2013, Vol., No.55

An Experimental Study on the Development of Korean Traditional Oil Pitch Soot Ink for Offset Printing

Park, Moon-Year | 2013, (55) | pp.5~38 | number of Cited : 0

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The purpose of this experimental study is to development of Korean traditional oil pitch soot ink for offset printing. The major findings are as follows:(1) Korean traditional inks have been classified into pine pitch ink and oil pitch ink by the type of their main ingredient, soot. It has been known that pine pitch ink is appropriate for block printing, while oil pitch ink is suitable for printing with movable types. (2) To develop Korean traditional oil pitch soot ink for offset printing, various types of PS(pre-sensitized) plates which imitated manuscripts, woodblocks, wooden and metal type plates were produced, and a special oil pitch soot ink was made from mixing traditional oil pitch soot ink and ink softener such as soybean oil, perilla oil and castor oil, etc. Using those PS plates and a special oil pitch soot ink, this study compared and examined offset printed materials which were printed trially on printing papers and Korean traditional mulberry papers. (3) The study confirms that the materials printed with special oil pitch soot ink were shown a much higher quality than other materials using existed soot ink when they were printed on Korean traditional mulberry papers by offset printing method. This result suggest that this special oil pith soot ink can be possible to make original state reproduction or existing state reproduction having affinity and durability but without flotation. (4) It is necessary to progress the studies to develop various Korean traditional oil pitch soot ink for offset printing and to find new ink softeners which have a higher material affinity with offset printing, pine pitch soot ink and Korean traditional mulberry papers. According to these following studies, the manufacturing method of Korean traditional oil pitch soot ink will be excepted to restore and industrialize.

Textual Study on Bulsolbobumoeunjunggyeong Carved in Wofoyuan Anyue, Sichuan

Il-Gie Song | 2013, (55) | pp.39~64 | number of Cited : 0

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A Study on Writings, Contents and a Text Comparison of the Seven-character Regulated Verses in Hyangsansamchebeop

Kang, Soon-Ae | 2013, (55) | pp.65~107 | number of Cited : 3

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This paper engages in writings, contents and a text comparison of the 62 poems of the seven-character regulated verses, which appear in the First Cast Gapinja-Type Edition of Hyangsansamchebeop. It will explore three themes in the following order: ⅰ) the composition, selected works and writing-related matters of the Hyangsansamchebeop poems; ⅱ) the contents of the Hyangsansamchebeop poems; and a text comparison of Hyangsansamchebeop poems with Zhu Jincheng’s Bai Juyi ji jian jiao(白居易集箋校). 61 poems of Hyangsansamchebeop were collected in Anthology of Poems by Bai Juyi(白居易文集). Bai Juyi ji jian jiao cites that there are 3 poems from Book 13, 3 poems from Book 14, 5 poems from Book 15, 6 poems from Book 16, 3 poems from Book 17, 3 poems from Book 19, 4 poems from Book 20, 1 poem from Book 23, 7 poems from Book 24, 3 poems from Book 25, 3 poems from Book 26, 4 poems from Book 28, 9 poems from Book 34, 4 poems from Book 35, 1 poem from Book 36, and 1 poem from Book 37. 1 poem did not appear on the Anthology of Poems by Bai Juyi(白居易文集). As a whole 62 poems. The poems included in Hyangsansamchebeop show us matters related to the writing of the poems such as the time, place or government post Bai was in when he wrote the works. Bai selected the most works from his 50s and from his writings done in Luoyang, Kangzhou, Changan, Suzhou, and Hangzhou. Bai Juyi went through various government posts and wrote a lot of poems in his 30s up to 70s; he wrote a satirical poem in his 30s in Changan; a satirical and quiet poem in his 40s in Kangzhou; a non-parody poem in his 50s in Changan, Hangzhou, Suzhou and Luoyang; a non-parody poem in his 60s and 70s in Luoyang. His official life bore close relations to the writing time and place and had a great influence in the creation of the poems. The poems contain scenes of Bai Juyi’s everyday life and surroundings with 28 poems for “Personal relationships with others”, 19 poems for “Sentiments”, and 15 poems for “Scenery”. Altogether, there are 62 poems in 3 categories. A comparison done of the First Cast Gapinja-Type Edition of Hyangsansamchebeop (Model A), created around the 10th year of King Jungjong’s reign, with Zhu Jincheng’s Bai Juyi ji jian jiao (Model B) yielded the following results. First, the original texts of Model A and Model B have differences in letters: there are instances of Model A and Model B having similar Chinese characters so that there are no great differences in the translation; instances of Model A and B having contrasting letters so that it is difficult to know the differences in translation; instances where later annotations show that the letter of Model A is more correct; and instances where later annotations show that the letter of Model B is more correct. Secondly, the annotations which appear in Model B complete the translation of the original text. Thirdly, the poems in Model A and Model B have the same titles, yet Model B sometimes has different titles for the poems in the annotations. The results of this study will be used in the most fundamental studies of Bibliography, Chinese Literature, Chinese poetry which includes the study of Bai Juyi’s poetry.

A Study on the Standard Process orders of Sonwon-kyebo-kiryak in Publishing, Distribution, and Enshrinement - During Sukjong and Kyungjong’s Period -

Inhyun Yoon | 2013, (55) | pp.109~141 | number of Cited : 2

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A Study on the Seonjo’s Reading Career in the Gyeongyeon(經筵) of Joseon Dynasty

JoongkweonKim | 2013, (55) | pp.143~181 | number of Cited : 4

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A Research on ‘Musim’ Presented by Baegun Hwasang through the Content Analysis of Jikji

Kim, Sung-Soo | 2013, (55) | pp.183~225 | number of Cited : 10

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This research bibliographically analyzes the development of ‘Musim(無心)’ presented in the first volume of Jikji(「直指」) by observing that ① the first appearance of ‘Munyeom(無念), Musim(無心)’ as in embryo, ② who first introduced the concept of ‘Musim’? ③ when and who helped flourish this concept? and ④ finally, who matured this concept? Major findings are as follows:First, in Chapter 2 ‘Musim presented by Baegun Hwasang(白雲和尙)’, what was ‘Musim’ that Baegun Hwasang had initially comprehended was discussed. Second, in Chapter 3 ‘Munyeom, Musim in Embryo’, it was confirmed that the term ‘Munyeom, Musim’ was first used by Yukjo Hyeneung(六祖慧能) in the late 7th century, and in the early 8th century Hataek Sinhoe(荷澤神會) further specified the concept of ‘Munyeom’Third, in Chapter 4 ‘Sprouting of Musim’, it was documented that the term ‘Musim’ was first used by Namyang Hyechung(南陽慧忠) in the mid-8th century. Fourth, in Chapter 5 ‘Flourishing of Musim’, it was found that 1) in the late 8th century Majo Doil(馬祖道一) had established the concept that the mind was Buddha, and the normal mind(平常心) was truth(道) as well as Musim, 2) in the late 8th century and the early 9th century, ‘Musim’ was established as the method to proceed to truth and Buddha by Bansan Bojeok(盤山普積), and 3) the subject that ‘normal mind was truth’ had been handed down to Namjeon Bowon(南泉普願: 748-835) and Joju Jongsim(趙州從諗: 778-897). Fifth, in Chapter 6 ‘Perfection of Musim’, it was discussed that since the specific method to proceed to ‘Musim’ was presented by Hwangbyeok Heun(黃蘗希運) in the early 9th century, the concept of ‘Musim’ was finally perfected. Therefore it was found that ‘Musimseon(無心禪)’, that is, the meditation based on normal mind, had been refined and perfected through five generations from Yukjo Hyeneung to the period of Hwangbyeok Heun who was his fifth descendent, before the Imje Sect(臨濟宗) was founded. In conclusion, in this research it was confirmed that the concept of ‘Musimseon’ was the core of meditation which had inherited the orthodox of Namjongseon(南宗禪), that is, Yukjoseonbeop(六祖禪法) developed by Hyeneung(慧能).

A Study on Early Typography of Yohozi Edition and Kotetsusyoin Edition in Japan

Cho Hyung Jin | 2013, (55) | pp.227~263 | number of Cited : 2

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A Study on the Jeobon and Pangak of the Panbon for Tripitaka, Eojebijangjeon

Yoo Boo hyeon | 2013, (55) | pp.265~289 | number of Cited : 1

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This study focuses on the character of panbon, jeobon, and pangak for Tripitaka, Eojebijangjeon. To put it briefly is as in the following. 1) There are two kinds of panbon in Tripitaka Kai bao chobon of Eojebijangjeon. One consists of the total 20 volumes and the other is total 30 volumes.: (1) The former is composed of 20 volumes of Eojebijangjeon published in 988 and supplements(Eojebulbu and Jeonwonga). (2) The latter is formed with the first volume through the 20th for total 30 volumes instead of the 20th for the total 20 volumes after 989 or since then. And after it made the supplements for the total 20 volumes included in the contents of 21st volume, it is completed by organizing other eoje into the 22nd through 30th. (3) It is estimated that the first and the 20th volume in the total 30 volumes of Eojebijangjeon are the same panbon as the first through 20th volume for the total 20 volumes. In other words when the total 20 volumes is made into the total 30 volumes with other eoje, the whole gyungpan of the former is accepted into the first to 20th of the latter as it is. 2) Tripitaka Kai bao sujeongbon is from the wood plate of Tripitaka Kai bao which is corrected and filled after Tripitaka Kai bao chobon is compared, straightened out, and then rectified. 3) It is thought that it was cut as it was again after the print was deleted as Josungjangbon was published while making Tripitaka Kai bao sujeongbon jeobon. And Kwangseungsabon and Heunggukwonbon out of Josungjangbon are identical panbon, and it is considered the former is the panbon that is carved later than the latter. 4) Chojojangbon is carved again with Tripitaka Kai bao sujeongbon as a jeobon. 5) Jaejojangbon is carved again after the print on it is erased and the number of lines is adjusted back again, and then it is corrected in part when it is published with Tripitaka Kai bao chobon as a jeobon,6) The woodcut of Tripitaka Kai bao Eojebijangjeon is additionally inserted in deungjaebon for finished the total 20 volumes of Eojebijangjeon and is engraved when the print of the total 20 volumes of Eojebijangjeon Tripitaka Kai bao chobon is published in 988. 7) For the Eojebulbu, it is analysed as following.: (1) The jeobon of Eojebulbu Junghwajang byulchulbon was originally the appendix on the total 20 volumes of Eojebijangjeon and then it becomes Tripitaka Kai bao sujeongbon that is organized with the 21st of the total 30 volumes of Eojebijangjeon. (2) The panbon of Eojebulbu Junghwajang byulchulbon is Josungjangbon that goes for the 21st of the total 30 volumes of Eojebijangjeon. (3) The jeobon of Eojebulbu Chojojangbon is Tripitaka Kai bao sujeongbon that goes for the 21st of the total 30 volumes of Eojebijangjeon. (4) The jeobon of Eojebulbu Jaejojangbon is Tripitaka Kai bao chobon that goes for the 21st of the total 30 volumes of Eojebijangjeon.

A Study on Sillokhyeongjian in the 17th-Century Jeoksangsansago Library - Focused on General Books -

Mi-Kyung Ahn | 2013, (55) | pp.291~335 | number of Cited : 4

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This study has chased the book collection and change of general book stored in the libraries of Joseon Dynasty by reviewing the general collection of 36 volumes of the 17th-century Sillokhyeongjian. The brief history of Jeoksangsansago says that it was built in 1614, but all the real records except for newly written Seonjosillok were still stored in Myohyangsan mountain up until January 1633. The time when all the other records were completely transferred to Jeoksangsansago, was in 1634. Many Sillokhyeongjian books of Jeoksangsansago were written on an irregular basis, of which purposes were inspection, caring, storage, reading and transcription; most of them were written by Bonggyo Daegyo and Geomyeol officers of Yemungwan, while Dangsanggwan and Gisagwan officers of Chunchugwan were sent and wrote together when its purposes were storage, reading or transcription. 34 general books of Myohyansan Library and newly made 9 general books formed the collection of Jeoksangsansago. Every general book of Myohyansan Library was moved into Jeoksangsansago, we confirmed. However, 97 books stored at Yeongbyeonbu Library where the records of the early 17th century is temporarily stored, were not moved to Jeoksangsansago via Myohyansan Library. The number of general books at Jeoksangsansago kept increasing since then. 34 books in 1634 drastically increased to 149 in 1696. Beginning from religious books from the beginning, it enlarged to detailed record books and even to private works. Beside, many books were removed from the list at the same time, and then added again at the next Hyeongjian, several times. Through this fact, we would be able to know that the place was not just to store the books and the books were not just stored but actively used. This study as a beginning, would be able to figure out the overall change of royal book collection at the late Joseon Dynasty when it is integrated by the study on Sillokhyeongjian possessed by Gyujangjak, and the consecutive studies on the 18th and 19th centuries. Precise date of such work would be useful to check out the present collection of Jangseogak and Gyujanggak, as a very important tool to definitely rearrange the current list.

On the Shape of Abridgement of the Hwaeomgyeong Vols.72-80 Collected by Shōsōin

Kim Seong Ju | 2013, (55) | pp.337~370 | number of Cited : 3

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The Import and Use of Qing’s Decorated Letter-Papers by Joseon Royal Family in the Late 19th Century - Centered on Decorated Letter-Papers Housed in National Palace Museum of Korea -

SON KEYOUNG | 2013, (55) | pp.371~404 | number of Cited : 3

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The decorated letter-papers collected in National Palace Museum of Korea are mostly those used by Joseon royal family in the late 19th Century. Those papers show the culture of letter writing and social intercourse of royal family at that time. As the culture of royal family was admired by the upper class, it influenced directly on the lives of upper class. Again the upper class’s culture went down to those of middle and lower class. So, finding out where the decorated letter-paper culture came from and how the papers were produced and purchased for royal family would be a key point to understand the recording and letter writing culture of Joseon period. Those papers were imported from Qing and the royal family purchased them from domestic market. It is more noteworthy because the paper was a typical item that can explain how closely the goods imported from the late Qing were used for the daily life of Joseon royal family. The decorated letter-papers collected in the Museum are preserved in the same shape as they were sold at that time. The packing boxes and information leaflets made by Chinese manufacturers are also kept in the Museum. The shop names of Qing’s manufacturers are placed on the boxes, and the locations and handling items of shops are recorded on information leaflets in the boxes. The leaflets are from ten or more decorated letter-papers specialized shops based on Beijing, Tianjin, Suzhou, Shanghai and so on. Those shops produced and sold processed papers including decorated letter-papers, brush, Chinese ink, red chop ink, pigments, fan, folding screen, vertical plaques, scroll and so on. They also handled antiques and signboards, and were specialized in bookbinding and picture mounting. The outstanding characteristics of the late Qing’s decorated letter-papers were splendid color and various pattern. Other characteristics were multi-color pattern and fancy shaped envelope. Patterns were various including flower & fruit pattern which were so popular as called flower decorated paper (花箋紙), fish & wild goose pattern which symbolized news, figure pattern which expressed the persons in famous poems, nature scene pattern which drew memorable attractions, rare ancient antiquity and inscription pattern, and other patterns of tea cups, books, instrument, seal style calligraphy. It is expected that the late Qing’s decorated letter-papers can supply many important clues to study how the noticing and intercourse cultures of Joseon royal family were developed and how the papers had influenced on the letter culture of Joseon people since the late 19th Century.

A Study on ‘Neungji’ of Joseon’s Royal Tomb - From King Taejo to King Jungjong -

Jibok Yoo | 2013, (55) | pp.405~436 | number of Cited : 0

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A Bibliographical Study of Buddhist Literature Published at Gwangheung Temple in Kyungsang Provinces

임기영 | 2013, (55) | pp.437~489 | number of Cited : 5

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A Study on the Book Reviewing Children’s Books - Approach to Perspective in Reading Education -

민경록 | 2013, (55) | pp.491~523 | number of Cited : 12

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KJCKorea
Journal Central

Journal of Studies in Bibliography 2023 KCI Impact Factor : 0.65

2013, Vol., No.55