• Archives of design research
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• v.12 no.4
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• pp.149-159
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• 1999

It is already a well-known fact, that Korean attend the funeral ceremonies with their courteous etiquette being derived from their customs succeeded from the old ancient times to the contemporary one, regarding it as of great importance. Especially in the age of Lee Dynasty, the etiquette has been a way of Confucian ideas, which has exerted a harmful influences to Korean society due to the reflection of the dutiful conciousness to the tomb customs, and that the change of the burial site and its construction works became more and more serious and excessive. In the meantime, the population has been increased according to the development of the modern industrialization and the number of the dead has also been increased, which caused the issue on the effective use of the limited national land relating to the tomb culture, as the passing of the time. Consequently, in this study on the design of the charnel house, three aspects, humane aspect pursuing the human value, like naturalism or equalitarianism, circumstancial aspect presenting minimum space and convenient space, and formative aspect expressing convenient space, and formative aspect expressing convenient charnel function, unique form and symbolism, have been considered, in order that the tomb space could be transferred to the place for the meditation looking back the meaning of the life, or the place for the comfort. Above all, the special emphasis has been put on the creation of the tomb culture, harmonizing relaxation, exercise and refinement in everyone's life. And in order to realize it, the special interest and investment should be directed not only to the materialistic culture caused from the whole hearted devotion to the development for advancing society, but to the related parts to the value of the life or spiritual culture, such a sideology, culture or environment etc., which would be led to the entrance to the real advaced country members.

• Journal of Korean Philosophical Society
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• v.105
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• pp.373-400
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• 2008

This essay is an analysis on Daoist deconstructivism and Confucian constructivism about music and language. (1) Daoist criticizes that the Confucian constructive music and language fail to describe original sounds and original facts of doing nothing (wuwei, 無爲). According to Daoist, music and language can be an instrument to describe true facts in the world. So Daoists try to attain a state of 'seeing things as things themselves (yiwuguanwu, 以物觀物)' by 'forgetting oneself (wangwo, 忘我).' (2) However Confucian music and language is a part of one's life. Confucians try to get truth, goodness, and beauty by exercising one's music and language. Confucian music is associated with political and moral development in society. The Confucian genres of poetry (shi, 詩), appealing letter (shu, 疏), declaring writing (biao, 表), record (ji, 記), and written words (ci, 詞) are processes of developing one's life. Further, Confucian rhetoric of 'Xing (興)' in writing poem shows that one's language can be developed in contexts of one's life. (3) Although music and language is associated with human subjective narratives as if Confucians say, diverse narratives of different subjectivity cannot appear in one's lives if all kinds of narrative is absorbed in Confucian absolute ideological slogan to devide things into good and bad. Accordingly, the Confucian view of music and language can develop diverse narratives when it does not show an inclination toward moral dichotomy preunderstood by Confucian ideology.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.50-73
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• 2009

Recently old stone walls were designated as registered cultural properties that meant an extension of categories about cultural properties from a spot area to whole area. Moreover given the changing situation of residential pattern, which is due to rapid social change, this designation can be seen as a significant measure to keep as intact as possible traditional landscapes in agricultural and fishing villages. In this paper, I analyze the symbol system and meaning of old stone walls and attempt to pick out the cultural elements which are related to them. These days we have made efforts to various aspects for which make traditional cultural resources into cultural contents. But many studies had done before emphasized aspects for beauty only. Especially existing studies about an old stone wall was mainly focused on architectural interpretation and tourist route. So we need to build a plot around oral research and need a creative approach for sharing with tourists. Cultural contents combine the original form, potential and capabilities with media by detecting original form of culture and finding out the worth and meaning. In this paper examined the probability of using by investigating a stone wall in Sang-hak Village that is related with recovering of places to live in contemporary society and finding cultural contents. I suggest more creative ways to make cultural properties into tourist resources by considering the possibilities of place marketing using storytelling, based on an analysis of data gathered.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.85-95
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• 2010

East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.28-38
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• 2011

Dwelling reflects the continuance and change that, in general, expresses the era's cultural and social values. The yard of Korean traditional dwelling, although it is an exterior space, it is a companion space that is engaged with the main house. It operates many housing functions that were not achieved within the interior space. After the time of enlightenment, shape, function and the meaning of Korean traditional house yard along with the change of values and major living style has been changing. Therefore, to understand how the Chosun Dynasty's house yard is being used in modern days, this study is based on the research of 47 sites and conducted a study regarding the acculturation and division the house yards. Typical elements in the target garden site that are expressed in a way differentiated from the original form of the Korean traditional house yard were the materials and methods of planting, the use of garden ornaments, paving materials, the use of water, and changes in kitchen gardens. As the role of house yards changes, the modern division of the style of gardens occurred; the areas in a garden have been divided and the form of a garden has been differentiated according to the limit and initiative. The pursuit of ornamentality and practicality led to the differentiation of gardens' functions, while seeking after convenience resulted in the division of gardens' materials. The use of gardens has also been differentiated by adding commerciality and a concept of open garden in both symbolic and daily manners.

• (The)Study of the Eastern Classic
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• no.35
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• pp.471-498
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• 2009

The aim of this study is to see how bamboo paintings developed and what is the iconographical meaning of them through bamboo Ti-hua-shi(poems on paintings) found in Sheng-Hua-Ji, a leading compilation of Ti-hua-shi(poems on paintings) of Song Dynasty. Bamboo paintings give shapes in a simpler and more direct way in drawing, which means bamboo paintings reveal concretely more characteristics of Ti-hua-shi (poems on paintings). Bamboo paintings, which flourished during Northern Song Dynasty, often had the image of the dragon, specially a lying dragon or a winding dragon, which suggests a great man in obscurity. Snow-laden bamboos were also a symbol of a great man, very wise man in Confucian tradition. This shows Confucian ideal examples were embodied through bamboo paintings. Another aspect of bamboo paintings is that bamboo paintings were regarded as a means of self-expression, which identified Confucian sadaebu (scholar-officials) who advocated simplicity and austerity in their life. Contrary to professional painters, who added color and decoration to their paintings, Confucian scholars of Song Dynasty reduced color and embellishment in their bamboo paintings in black-and-white to reveal their own identity, focusing on spirituality rather than the image itself. Therefore, drawing and appreciating bamboo paintings were highly respectable pastime among the literati of Song Dynasty. In short, Bamboo paintings in Song Dynasty were not only a Confucian symbol of a wise and virtuous man but also reflected the taste of Song sadaebu class who thought of bamboo as a symbol for moral and cultural responsibility of Confucian society.

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.49-76
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• 2022

This study is to illuminate the problem of shadows and evil appearing in contemporary events in the midst of a period of upheaval through Inferno of Divine Comedy. First, the concept of shadow and evil were briefly summarized in analytical psychology and discussed the importance of considering the concepts with the empirical aspect of relativity and ethics in the field of psychotherapy. The 14th century, the age of Dante, was the embryonic period of the Renaissance beyond the end of the Middle Ages. It was when Dante, who was writing Divine Comedy, had to take off his persona forcibly and live in exile. In a nutshell, it was a transition period for both the individual and the collective. The dark forest is a nigredo, darkness and chaos we face in this transition, but it can be a place of transformation and rebirth. The three beasts (leopard, lion, and she-wolf) encountered in the forest can be considered as the instinctual images that Dante ignored and alienated, which the medieval Christian world had suppressed and eliminated. Especially at the collective level, as destructive instincts, ferocious beasts roam throughout society when a crisis breaks dominant laws of values. The three beasts of Inferno appear as phenomena of shadows and evil. The aspect of leopard was explored Cerberus and Chiaco(pig) as a symbol of greed, and the lion, Farinata as the form of violent passion. The aspect of the she-wolf was examined as Geryon, a deceitful monster with a beast nature hidden behind goodness, the giants in the frozen lake of Cocytus, and Branca D'Oria, who betrayed and murdered the country and family. Inferno reveals the "state" of being trapped when one yields to the evil hidden within oneself and falls into prey.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.