• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.

• Korean journal of communication and information
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• v.80
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• pp.167-192
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• 2016

This study examined the social trauma experienced by direct victims of accidents and each member of the society affected by grand-scale disasters based on the concepts of collective unconsciousness, archetype, and individuation from Jung's analytical psychology, and their experience of therapy through media. For this purpose, the survivors of the disaster of Sewol that occurred on April 16, 2014, family of the deceased, psychological professionals, and general volunteers were selected as the subjects for one-on-one in-depth interviews and focus group interviews. The findings can be summarized as follows: first, the subjects are suffering from different forms of social trauma such as seclusion and anxiety due to primary/secondary incidents, but there is possibility for them to overcome the social trauma as a social community. Second, the archetypes of life and death, mourning and remembrance are showing in the subjects' everyday lives. In particular, it was found that various archetypes are appearing symbolically through the craft activities in which the survivors are participating most actively. Third, the media therapy program for the victims of the Sewol has limitations in various aspects. However, the fact that the craft activities that are not bound by time and space are highly effective manifests that anyone can take advantage of trauma therapy through digital media that are easily found around them. Finally, this study is significant as it verified the possible individuation of social trauma and identified the limitations of media therapy to suggest its development directions.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.124-139
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• 2013

Choi Cheon-yak(about 1684~1755) is an artist who left the various artistic works such as sculptures of royal tombs, architectures. In addition, he was not only a skilled caster but also an able artisan carving jade in the early Joseon Dynasty period. Starting from making royal seals of King Suk-jong, he had made more than about 40 Royal seals until 1755. Choi Cheon-yak was well known as a skilled jade craftsman. Another of his great abilities was to carve subjects into ideal figures. In virtue of his greater abilities, he could take part in the process of constructing Royal tombs and sculpting the stone statues of military officials' which were erected at aristocrats' tombs. With these accumulated skills, when he was in charge of designing the folding screen stones for King In-jo's Jang Neong, he could even replace 12 animals system and clouds with peonies and lotus. Among his various abilities, his skill in carving a sculpture can stand comparison with any other contemporaries. His sculpture skill was at its zenith in 1752, the stone statues of military officials' at the Ui soseson's tomb count his showpiece that describes a model at the age of his late teens and is a realistic and portrayal sculpture, which met the royal family's dignity. In the same year, the stone statues of military officials' constructed by Choi Cheon-yak was elected in front of the Jo Hyen-myeong's tomb(1690~1752). This masterpiece referred to the armor of those of King Gong-min Neong and newly added a helmet and the patterns of a tortoise shell. These patterns of a tortoise shell were passed down to Park Moon-su's tomb in 1756 and Queen Jeong-sung's Hong Neung by his colleagues : Kim Ha-jeong and Byeon Yi-jin etc. He was one of the greatest sculptors in the $18^{th}$ century. People in Joseon praised him highly for his imaginative work from an amorphous object. Especially, these stone statues of military at Jo Hyeonmyeong's tomb shows the proofs of his supreme artwork.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.

• Proceedings of the Korean Society of Community Living Science Conference
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• 2009.09a
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• pp.98-98
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• 2009

농촌 지역의 인구 감소 및 그에 따른 지자체의 위기의식이 심화됨에 따라 국내에서도 지역마다 각종 인구 늘리기 시책을 실행하고, 중앙에서 도시민 농촌유치 프로그램 지원 시범사업을 기획하는 등 지역 발전의 기본 요건이 되는 인구 감소의 해결을 위한 노력이 가시화되고 있다. 이에 따라 본 연구는 일본의 정주촉진 정책 사례에 대한 고찰을 통해 국내 정책에의 시사점을 도출하고자 한다. 시마네현은 일본 혼슈의 동해 연안에 위치하고 있으며, $6707.26km^2$의 면적에 약 74만 2천 명의 인구(2005)가 살고 있는 지역이다. 시마네현의 총 토지면적 중 약 80%가 산림면적이며, 경지면적은 41,000ha로 약 6%를 차지하고 있다. 이 중 논이 80%를 차지하여 논농사 중심의 농업이 이루어지고 있으며, 풍요로운 수산자원을 보유하고 있어 어업활동도 활발하다. 이러한 시마네현에서는 UI턴의 촉진을 위해 '산업체험사업'을 1996년부터 시행하고 있는데, 농림어업에 관한 산업체험을 실시하고, 체험 후의 거주지로 빈집을 활용하는 사업이다. 현 외 거주자가 시마네현 내에서 일정시기 산업체험을 하고자 할 경우, 월 50,000엔이 지급되며, 거주지 확보가 어려울 경우 트레일러하우스나 빈집활용주택, 공영주택 등을 임대해주고 있다. 또 시마네 현 내에서 30세 미만의 청년 미취업자가 일정기간 산업체험을 실시할 경우, 체험에 필요한 경비의 일부를 제공해주고 있다. 그간의 실적을 보면 연간 평균 105명이 체험에 참가하고 있으며, 2000년 이후 정착률은 50%를 넘고 있다. 총 259개의 체험 장소에서 월 평균 4명이 참가하고 있으며, 업종별 참가자수는 농업 및 기타(관광, 전통공예), 어업, 임업, 축산업의 순서로 많은 것으로 나타나고 있다. 또한 시마네현의 고츠시에서는 '도시와의 공생 교류' 실현을 위한 9가지 중점시책을 설정하고 그에 따른 사업을 실행하고 있다. 농산어촌의 취락을 유지하는 것이 첫 번째 중점시책으로서 이를 위해 빈집을 활용한 정주와 교류가 활발히 이루어질 수 있도록 주거 정보를 수집, 관리, 웹을 통해 제공하고 있으며, 농지 유동화 및 농림수산물의 직거래 시스템 확립에 주력하고 있다. 이 밖에도 UI턴자 확보를 위해 지역에서 살고, 일하고, 즐기는데 대한 일체적인 정보 제공 시스템을 마련하고 있으며, '고향교육'을 통해 지역에 대한 애착심을 기르는 동시에 지역에서의 취업 지향을 높이는데 힘쓰고 있다. 농촌 정주촉진을 위한 사업 내용면에서는 일본과 우리나라 간 큰 차이가 없다. 그러나 사업에의 의지와 방향 설정, 사업 추진체계 및 운영방식 등에서 발견되는 차이를 주시함으로써 농촌 지역 인구 증가에 보다 실질적으로 기여할 수 있는 정책으로 만들어가야 할 것이다.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.63-72
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• 2017

Gardening activities, plant raising, and general flowerbeds the public makes today can be found in the original form of cottage gardens in the United Kingdom. A cottage garden is a popular garden style of modern Britain, implying unique Englishness including ethnic sense and vernacular. In addition, the purpose of this study is to consider the modern movement in the United Kingdom in the past 200 years and read Englishness of cottage gardens through style differentiation and background of occurrence of cottage gardens appearing in this process. Therefore, this study is summarized as follows. First, a view of nature of the Englishman loving freedom and landscape acts as a key part of patriotism and is connected to the preservation of idyllic England. For this ideal of the Englishman of the country, idyllic British characteristics are found in various literatures and artistic fruits; cottage gardens, that is a form of new garden, were made with invigoration of supply and collection of plants. Second, an early form of cottage gardens was the domestic garden, in which there is a vegetable garden by middle-class move to a suburb according to urbanization, but evolved into a form of garden having both artistry and regionality, vernacular, and ecological characteristics with various situations of modern society(handicraft promotion movement, preservation of remains, and ancient building restoration movement). Wild gardens occurring in this process are a type of garden realizing wild fields and forests in the United Kingdom;they have made a big impact on many garden designers up to now. Cottage gardens, reflecting a variety of Englishness, is a subject of city planning and flower shows and is a culture symbolizing the United Kingdom.

• KOMUNHWA
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• no.59
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• pp.112-147
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• 2002

This article is contrived to analyse the present situation and social practices of culture goods in Gyungju, historical city. For this, I collected Materials from agencies and organizations concerning of production, distribution, consumption of culture go

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.58-65
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• 2021

Jewelry Object to adorn a body with has been a very important culture since the primitive age when history of human beings started. Ornaments for social status or wealth's symbolic icon otherwise for private embellishment have been developed with various properties such as decorative, monetary, scarce, historic ones. However, since the latter 20th century, when intellecture concept was more valuable than the tradition laying emphasis on preciousness, with counting of artistic activities and aesthetic values, they have had expressionistic tendency centered on artists. In this manner, modern ornaments have been developed as an artistic genre deviating from traditional way in which material or technology was emphasized. While this expressionistic tendency emphasized artistic value, galleries only for ornaments have been started since 1960s and especially from this period, a lot of experimental and revolutionary ornaments works deviating from traditional way have been exhibited. The appearance of galleries specialized in ornaments as described above had a great influence on the ornaments' development to an artistic genre. This study is the one in respect of two exhibition types through the combination of human body and clothes in displaying ornaments. The first one represents active displaying way for the communication with audience by introducing fashion show to galleries deviating from general exhibition way. The second one plans to run a project collaborating fashion brand for the communication between ornaments and clothes and represents displaying way in the shop of fashion brand for active exhibition publicity.

• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.128-145
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• 2014

After independence, more introductory books on Korean culture were published in both Korea and Japan, along with various papers briefly presenting relevant materials. There are differences depending on the research field, however, a considerable number of articles about Buddhist paintings were published. Research on Korean sculpture was quite active among Japanese scholars. And numerous articles and publications on Korean painting were also presented in both Korea and Japan. Publications on Korean ceramics were increased as much as in other fields. From the late 1980's through late 1990's, research on Korean cultural properties continued to increase, as many young scholars began to conduct research very actively in Korea, producing many articles to introduce new materials. A small number of Japanese scholars also continued to research Korean cultural properties. The overall number of Korean researchers also increased, as existing scholars were joined by students who went to Japan to study and conduct research, thereby helping to significantly expand the area and topics of research. In this period, the exchange exhibitions between Korea and Japan were increased. Also the substantial research reports was began to be published by the national institution. From the early 2000 thrugh present, in all fields, research has progressed and improved since the late 1990's, with many individuals pursuing a microscopic approach to their artifacts and works. More graduate students have been focusing on Korean cultural properties in Japan as the subject of their master's or doctorial thesis in art history, and overall number of researchers in various areas has increased. In the field of Buddhist painting, painting, and Buddhist crafts some important books and articles have been published. However, research achievements have been somewhat uneven. In the area of ceramics, several significant examples of substantial research reports were published by the National Research Institute of Cultural Heritage. These publications are outstanding references that illustrate the future direction of research on Korean cultural properties in Japan.