• Archives of design research
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• v.19 no.2 s.64
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• pp.207-216
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• 2006

Even though the notion exists that wall paper has got a short durability for interior decoration in terms of paper's nature, it can be the most important element among the modern dosing wall papering because of the variation of the walls visual effect. Wall paper hasn't been preserved well according to the paper's character and official records haven't been done well. So, by studying a case in which a room is maintained well, seeing various commercial samples which were used for an advertisement and reading several booklets it is possible to study historical evidence. In regard to wall paper and Papering. data, the commercial historic nature of the traditional wall papering has been recognized again in order to study the root of the technical and commercial background. In theory, the historic background research of traditional wall paper in the past is said to have established its theoretical system and the development of modern wall papering in the middle of Britain in 18th century. Through the theoretical study of wall papering, the following things have been researched: handling don the method of the traditional wall papering and lining paper, stylization of pattern by using the method of continual linking, subdivision of commercial cost and specialization of wallpaper, handing down the past traditional adhesion method, the origin of string wallpaper, utility of traditional wallpaper and its various abilities, the change from the face to face linking to duplicated linking, the development of DIY products by women's wallpaper selections. Put against other materials, wallpaper remains the most popular and preferable product for managing a wall and provides a decorative, wall dosing technique. This study can estimate the source of wallpapering history in order to create a systemic approach towards the future's wallpaper industry. This is very important data in order to establish a theoretical system of traditional wallpapering according to its historical research about wallpapering skills and its commercial aspect.

• Cartoon and Animation Studies
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• s.9
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• pp.112-126
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• 2005

This study investigates how 'multi-perspective' can be utilized in animation. For this goal, 1 used the traditional techniques of Korean folk paintings called 'Minhwa.' Most 'Minhwa' works, employ 'multi-perspectives', instead of linear perspective of the Western tradition that has been only taught to students under the formal education system. In Minhwa parts of reality are not only stylized but also fragmented and combined within the same frame. Other common techniques of 'Minhwa' include frontal view, bird's eye view, and inverse-perspective, which are of ien combined in one single work. The purpose of this study is to develop a working principle and practically apply it to , an animation piece based on the Korean folktale of the same title. In doing so, I have proposed a way to reconstruct and revitalize the traditional art form in the age of digital technology and have concluded that 'Multi-perspective' in 'Minhwa' can be utilized in other contents such as animation.'Multi-perspective' in 'Minhwa' is a rich source that has numerous cultural applications.

• Trans-
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• v.11
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• pp.65-95
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• 2021

Grotesque, which has often emerged as a breakthrough in Western art to protest rational and classical pure beauty, is often seen in modern art. Grotesque, along with the concept of pendulum, appears in infinitely expanded forms across cultures, arts, and society. In particular, transformed body images through deformatization and deformatization of the body are interpreted as strong rejections that seek to break away from formalized beauty. The main purpose of this study is how the body reproduced through body deformation, distortion, and bonding in Dimitris Papaioannou's work can be interpreted within the grotesque category. To this end, he examines the Grotesque discourse and modern meaning underlying the interpretation of the work and identifies how the fragmented and expanding body, which is currently actively discussed in the dance world, has an interaction with Grotesque. It selects , , , and , which are the main attributes of the grotesque, focus on conflicting familiarity, life, hatred, and beauty. Based on this, we would like to confirm that in contemporary dance, the reconstructed body reveals concealed things rather than expressing an unrealistic fictional world, and seeks new possibilities beyond boundaries as well as reconsider existing aesthetic views.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.101-140
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• 2017

Currently, the whole world is being swept away by spiritual movements. Since the Three Kingdoms periods, Korea has been under the influence of "The Three Teachings". But during the modern times, the word "The Three Daos" began to be widely used alongside the expression "The Three Teachings" within various circles of New Korean Religions. Regarding this, Daesoon Thought is particularly noteworthy due to its description of the religious realm spoken of as "Confucianism, Buddhism, and Taoism" and the figurehead of that realm, the "Gwan-wang (Crowned King)". This study suggests that there should be a distinction noting the differences between "The Three Teachings" and "The Three Daos" in order to understand the status of the "Gwan-wang" in Daesoon Thought and to facilitate the study Buddhism as both a religion and a religious principle within the context of "The Gwan-wang of the Three Daos". Chapter II, details the conceptions of "Dao" and "Teaching" in the Eastern tradition and "Religion" in the Western tradition. This chapter includes a discussion of how the word "The Three Daos" could be approached as a "Theory of the Three Daos" that explains the religions of the East and the West through comprehensive principles. Chapter III goes through descriptions in the Jeon-gyeong of Buddhistic faiths, doctrines, monks, and temples to discover the meaning of the Dao of Buddhism and Buddhist culture as contained in the Jeon-gyeong. In chapter IV, the Buddhistic characteristics of Daesoon Thought is clarified in three ways: the Dao of Buddhism as the "substance of form", oneness as "growth and nurturing", and "Jinmuk" as the leader of the Dao of Buddhism. From this discussion, it is shown that research on the Dao of Buddhism in Daesoon Thought is a crucial avenue for understanding the identity of Daesoon Thought. In other words, the status of Daesoon Thought is not irrelevant to the Dao of Buddhism or to Buddhism proper, but Daesoon Thought should instead be understood as pursuing the state of Gwan-wang (Crowned King), which has the Dao of Buddhism as an axis characterized as "the substance of form" or as "growth and nurturing". Also, it provides a comprehensive view by which the various aspects of Buddhism as a modern day religious phenomenon of can be understood under the principle of the Dao of Buddhism.

• Journal of Yeungnam Medical Science
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• v.16 no.2
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• pp.255-269
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• 1999

Background: The author investigated the structural theory of the mind, the origin of psychopathology, the resolving stage of the psychopathology, and nature of the true mind in the human mind. Methods: The author reviewed the "Awakening of Faith in the Mah$\bar{a}$y$\bar{a}$na" by Mamyung and "The Commentary on the Treatise of Awakening Mah$\bar{a}$y$\bar{a}$na Faith" and "Expository Notes on the Treatise of Awakening Mah$\bar{a}$y$\bar{a}$na Faith" by Wonhyo. Results: The author of the Treatise insisted on believing the true mind in the human being. Also in the treatise, $\bar{A}$layavijn$\bar{a}$na explained the harmonized mind of the true mind and the ignorant mind. The ignorant mind as the source of fundamental ignorance, which results in peripheral ignorance arising from the ego in relation with the external world Also, he explains the origin of ignorance and encourages to abandon the deep attachment to ignorance. The developing and resolving stages of ignorance are similar to the developing and resolving stage of psychopathology. Conclusion: The author insists on the psychiatric application of the mind theory in the "Awakening of Faith in the Mah$\bar{a}$y$\bar{a}$na", "The Commentary on the Treatise of Awakening Mah$\bar{a}$y$\bar{a}$na Faith", and "Expository Notes on the Treatise of Awakening Mah$\bar{a}$y$\bar{a}$na Faith" Also, the author encourages deep faith of the true human mind.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.108-123
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• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

• Cartoon and Animation Studies
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• s.41
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• pp.1-29
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• 2015

This paper aims at studying how to express and be used the characteristics of New age consciousness in the popular culture. New age consciousness is used interchangeably with new age movement. The philosophy of new age is based on humanism, which the infinite potential power of human can change the human himself and the earth forward to be shown the new age of peace, hope and love in an instant. This consciousness is based on the Western secret art and Eastern consciousness against the Christianity and has begun to develop in the alternative religion influenced by Postmodernism and Counterculture movement on 1970's which is against the corruption of American society on 1960's. However, new age consciousness has tried to change to a social movement for the culture, the peace, the happiness of mankind and the healing society rather than a religion idea because of the limitation of the theory itself. Nevertheless, the new age culture contains the characteristics of the religion, and the characteristics has been easily borrowed to the mess media and infiltrated to us. In a broad sense, the religion includes both own religion beliefs and behavior and the social movements and tendencies about the established religion which pursues the holy and the highest value. The religion is valued as a complex culture phenomenon, which the religion presents the right direction and the meaning of life as well as contributes to the maintenance of social order and the social unification. For this reason, the religion and the culture have a deep relationship between mess media and needs to be captured and listen to religious longing lurking deep within the human consciousness in order to give the audience impressed and fun. In the study, the characteristics of New age such as reincarnation, illusion, meditation, monism and pantheism is analyzed for what affects students studying mess media and the popular culture. And then the study is analyzed the characteristics of new age consciousness in the animation through 'Avatar'. This study shed new light on the influence of religion which is ideological identity of popular culture, and I expect to be a little help to have the insight to examine the mess media with a various angles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.20-33
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• 2018

This study aims to illuminated landscape of Joseon Dynasty in the end of 19th century when Joseon dynasty began to modernize through the perspective of Westerners. Historical meaning to Western people's landscape records has been preceded. And landscape typology and their perception were analyzed. The results were as follows. First, the Westerners who visited Joseon dynasty at that time were involved in the historical and political situation of the Joseon Dynasty or understood their culture through traveling for so long. And record of Westerners is a significant data to analyze scenery at that time because common contents appear in various books. Second, the landscape of Joseon dynasty that appears in Western records was mainly recorded in small towns and villages, natural environments, scenic sites, historic sites, modern facilities, and cultivated areas. Small towns and villages are mainly mentioned with shabby alleys and dense houses. And natural landscape were identified to mountain landscapes and diverse geomorphological landscape that surrounding vegetation along the coast and rivers. The palaces, fortress and temples were recorded as main objects of scenic sites and historic site. And western-style buildings such as foreign legations and settlements, churches and schools were mentioned in the modernized facilities. A cultivated land was confirmed to be underdeveloped and neglected, but as range of view became wider, it was seen to a peaceful and prosperous rural landscape. Third, Westerners' landscape perception of Joseon dynasty at that time can be deduced from positive or negative perceptions. The residential environment was perceived as negative because it was unsanitary and backward. On the contrary, outstanding natural landscapes, scenic sites and historic sites, and upper class gardens were perceived as positive. For modernized landscapes, positive and negative perceptions were similarly mentioned. Positive perceptions were formed in improvement of civilized landscape, and appeared negative perception because damaged traditional landscapes and heterogeneity.