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강희정(姜熺靜) 한국미술연구소 2009 美術史論壇 Vol.- No.28
The first illustrated art catalogues in Japan, the Selected Relics of Japanese Art(Shinbi Taikan, 『眞美大觀』) was published from 1899. Until 1908, the publisher Shimbi shoin(審美書院) had completed all 20 books in the set. This set of the illustrated art catalogues can be highly valued as the first publication in Japan, which had established the foundation of Japanese art history during the Meiji(明治) period. These series presented almost every significant art works from the earliest times to the end of the Tokugawa(德川) period. The publisher said in the introductory remarks that they collected the important art relics from the Buddhist temples in Nara(奈良) and Kyoto (京都) and the private collections. All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs. From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate. Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.
국가 온실가스 감축 목표량 달성을 위한 배출권거래제 할당량 추정
강희재,김대수,서진원 한국환경경제학회, 한국자원경제학회 ( 구 한국환경경제학회 ) 2014 한국환경경제학회 학술발표논문집 Vol.2014 No.하계
한국은 온실가스 감축을 위해 배출권거래제를 2015년부터 도입하기로 결정하였다. 국가 온실가스 감축 목표 달성과 배출권거래제도의 성공적인 안착을 위해서는 적절한 양의 배출권을 할당하는 것이 필요하다. 이번 연구에서는 현재 공개된 할당계획 초안을 바탕으로 과다할당의 가능성이 있는지, 국가온실가스 감축 목표를 달성하기 위해서는 배출권 할당이 어떤 추세를 따라야 하는지에 대해서 살펴본다. 그 결과 정부의 온실가스 감축 목표 시나리오와 환경부의 배출권 할당계획에 따른 배출권 할당량에서 차이가 발생하였다. 이는 배출권을 과다할당 하였거나, 정부의 온실가스 감축 목표 시나리오가 수정되어야 함을 의미한다. 현재 배출권 할당계획을 고려했을 때 2020년 국가 온실가스 감축 목표 달성을 위해서는 제2차 계획기간에는 매년 -7.9%씩 배출권을 줄여나가야 하는 어려운 상황이다.