• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.49-61
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• 2019

This study aims to examine the spatial recognition of the characters who visited Anuisamdong(安義三洞) in the past and left it in the literature. Thus, the school's relationship between people identified in the relevant literature was analyzed and the elements of landscape were extracted. The results were as follows; First, The figures who authored the literature on Anuisamdong were related to scholars living in Anuihyun(安義縣), along with the Yeongnam confucian genealogy. Starting with Jung, Yeo-Chang(鄭汝昌) in the 15th century, a relationship centered on Nammyeong School(南溟學派) in the 16th century was formed. At that time, people had toured the Anuisamdong regardless of the academic background. In the 17th century, Nammyeong School were in conflict with Toegye School(退溪學派), so Toegye School's influence had no record. In the 18th century, the proportion of Nammyeong School, Toegye School, and Kiho School(畿湖學派) appeared similar as they evolved into the Yeongnam School(嶺南學派). After the 19th century, the proportion of patriots who participated in the anti-Japanese movement was higher than that of schools. Second, The main places used in the literature related to Anuisamdongwere the order of Wonhakdong(猿鶴洞), Hwrimdong(花林洞) and Simjindong(尋眞洞). There are a total of 21 major elements used for the related literature, of which Suseungdae Rock(搜勝臺), Morijae House(某里齋), Nongwaljeong Pavilion(弄月亭), Sasundae Rock(四仙臺) and Cheoksuam Rock(滌愁巖) were the main subjects. Elements of Wonhakdong have been in the spotlight since the 16th century, focusing on Suseungdae Rock. Although the elements of Hwarimdong have been increasing gradually since the 18th century, the ratio of Simjindong to Wonhakdong and Hwarimdong was relatively small. Third, The relationship between the figures who visited the Anuisamdong and the spatial recognition of the Anuisamdong was divided into landscape awareness, emotional awareness and symbolic recognition. The Anuisamdong's scenic view is mostly identified by its description of the waterscape and topographical landscape, which people may have perceived as a scenic site centered on the valley view at the time. The mutual influence of Nammyeong School and Toegye School in the 16th and 17th centuries led to a scene in which the major figures of each school recognized pleasure as a culture of training, and a feeling of longing for the traces of past ancestors as the 18th century travel culture and the 19th century chaotic situation. In addition, the symbolic expression that usually appears is likely to have been recognized as a unworldly place, as the location of the immortal world is confirmed.

• (The)Study of the Eastern Classic
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• no.72
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• pp.67-95
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• 2018

Gyeong-san(經山) Jeong Won-yong(鄭元容, 1783~1873) passed the state examination in 1802(純祖 2), and he has been in office for about 70 years. Jeong Won-yong with excellent administrative ability, he was an important figure in the Sedo politics, and was recognized by many writers for his outstanding writings. Nevertheless, his research results are small. This paper studyed his literary theories as a preliminary to look at Jeong Won-yong's literature in general After examining the features of Jeong Won-yong, there were three main aspects. First, Jeong Won-yong had a negative view of imitation. In particular, he stressed that he should oppose the attitude of unconditionally following Go-in(古人) without considering his capabilities and express his intention. Second, Jeong Won-yong pursued Jin-ui(眞意) when he wrote a poem. He thought rather than think that it is important to decorate a poem, it is important that emotion is exposed to the poem in a natural way. And he tried to unfold his individuality in the poem without copying others. Because if he imitate someone else when he write a poem, it is hard to express his thinking. His negative view of imitation and he pursued Jin-ui(眞意) are closely related. Lastly, Jeong Won-yong considered records important. Jeong Won-yong's record spirit is deeply related to his government service life. Jeong Won-yong who had been in government service all his life, hoped his experience would help manage the country. That's why he thought records were very important. And through this recording behavior, he wanted to get help later on. So it seems that he left a vast works.

• Journal of Digital Convergence
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• v.19 no.5
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• pp.407-414
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• 2021

This study will examine the relationship between women and art education between the 1910s and the 1930s, and how women broke down the feudalistic views on women by changing the perceptions of women and stepped into society through gendered art education. Women tried to restore dignity and realize freedom and equality between men and women through modern education. Nevertheless, women had to receive handicraft education for the cultivation of virtues as part of the Japanese colonial policy and returned to their traditional feminine role. However, this study aims to reveal how a small number of "new women" who studied in Japan took the lead in teaching handicrafts for the independence of women, and how they were officially recognized as in the arts and crafts community and was able to enter the exhibition space through records, interviews, and newspaper articles. In conclusion, this study hopes to provide an opportunity to examine the relationship between handicraft education and femininity, and to consider the role of art education and exhibition in the development of women into social beings.

• Journal of the Korea Society of Computer and Information
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• v.27 no.8
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• pp.111-121
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• 2022

The purpose of this study is to examine the historical facts about the negotiation process between Korea and the U.S. over the launch of AFKN-TV's color broadcasting in 1977, which can be evaluated as the first time that the government raised the issue of broadcasting sovereignty against the U.S. government. More specifically, through literature research on archive documents stored in the Korean National Archives and Diplomatic Archive of Korea National Diplomatic Academy, this study examined the arguments, perceptions, and actions of the two governments by dividing three phases of the negotiation process. As a result of the study, the negotiations with the U.S. government over the unilateral color broadcasting of AFKN-TV in early 1977 and the conflict between the two countries led to a new perspective of broadcasting sovereignty. The Korean government's commitment to broadcasting sovereignty targeted the U.S. government in the 1980s once again.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.11-24
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• 2020

The purpose of this study was to re-examine the neglected and forgotten Cheongdo Geoyeonjeong, to correct the wrong contents, examine the changes and conditions of the garden, and to establish basic data on the components of the forest in the future. In addition, it was extended to the Gongampungbyeog Cliff, the influence area of the Geoyeonjeongwonlim, and the results of the study were as follows; First, Based on the recitation of "Seonyu pungryu(仙遊風流)" in the "Cheongsuheon-yugo(聽水軒遺稿),", Dongchangcheon Stream and Gongampungbyeog(孔巖楓壁) were influenced by the outer gardens of the Georyeonjeongwonrim. Second, Small pavilion was built and arranged under the rock of Byeongam(Byeongpungbawi) in the management history of Geoyeonjeong Pavilion. The records show that Cheongsuheon used the Geoyeonjeong Pavilion as the original forest and even recognized Oewon, which is a scenic influence, as the Gongampungbyeog Cliff. Third, Many of the poems related to Gongam were recognized as Seunggyeong, which represents the Unmun area, and the eight scenery of Cheongdo and Unmungugok were established here as proof that Gongampungbyeog Cliff was very faithful to the traditional Seunggyeong aspect of Gongampungbyeog Cliff, and the crystalline structure of the location was implied as an external source of Geoyeonjeongwonlim. Fourth, The lower part of Dongchangcheon Stream, which stretches from Geoyeonjeongwonrim to Gongam, is filled with attractions consisting of cancerous areas such as Punghodae, Moseongam, Buangdae, Gokcheondae, Saganjeong, Hakgadae, and Hyeongjeam, which provide a clearer picture of the space and landscape of the Geyeonjeongwonrim Outer Garden. Fifth, The expression "dragging water, spilling it into the courtyard, and sending it back to the downtown of the field" of the Cheongsuheon-yugo suggests that the site of Geoyeonjeong Pavilion was originally a prevention. It is also inferred that Cheng Shu-heon also wanted to respect runners and pursue natural views like runners. Sixth, The record of planting a description of spring water and willow trees in "Geoyeonjeong Manyeong(居然亭晩影)」" and "Sanggukseol(霜菊說)」" suggests that the chrysanthemum was planted and planted, and that the chrysanthemum was used to describe the Osanggojeol(傲霜孤節), which means that he would not yield and keep his incision alone despite severe frost. Seventh, It is believed that the writing was written by Cheongsuheon in 1844 during the period of the creation of the Wonrim. The rock letters on the floor of Geoyeonjeong suggest the names of the receiving and the winning prizes. Most of the passages are based on nuclear power plants, including Muidogyo of the Zhuzi, and most of them incorporate the virtues of the Gunja and the natural views of the Eunja. In addition, the rock writing 'Gyeong(敬)' or 'Uidang(義堂)' is a substitute for special worship objects or introspection, adding to the significance and scenic properties of the Georyeon Garden Forest.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.238-261
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• 2012

This research was carried out about the Bansu which surrounded the Sunggyungwan(成均館), national university in the Joseon Dynasty to get the main characteristics of the landscape at Korean traditional school campus by analyzing cultural meaning and historical origin. The earliest record about the Bansu was in "The Book of Odes(詩經)" as Bansu was the water flowing near the Ban palace(泮宮). But, in the following time, Bansu has become the symbol of the school which was built by the feudal lords and one of very important elements in the temple-school(廟學) landscape. The Bansu of Sunggyungwan at Joseon Dynasty was the streams flowing at the east and west of the school campus and get together at the south. Sunggyungwan was located in the sacred place which followed the special organization of Bansu at the beginning of the Joseon Dynasty. And, Bansu in Joseon Dynasty was influenced by the Bansu in Song Dynasty(宋), but it was different from the Bansu in Ming and Qing Dynasty which has been formulated as the halfround pond in front of the school. This research tried to find the reason why in the Josenon Dynasty the stream flowing around the school was regarded as the Bansu. Bansu was also regarded as an important element in the public school, Hyanggyo(鄕校) and the private Seowon(書院). According to this research, the streams which flows around the Seowon or the Hyanggyo were found as called Bansu. Water stream around the Hyanggyo and the Seowon in the Joseon Dynasty has to be reconsidered under the deep research on the organization of Ban-su.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean School Mathematics Society
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• v.12 no.1
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• pp.47-70
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• 2009

The purpose of this research was to confirm one of constructivists' assumptions that even children 조o are with low reasoning ability can make reflective abstracting ability and cognitive structures by this ability can make generation ability of new knowledge by themselves. To investigate the assumption, learner-centered instruction were implemented to 2nd grade classroom located in Suseong Gu, DaeGu City and with lesson plans which initially were developed by Burns and corrected by the researchers. Recordings videoed using 2 video cameras, observations, instructions, children's activity worksheets, instruction journals were analyzed using multiple tests for qualitative analysis. Some conclusions are drawn from the results. First, even children with low reasoning ability can construct mathematical knowledge on multiplication in their own. ways, Thus, teachers should not compel them to learn a learning lesson's goals which is demanded in traditional instruction, with having belief they have reasoning ability. Second, teachers need to have the perspectives of respects out of each child in their classroom and provide some materials which can provoke children's cognitive conflict and promote thinking with the recognition of effectiveness of learner-centered instruction. Third, students try to develop their ability of reflective and therefore establish cognitive structures such as webs, not isolated and fragmental ones.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.1-13
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• 2010

This research is the semantic study on the nature cognition and lyricism of pavilion builders as reflected in the pavilion tablets in the Damyang poetry culture area built during 16th century. The names of pavilions, pavilion writings and "poetry with given theme" were studied by actual site visits. The view on the nature and aesthetic awareness of the pavilion builders at the time were explored together with surrounding landscapes. Following conclusions were drawn. 1. Pavilion names borrowed phrases from the famous historical events left by the sages. Or, they took the compliment on the beautiful nature surrounding orthe academic achievement of pavilion owners as the theme, then elaborated them with thinking based on Sung Confucianism. 2. The writings of pavilion literature were the idealistic view on the nature. They think the nature and human as "object and ego are one, object and ego communicate each other, object and ego become one". 3. The nature in the 16th century was the "principle of birth-death-grow-wither" for the intellectuals. They thought that the nature is the ultimate place to return for the realization of life with self-respect. 4. The introduction of fairy land among literary activities in the pavilion was the symbolic means healing the frustrated ego. It was confirmed that they temporarily entrusted their depressed feelings by borrowing the fairy land, far from the reality. The pavilion was the space to escape from the reality and soothe the anger and discord in the reality. 5. The pavilion literature in the Damyang poetry culture area during 16th century sang their pleasure of enjoying the beautiful scenery in the rural area using their social status. The literary works also contained their agony due to the frustration of difficulty in the realization of ideal. When the intellectuals, who already mastered literature, history and philosophy, came down to rural area, built pavilions at the location with beautiful scenery, and spent time while composing poetry, it was an escape from the burden that they should take the social responsibility as the model intellectuals of the society. The pavilions in Damyang poetry-culture area during 16th century were the idealized conceptual world and the space of awareness reflecting the philosophy and thinking of the time.