankul in the Yale romanization, a system recommended for technical linguistic studies, North Koreans call it Chosŏngŭl, after Chosŏn, the North Korean name for Korea. Because of objections to the names Hangeul, Chosŏngŭl, and urigeul by Koreans in China, until the early 20th century, Hangul was denigrated as vulgar by the literate elite, who preferred the traditional hanja writing system. They gave it such names as these, Achimgeul, in the original Hanja, it is rendered as 故智者不終朝而會，愚者可浹旬而學。 Gugmun Eonmun Amgeul. Am is a prefix that signifies a noun is feminine Ahaetgeul or Ahaegeul Hangul was promulgated by Sejong the Great, the Hall of Worthies, a group of scholars who worked with Sejong to develop and refine the new alphabet, is often credited for the work. The project was completed in late December 1443 or January 1444, the publication date of the Hunmin Jeong-eum, October 9, became Hangul Day in South Korea. Its North Korean equivalent, Chosongul Day, is on January 15, various speculations about the creation process were put to rest by the discovery in 1940 of the 1446 Hunmin Jeong-eum Haerye. This document explains the design of the consonant letters according to articulatory phonetics, to assuage this problem, King Sejong created the unique alphabet known as Hangul to promote literacy among the common people. However, it entered popular culture as Sejong had intended, being used especially by women, the late 16th century, however, saw a revival of Hangul, with gasa literature and later sijo flourishing. In the 17th century, Hangul novels became a major genre, by this point spelling had become quite irregular
2.
Hanja
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Hanja is the Korean name for Chinese characters. Borrowed from Chinese and incorporated into the Korean language with Korean pronunciation, hanja-mal or hanja-eo refers to words that can be written with hanja, and hanmun refers to Classical Chinese writing, although hanja is sometimes used loosely to encompass these other concepts. Because hanja never underwent major reform, they are almost entirely identical to traditional Chinese, only a small number of hanja characters are modified or unique to Korean. By contrast, many of the Chinese characters currently in use in Japan and Mainland China have been simplified, and contain fewer strokes than the corresponding hanja characters. Today, a working knowledge of Chinese characters is still important for anyone who wishes to study older texts. Learning a certain number of hanja is very helpful for understanding the etymology of Sino-Korean words, hanja are not used to write native Korean words, which are always rendered in hangul, and even words of Chinese origin—hanja-eo —are written with the hangul alphabet most of the time. A major motivation for the introduction of Chinese characters into Korea was the spread of Buddhism, the major Chinese text that introduced hanja to Koreans, however, was not a religious text but the Chinese text, Cheonjamun. One way of adapting hanja to write Korean in such systems was to represent native Korean grammatical particles, for example, Gugyeol uses the characters 爲尼 to transcribe the Korean word hăni, in modern Korean, that means does, and so. However, in Chinese, the characters are read as the expression wéi ní. This is an example of Gugyeol words where the radical is read in Korean for its meaning. Hanja was the means of writing Korean until King Sejong the Great promoted the invention of hangul in the 15th century. However, even after the invention of hangul, most Korean scholars continued to write in hanmun and it was not until the 20th century that hangul truly replaced hanja. Officially, hanja has not been used in North Korea since June 1949, additionally, many words borrowed from Chinese have been replaced in the North with native Korean words. However, there are a number of Chinese-borrowed words in widespread usage in the North. The replacement has been less total in South Korea where, although usage has declined over time, some remains in common usage in some contexts. Each hanja is composed of one of 214 radicals plus in most cases one or more additional elements, the vast majority of hanja use the additional elements to indicate the sound of the character, but a few hanja are purely pictographic, and some were formed in other ways. This dual meaning-sound reading of a character is called eumhun, the word or words used to denote the meaning are often—though hardly always—words of native Korean origin, and are sometimes archaic words no longer commonly used. South Korean primary schools abandoned the teaching of hanja in 1971 and it is taught in separate courses in South Korean high schools, separately from the normal Korean-language curriculum
3.
Korean painting
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Korean painting includes paintings made in Korea or by overseas Koreans on all surfaces. It includes art as old as the petroglyphs through post-modern conceptual art using transient forms of light, calligraphy rarely occurs in oil paintings and is dealt with in the brushwork entry, Korean calligraphy. Like arts of East Asia, beauty of space is important for Korean painting, generally the history of Korean painting is dated to approximately 108 AD, when it first appears as an independent form. Between that time and the paintings and frescoes that appear on the Goguryeo tombs, Korean painters in the post-1945 period have assimilated some of the approaches of the west. Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first, and from these have been drawn the tonal palettes of modern Korean artists, yellow ochre, cadmium yellow, Naples yellow, red earth, and sienna. All thickly painted, roughly stroked, and often showing heavily textured canvases or thick pebbled handmade papers, colour theory has been used over formal perspective, and there has yet to be an overlap between painterly art and pop-graphics, since the primary influence on painters is ceramics art. Nimbus colours are not necessarily gold, and may be suggested by lighter colours, faces tend to realism and show humanity and age. Drapery is done with some to great care, the face is generally two-dimensional, the drapery three-dimensional. As in medieval and renaissance art, drapery and faces are done often by two or three artists who specialize in one particular painterly skill. Scholars tend to have the traditional stove-pipe hats, or other rank hats, typically they are at rest in teahouses near mountains or at mountain lodges, or will be pictured with their teachers or mentors. Hunting scenes, familiar throughout the world, are often seen in Korean courtly art. Wild boar, deer, and stags, and Siberian tigers as well were hunted, particularly lethal spears and spear-handled maces were used by horsemen within hunting grounds after archers on the ground led the initial provocation of the animals as beaters. Buddhas tend to have Korean facial features, and are in resting positions. Longevity symbols, Pictures of the ten longevity symbol figure most prominently among folk paintings of this category. The ten longevity symbols, including the sun, clouds, mountains water, bamboo, pine, crane, deer, turtle, tiger, The tiger was among the most popular motifs in Korea folk painting. The mountain spirit and dragon king, The popular mountain spirit, Dangun is the legendary progenitor of the Korean people who is said to have turned into a mountain spirit. The dragon king is depicted as a mighty animal flying amidst the clouds over a sea of high waves. These temple painting are noted for simple compositions and bright colors, the vast majority of ancient folk painting were used for decorative purposes
4.
Changdeokgung
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Changdeokgung, also known as Changdeokgung Palace or Changdeok Palace, is set within a large park in Jongno-gu, Seoul, South Korea. It is one of the Five Grand Palaces built by the kings of the Joseon Dynasty, as it is located east of Gyeongbok Palace, Changdeokgung—along with Changgyeonggung—is also referred to as the East Palace. One such element is the fact that the buildings of Changdeokgung blend with the topography of the site instead of imposing themselves upon it. It, like the other Five Grand Palaces in Seoul, was damaged during the Japanese occupation of Korea. Currently, only about 30% of the structures survive. Changdeokgung was the palace after Gyeongbokgung which had been established in 1395 as a primary palace. In the midst of strife for the throne between princes and vassals, authority of Gyeongbokgung was deteriorated, construction of Changdeok Palace began in 1405, and was completed in 1412. King Seonjo expanded the grounds by about 500,000 square meters. The Palace was burnt to the ground during the Japanese invasion in 1592 and reconstructed in 1609 by King Seonjo, the palace burnt back down in 1623 because of King Injo a political Revolt against Gwanghaegun. The palace was attacked by the Manchu Qing but throughout its history of reconstruction. Changdeokgung was the site of the court and the seat of government until 1868. Koreas last Emperor, Sunjong lived here until his death in 1926, today there are 13 buildings remaining on the palace grounds and 28 pavilions in the gardens, occupying 110 acres in all and the area is designated as Historical Site No.122. Buildings of note include Donhwamun, Injeongjeon, Seongjeongjeon, Huijeongdang, Daejojeon, the Palace chosen to worldwide travel expert evaluation and reader preferences is registered the worlds 500 attractions in research. The palace was built between Peak Maebong of Mt. Bugaksan in the back and River Geumcheon having flowing in the front influenced by the principle baesanimsu in Feng Shui theory. Contrary to Gyeongbokgung whose main buildings are arranged in accurate architectural principle, however, though its structure seems chaotic at a glance, all buildings are in harmony with the environment surrounding them. Changdeokgung consists of governmental area centering on Injeongjeon and Seonjeongjeon, royal private area, Nakseonjae area in the east, kings houses like Seonjeongjeon, Huijeongdang, and Nakseonjae are surrounded in many folds of buildings and courts in case any outsider break through. The architectural style of Changdeokgung overall features simplicity and frugality because of Confucian ideology, structures of particular interest include, Donhwamun Gate – The main palace gate. Built in 1412, Donhwamun has a two-story pavilion-type wooden structure, Donhwamun was burned down during the Japanese invasion of 1592 and was restored in 1608
5.
Changgyeonggung
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Changgyeong Palace is a palace located in Seoul, South Korea. The palace was built in the century by King Sejong for his father. It was originally named Suganggung, but it was renovated and enlarged in 1483 by King Seongjong, many structures were destroyed during Japans multiple late 16th century attempts to conquer Korea and invade China. During the Japanese colonial period, the Japanese built a zoo, botanical garden, after independence in 1945 and the turmoil and destruction of the 1950-53 Korean War, the zoo was restocked through donations of wealthy Korean and gifts from foreign zoos. In 1983 the zoo and botanical garden were relocated to what is known as Seoul Land. Today its main points of interest are as follows, Honghwamun - The palaces main gate faces eastward like the part of the palace. First built in 1484, it burned down during the Japanese invasion of 1592 and was rebuilt in 1616, a ball pavilion was built on either side of this two-tiered wooden gate. As you pass through the gate, Okcheongjo Bridge comes into view, between the arches under the bridges parapet are carved goblins that are intended to ward off evil spirits. Okcheongjo Bridge was built approximately 500 years ago and serves as an entry to the courtyard. Honghwamun is designated as National Treasure 384, okcheongyo - The bridge was built in 1483. It is 9.9 meters long by 6.6 meters wide, between the arches under the bridges parapet are carved goblins that are intended to ward off evil spirits. Okcheongjo Bridge serves as an entry to the courtyard. Okcheongyo Bridge is designated as National Treasure 386, Myeongjeongjeon - Myeongjeongjeon is the main hall of the palace, where state affairs such as meetings with officials and royal banquets were held. First built in 1484, it was burned down during the Japanese invasion of 1592, rebuilt in 1616, it is the oldest main hall of all the palaces in Seoul. It is smaller than the main halls of Gyeongbokgung and Changdeokgung because it was originally built as living quarters, especially for dowager queens. Although it is a simple, one-story structure, Myeongjeongjeon was built on a stone yard that imbued it with the dignity of a main hall. Running through the courtyard in front is a three-level walkway whose center path was for the kings use only, surrounding the entire area is a wall-like structure of single-room units which were used by the royal guards or for royal funerals. Myeongjeongjeon is designated as National Treasure 226, Munjeongjeon - Munjeongjeon is a council hall where the king dealt with routine state affairs
6.
Joseon
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The Kingdom of Joseon was a Korean kingdom founded by Yi Seonggye that lasted for approximately five centuries, from July 1392 to October 1897. It was officially renamed the Korean Empire in October 1897 and it was founded following the aftermath of the overthrow of Goryeo in what is today the city of Kaesong. Early on, Korea was retitled and the capital was relocated to modern-day Seoul, the kingdoms northernmost borders were expanded to the natural boundaries at the Yalu and Tumen Rivers through the subjugation of the Jurchens. Joseon was the last dynasty of Korea and its longest-ruling Confucian dynasty, during its reign, Joseon encouraged the entrenchment of Chinese Confucian ideals and doctrines in Korean society. Neo-Confucianism was installed as the new state ideology. Buddhism was accordingly discouraged and occasionally faced persecutions by the dynasty, Joseon consolidated its effective rule over the territory of current Korea and saw the height of classical Korean culture, trade, science, literature, and technology. After the end of invasions from Manchuria, Joseon experienced a nearly 200-year period of peace, by the late 14th century, the nearly 500-year-old Goryeo established in 918 was tottering, its foundations collapsing from years of war and de facto occupation from the disintegrating Mongol Empire. Following the emergence of the Ming dynasty, the court in Goryeo split into two conflicting factions, the group led by General Yi and the camp led by General Choe. Goryeo claimed to be the successor of the ancient kingdom of Goguryeo, as such, Yi was chosen to lead the attack, however, he revolted and swept back to Gaegyeong and initiated a coup détat, overthrowing King U in favor of his son, Chang of Goryeo. He later killed King U and his son after a failed restoration, in 1392, Yi eliminated Jeong Mong-ju, highly respected leader of a group loyal to Goryeo dynasty, and dethroned King Gongyang, exiling him to Wonju, and before he ascended the throne. The Goryeo Dynasty had come to an end after almost 500 years of rule. After much deliberation, the Taejo Emperor declared the name of the new dynasty to be Joseon, after the ancient Korean state of Gojoseon and he also moved the capital to Hanyang from Kaesong. When the new dynasty was promulgated and officially brought into existence, with Taejos support, Jeong Dojeon kept limiting the royal familys power by prohibiting political involvement of princes and attempting to abolish their private armies. Both sides were aware of each others great animosity and were getting ready to strike first. This incident became known as the First Strife of Princes, one of King Jeongjongs first acts as monarch was to revert the capital to Kaesong, where he is believed to have been considerably more comfortable, away from the toxic power strife. Yet Yi Bangwon retained real power and was soon in conflict with his older brother. Yi Banggan, who yearned for power. In 1400, the tensions between Yi Bangwons faction and Yi Banggans camp escalated into a conflict that came to be known as the Second Strife of Princes
7.
Gyeongbokgung
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Gyeongbokgung, also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea, the largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings households, as well as the government of Joseon. Gyeongbokgung continued to serve as the palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War. However, in the 19th century, all of the palaces 7,700 rooms were restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares, the architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court. In the early 20th century, much of the palace was destroyed by Imperial Japan. Since then, the palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and it also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex. Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries outside Gwanghwamun Gate and it was steadily expanded before being reduced to ashes during the Japanese invasion of 1592. For the next 273 years the grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court, offices for the king and state officials, and the Inner Court, within its extensive precincts were other palaces, large and small, including Junggung and Donggung. Owing to its status as the symbol of sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General, in 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate and Gwanghwamun Gate were reconstructed in their original locations, reconstructions of the Inner Court and Crown Prince’s residence have also been complex. Afterwards, the palace was expanded during the reign of King Taejong and King Sejong the Great
8.
Bird's-eye view
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A birds-eye view is an elevated view of an object from above, with a perspective as though the observer were a bird, often used in the making of blueprints, floor plans and maps. It can be a photograph, but also a drawing. Before manned flight was common, the birds eye was used to distinguish views drawn from direct observation at high locations. Birds eye views as a genre have existed since classical times, the last great flourishing of them was in the mid-to-late 19th century, when birds eye view prints were popular in the United States and Europe. The terms aerial view and aerial viewpoint are also sometimes used synonymous with birds-eye view, the term aerial view can refer to any view from a great height, even at a wide angle, as for example when looking sideways from an airplane window or from a mountain top. Overhead view is fairly synonymous with birds-eye view but tends to imply a less lofty vantage point than the latter term, for example, in computer and video games, an overhead view of a character or situation often places the vantage point only a few feet above human height. Recent technological and networking developments have made satellite images more accessible, microsoft Bing Maps offers direct overhead satellite photos of the entire planet but also offers a feature named Birds eye view in some locations. The Birds Eye photos are angled at 40 degrees rather than being straight down, satellite imaging programs and photos have been described as offering a viewer the opportunity to fly over and observe the world from this specific angle. In filmmaking and video production, a birds-eye shot refers to a shot looking directly down on the subject, the perspective is very foreshortened, making the subject appear short and squat. This shot can be used to give an overall establishing shot of a scene and these shots are normally used for battle scenes or establishing where the character is. It is shot by lifting the camera up by hands or by hanging it off something strong enough to support it, when a scene needs a large area shot, it is a crane shot. A distinction is drawn between a birds-eye view and a birds-flight view, or view-plan in isometrical projection. The technique was popular among local surveyors and cartographers of the sixteenth and early seventeenth centuries
9.
Korea University
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Korea University is a private research university in Seoul, South Korea. Established in 1905, it is one of the nations oldest and most prominent institutions of higher education and it is considered one of SKY universities, known for being one of the best universities in the country. The student body consists of over 20,000 undergraduate students, the university’s academic breadth is broad with its 81 departments in 19 colleges and divisions, and 18 graduate schools. It has over 1,500 full-time faculty members with over 95% of them holding Ph. D. or equivalent qualification in their field, the Korea University Alumni Association consists of more than 280,000 university graduates. It is particularly known for its College of Law, which is widely considered to be one of the most well-known undergraduate law programs in South Korea. There are 115 research institutes, including the Battelle@KU Laboratory, the Ilmin International Relations Institute, Korea University was established on May 5,1905, as Bosung College by Lee Yong-Ik, Treasurer of the Royal Household. The first College President was Hae-Uoung Shin, as an academic institution of nationalistic origin, it was regarded as a symbol of national pride during the colonial period. Bosung College had to many hardships before Korea University of today came into being. Shortly after Bosung College was established, the Korea-Japan Protocol was signed and his exile created financial hardship for the institution. By 1929 the foundation once again faced a financial crisis as a result of the worldwide recession. Kim Sung-Soo came to the rescue when he became the president of the College in 1932, at that time, Kim was managing Choong-Ang High School and the Dong-A Ilbo, a daily newspaper. In June 1932, Kim Sung-Soo took office as President of Bosung College and in 1934 the main building was completed on a 63, construction of the library started in 1935 in commemoration of the thirtieth anniversary of the founding of Bosung College and was completed two years later. In July of the year, a large athletic field. Kim Sung-Soo, as President, made effort to develop Bosung College into the first genuine Korean university. Unfortunately, his hope did not become a reality because of Japanese colonial interference, in April 1944, the Japanese colonial government forced Bosung College to change its name and placed it under the thumb of the Japanese authorities. Following Independence in 1945, the status of Bosung College was elevated to that of a university comprising three colleges, Political Science and Law, Economics and Commerce, and Liberal Arts. Hyun Sang-Yun, the first president, initiated an expansion of the campus by purchasing forest, in June 1949, Korea University awarded its first bachelors degrees and in September of the same year, the graduate school was established. In June 1961 the present Liberal Arts building was completed, various facilities were also completed such as the museum, the agriculture laboratory, the greenhouse, and other buildings for student services
10.
National Treasure (South Korea)
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A National Treasure is a tangible treasure, artifact, site, or building which is recognized by the South Korean government as having exceptional artistic, cultural and historical value to the country. Many of the treasures are popular tourist destinations such as Jongmyo royal ancestral shrine, Bulguksa, Seokguram. As of January 2017, there are 320 distinct entries on the list, the treasures are numbered according to the order in which they were designated not according to their individual value. The National Treasures are designated within the heritage preservation system of the country, the first list of Korean cultural treasures was designated by Governor-General of Korea in 1938 during the Japanese occupation with The Act of Treasures of the Joseon dynasty. In 1955, the South Korean government declared as National Treasures the items previously on the Korean Treasures Preservation Order issued during Japans occupation of Korea, the current list dates to December 20,1962, when the Cultural Protection Act was enacted by the Supreme Council for National Reconstruction. There were 116 items on the National Treasures list at that time, numerous amendments have been made to the list since that time, most recently in 2004. Living National Treasure are holders, or keepers of Intangible Cultural Property, Namdaemun, also known as Sungnyemun, Jung District, Seoul. Severely damaged in the 2008 Namdaemun fire on February 10,2008, found in Pubuchong Tomb, Pomun-dong, Gyeongju, North Gyeongsang Province. A stoneware vessel in the shape of a warrior on horseback, from the Old Silla period, seated iron vairocana Buddha statue of Borimsa temple, Jangheung County 118. Gilt-bronze pensive maitreya bodhisattva, Samsung Museum of Art, Seoul 119, standing gilt-bronze Buddha with inscription of the seventh year of Yeonga era, National Museum of Korea, Seoul 120. Bell of Yongjusa, Yongjusa temple, Hwaseong 121, hahoetal and Byeongsantal masks, Andong 122. Three storied stone pagoda of Jinjeonsa temple site, Yangyang County 123, relics found from the five storied stone pagoda in Wanggung-ri, Iksan, Jeonju National Museum, Jeonju 124. Seated marble bodhisattva statue of Hansongsa temple, National Museum of Korea, green-glazed funeral urn with stone case, National Museum of Korea, Seoul 126. Relics found inside three storied Seokgatap pagoda of Bulguksa temple, Gyeongju 127, standing gilt-bronze avalokitesvara bodhisattva statue of Samyang-dong, National Museum of Korea, Seoul 128. Standing gilt-bronze avalokitesvara bodhisattva statue, Hoam Art Museum, Yongin 129, standing gilt-bronze bodhisattva statue, Leeum Art Museum, Yongin 130. Five storied stone pagoda of Jukjang-dong, Seonsan, Gumi 131, family register of King Taejo, founder of the Joseon Kingdom, National Museum of Korea, Seoul 132. Jingbirok, the war memoirs by Yu Seongryong, Andong 133, porcelain kettle in the shape of a lotus blossom, Hoam Art Museum, Yongin 134. Gilt bodhisattva triad, Hoam Art Museum, Yongin 135, hyewon pungsokdo, thirty-leaf album of genre paintings by Sin Yunbok, Gansong Art Museum, Seoul 136
11.
Folding screen
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A folding screen is a type of free-standing furniture. It consists of frames or panels, which are often connected by hinges or by other means. It can be made in a variety of designs and with different kinds of materials, folding screens have many practical and decorative uses. It originated from ancient China, eventually spreading to the rest of East Asia, Europe, screens date back to China during the Eastern Zhou period. These were initially one-panel screens in contrast to folding screens, folding screens were invented during the Han dynasty. Depictions of those folding screens have been found in Han-era tombs, a folding screen was often decorated with beautiful art, major themes included mythology, scenes of palace life, and nature. It is often associated with intrigue and romance in Chinese literature, for example, an example of such a thematic occurrence of the folding screen is in the classical novel Dream of the Red Chamber by Cao Xueqin. The folding screen was an element in Tang literature. The Tang poet Li He wrote the Song of the Screen, the folding screen surrounded the bed of the young couple, its twelve panels were adorned with butterflies alighted on China pink flowers, and had silver hinges resembling glass coins. Folding screens were made from wooden panels and painted on lacquered surfaces. Even though folding screens were known to have used since antiquity. During the Tang dynasty, folding screens were considered ideal ornaments for many painters to display their paintings, many artists painted on paper or silk and applied it onto the folding screen. There were two distinct artistic folding screens mentioned in literature of the era. One of it was known as the huaping and the other was known as the shuping and it was not uncommon for people to commission folding screens from artists, such as from Tang-era painter Cao Ba or Song-era painter Guo Xi. The landscape paintings on folding screens reached its height during the Song dynasty, folding screens became significant during the period of Unified Silla. Folding screens known as irworobongdo were important elements in the room of some Joseon kings. Like many Japanese arts and crafts, folding screens originated in China, according to the 8th-century work Nihon Shoki, one of the earliest folding screens to reach Japan was during the reign of Emperor Tenmu, which were gifts from the Korean kingdom of Silla. By the 8th century, folding screens became well known in Japan through China during the Tang dynasty, during the late Muromachi period, the Japanese began depicting everyday life on folding screen, which was a custom imported from China
12.
Uigwe
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Uigwe is the generic name given to a vast collection of approximately 3,895 books recording in detail the royal rituals and ceremonies of the Joseon Dynasty of Korea. The expression Royal Protocols is widely used, the collection of Uigwe, was inscripted in UNESCOs Memory of the World Programme in 2007. Combining text and detailed illustrations, each Uigwe preserves the records of the Superintendency, set up temporarily to plan and these rites included investitures, coronations, weddings, banquets, the painting of royal portraits, funerals and ancestral rites. Each Uigwe, some in several volumes with several copies, was either by hand. The silk covers used exclusively for the king were made of quality silk, had superior patterns often of clouds, the Uigwe for funerals and weddings includes large and detailed images of processions, often involving thousands of participants. In 1866, after the execution of a number of French Catholic missionaries in Korea, unable to gain access to the authorities, the troops attacked Ganghwa-do Island and seized the royal books, along with a vast amount of silverware and other royal artifacts. The books were kept at the Bibliothèque nationale de France in Paris soon after their arrival in France and they were largely forgotten until Korean scholar, Park Byeong-sen, discovered them in 1975, whilst working there as a librarian. Following the discovery, the return was requested in 1992. In 1993, then-French President François Mitterrand returned one copy during a visit to Seoul to sell its high-speed TGV train technology, the Korean Government tried to retrieve the royal documents through a permanent lease, since French law prohibits national assets to be transferred abroad. In 2010, a Seoul-based civic group spearhead the return but the request to exclude illegally obtained property from its list of assets was rejected by a Paris court. From April to June 2011,297 volumes with 191 different Uigwes, were shipped back in four separate installments and they were stored at the University of Tokyo. Hence were not included in the list of artifacts to be returned compiled in 1965, in November 2008, Seoul City Council passed a resolution urging Japan to return the uigwe. In August 2010, then-Japanese Prime Minister Naoto Kan announced the return of the Uigwe to mark the centenary of Japanese annexation of Korea, then in October 2011, Prime Minister Yoshihiko Noda returned five copies during his visit to Seoul in a bid to improve relations. The copies chronicled the royal rituals of King Gojong and King Sunjong and this was followed, after a 16-month process, by the return of 1,200 volumes including 150 Uigwe in December 2011. The Uigwe that remained in Korea were preserved and housed in the Gyujanggak library at Seoul National University, Gyujanggak library has the largest collection, with 2,940 volumes with 546 different Uigwe, while the latter has 490 volumes with 287 different Uigwe. In June 2011, ahead of the exhibition, the Museum showcased five of the copies to the media and they were selected for their historical significance and to demonstrate the wide range of activities recorded in different kinds of Uigwe. It recorded the royal feast held by King Injo of Joseon in March 1630, wishing for longevity and it is also one of the few copied versions as most of them are reportedly original editions that were exclusively printed for the king. The museum stated that three of the five shown do not have any surviving copied versions, also a couple of silk covers of other volumes were displayed separately as Bibliothèque nationale de France removed 286 of them for restoration in the 1970s
13.
Irworobongdo
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Irworobongdo is a Korean folding screen with a highly stylized landscape painting of a sun and moon, five peaks which always was set behind Eojwa, the king’s royal throne during the Joseon Dynasty. It literally means Painting of the Sun, Moon and the Five Peaks and is also called Irwoldo or Irwolgonryundo, the sun and moon symbolize the king and queen while the five peaks denotes a mythical place. The screen serves to display the majesty of the Joseon royal court, the scene depicts a burning red sun, a full moon, five craggy peaks, and two fast-flowing streams with cascades, all flanked by a pair of conifers. The brilliant colours — known as tang-chae — were fixed with animal or fish glue, rendering the screens brilliant. There are no existing documents from a period to explain the original iconography of the Five Peaks. Chadwick reports the findings of Dr. Yi Song-mi, Professor of Art History at the Academy of Korean Studies in Seoul and he has suggested that these screens were one of the most important elements in the throne hall, and that this formalized landscape illustrates the Joseon political cosmology. The almost red sun represents the king as the yang, the male principle, while the white moon represents the queen as the yin. These two principles make the universe work, an alternative explanation is that the screen might represent the blessing of Korea by Heaven, symbolized by the sun and moon in balance. When the king sat in front of this screen, he appeared to be at the point from which all force emanated. Thus, imbued with sacred power, the screen manifests a political cosmology as evidence of Heavens favour, mandate, chadwick also reports Yis study of the history of such screens. He attempts to establish whether they were used at the start of the Joseon Dynasty reigned by King Taejo, one suggestion Yi reports is that the practice of using the Five Peaks screen was established by Jeong Do-jeon. He was instrumental in the adoption of Neo-Confucianism as the Joseons state ideology, Jeong Do-jeon used the screen as an important part of the design of the Joseon palace architecture in 1392. However, there is a painting from the 16th century referred to as The martial arts performance at Sochong-dae in the reign of King Myeongjong, a 19th century copy however has the screen in place behind the throne. Yi therefore suggests that the 1392 date might be far too early and he suggests that screens role might well have been adopted after the 1592 Imjin wars as an attempt to reaffirm the dynastys power. Palace records suggest that the screens were constantly being produced, today however, only around twenty originals remain. Examples of the screens can be seen at royal palaces in Seoul such as at Gyeongbok Palace, Changdeok Palace, list of Korea-related topics Korean art Kim H. N. In, Korean arts of the century, splendor and simplicity. New York, Asia Society Galleries,1993, 40–1
14.
Geumgang jeondo
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Geumgang jeondo is a famous landscape painted by Jeong Seon during the reign of King Yeongjo. The title literally means General view of Mt. Geumgangsan or The Diamond Mountains) and it was classified as the 217th National Treasure of South Korea on August 6,1984. The painting is held and managed by the Ho-Am Art Museum in Yongin. While many contemporaneous painters imitated the latest art trends from China and his catalogue of paintings of Geumgansan made him famous and the preeminent painter of his time at the age of 37. He eventually painted around 100 images of the mountains still exist to this day. The artist’s love of the mountains influenced other artists to depict the Diamond Mountains, although Jeong Seon made many paintings of Mt. Geumgangsan, this painting is the largest and considered his best. Like many of his paintings, Jeong Seon painted this landscape while actually viewing the mountains, the painting is 130.7 centimeters in height and 94.1 centimeters in width. It is painted with India ink, the painting is of Naegeumgang, the Inner Mt. Geumgangsan. The painting depicts a total of twelve thousand peaks, the highest peak, Birobong, lies in the background and water flows from it toward a valley called Manpokdong which is divided from the left and right. The high sharp peaks are depicted by the artist with lines painted up and down while the artist used a dotting brush method to depict the earthen peaks, making them appear relatively soft and this composition harmonizes the contrasting sharp edges of the rocky peaks with the softer earthen peaks. The painter included the title of the painting, some comments, the inscription also dates the painting to 1734 when Jeong Seon was 59 years old
15.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
16.
The Dong-a Ilbo
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The Dong-A Ilbo is a newspaper in Korea since 1920 with daily circulation of more than 1.2 million and opinion leaders as its main readers. It covers variety of areas including news, drama, entertainment, sports, education, the Dong-A Ilbo has partnered with international news companies such as The New York Times of the United States of America, The Asahi Shimbun of Japan and The Peoples Daily of China. It has correspondents stationed in five cities worldwide including Washington D. C. New York, Beijing, Tokyo and Paris and it also publishes global editions in 90 cities worldwide including New York, London, Paris and Frankfurt. In 1933, Dong-A Ilbo created the very first women’s magazine called The New Women For the female readers at the time could only read Korean characters, all the articles were written purely in Korean. The publication held events such as cooking schools and wives’ picnic providing women a place to socialize, Dong-A Ilbo also hosted athletic events for women. “Women’s National Tennis Competition” is Koreas and Dong-As oldest contest ever to be held, in 1939 when World War II erupted, the Japanese government began a campaign to unify Korea and Japan as a culture. This meant the suppression of much of Koreas cultural identity, after four attempts to close DongA Ilbo and other numerous occasions of inspection, censorship, seizure and deletion, the Japanese government succeeded in August 1940. The Dong-A Ilbo built Dong-A Broadcasting System, under the Chun Doo-hwan regime, South Koreas media policy had changed. The regime had closed several radio and TV networks and DBS was forced to give most of its shares to the government, the Dong-A Ilbo gave up DBS in 1980. The event that made forced closure possible was Dong-A Ilbos deliberate obscuration of the Japanese flag in a photograph of the first ever Korean Olympic Gold medalist. Sohn Kee-Chung won the medal in marathon at the 11th Summer Olympics in Berlin, however, because Korea was under Japanese rule. The article showed pride for the Korean athlete and featured a smudged Japanese flag to promote nationalistic ideas and they share information including articles and video clips. Dong-A Ilbo also prints global editions in 90 cities such as Washington DC, London, Paris, Frankfurt, etc. and has 22 branches world-wide including LA, Vancouver and it also has international correspondents stationed in 6 cities with New York, Tokyo, and Beijing among them. Also, the edition of the paper is available in English. Partnership, The Times Asahi Shimbun Peoples Daily Izvestia Sydney Morning Herald Dong-A Ilbo also has a publishing sector which produces magazines. There are four magazines, two weekly magazines and one annual magazine. The literature sector concentrates on translating and distributing foreign material and also creating domestic content, DongA Books has brought to Korea many international bestsellers and award winning literature as well as creating million sellers on its own
