• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• Journal of the Korean Society of Food Culture
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• v.32 no.5
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• pp.383-393
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• 2017

This study was conducted to analyze the dietary lifestyle of local Chinese consumers and to classify dietary characteristics according to their dietary lifestyle factors and dietary behaviors. This investigation was conducted for 1 month from 1 January 2017 targeting 300 adult males and females living in China using the online survey company surveymonkey. Four factors relating to dietary lifestyle were identified, gourmet factor, healthy factor, convenience factor and economic factor, and these were grouped into 4 clusters according to their dietary lifestyle factor scores. Group 1, the gourmet economy group, showed a high percentage of living alone and a high frequency of eating out, but a relatively low percentage of three regular meals per day. Their dietary lifestyle was sensitive to gourmet factors and economic factors, but less sensitive to health and convenience factors. Group 2, the wide interest group, contained a high percentage of individuals in their 30s, as well as more highly educated individuals and a higher income than other groups. Because their dietary lifestyle scores tended to be higher than those of other groups, they sought a variety of new foods and gourmet meals for enjoyment of dining and life, as well as well-being food materials and foods related to health. Group 3, the health economic group, constituted a family-type consumer group with lower income level than the other groups. Members of this group were seeking health food and natural food in their dietary lifestyle and tended to pursue a high economic profit ratio when purchasing food. Finally, group 4 showed a relatively higher percentage of women over 30 and individuals with a college level or higher education than the other groups. This group was more interested in health and taste than price and convenience, and showed the highest LOHAS orientation among middle aged Chinese women. Moreover, members of this group directly utilized their knowledge regarding nutrition in real life.

• Korean Business Review
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• v.17
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• pp.153-183
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• 2004

The Gaisong Merchants can be regarded to playa pioneering role to activate the Korea's trade with foreign countries. In the early period of Yi-Dynasty, the Gaisong Merchants focused on personal trade, but in the middle period of Yi-Dynasty, they entered to the realm of governmental trade. Furthermore, their business activities widened to various forms of trades, for example, smuggling. Utilizing accumulated capital, Gaisong merchants expanded their trading activities to their neighboring countries such as Japan and China. In recent times, it is necessary for modem Korean companies to diversify risks through the establishment of corporations for production, marketing and R&D abroad or through joint venture, M&A and strategic alliance with foreign companies in order to reduce the risks originated from volatile economic and political situations. In this study, we utilize tools of comparative study to compare Gaisong Merchants' foreign trade strategies with those of modem companies such as AMOREPACIFIC, HANILCEMENT and SHINDORICO. The purpose of the paper is to test the hypothesis that modem Korean companies grew up by following the cases of Gaisong Merchants' business activities. We summarize our main findings as follows. First, both Gaisong Merchants and modem Korean companies have common functional core capability in the field of marketing, manufacturing technology, R&D, and human resources development. Second, both Gaisong Merchants and modem Korean companies have common organizational core capability. Third, both Gaisong Merchants and modem Korean companies have common infrastructures such as planning, finance, accounting and MIS. It constitutes the infrastructure of Korea's foreign trade sector. Fourth, both Gaisong Merchants and modem companies have common organizational culture in the field of management policy and philosophy. Actually, those factors are evaluated to be driving forces of Koera's success in foreign trade. In conclusion, the business activities of Gaisong Merchants who represented the peculiarity of Korean business spirit are partially inherited to current Korean business management. The value system and behavior pattern of modern Korean companies is succeeded from the spirit of Gaisong Merchants and it playa major role to specify the identity of Korean business administration.

• Cartoon and Animation Studies
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• s.37
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• pp.45-82
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• 2014

Comics and cartoons of superheroes in the West have adopted various semiotic systems and other art-forms, including their politico-socio-economic condition, and made parody of other popular texts, as well. Based on the idea of the development of superhero genre, this article focuses on how East Asian popular texts appropriate and reconstruct the genre, which was once considered the realization of American idea, by analyzing a series of TV animation (Japan, Sunrise,2011). Through the feature of parody with intertextuality, provides East Asian value and sensibility of characters as corporation-centered modern humans in capitalist society. This animation has similarity and difference, compared to that of Western superhero cartoons. It satires Western capitalist society and emphasizes Eastern family-oriented value. The performances of superheroes on TV represent the satire on Western style individualism and estimation through each one's achievement. It metaphorically criticizes the situation in which modern human falls into dependency on capital and media, and the capitalistic system in which public good is used for the method of private profit. emphasizes East Asian value of human and society, the cooperative relation for the success and maintenance of community by combining members of state and society through familial sensibility. Tiger functions as a spiritual leader in the group of superheroes who have been obsessed with competition for their own private purpose rather than public cause, Bunny and other colleagues are gradually influenced by Tiger's familial communicative style. emphasizes community-centered view and self-sacrificing sensibility as an international citizen to solve social pathology of modern world.

• Archives of design research
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• v.20 no.3 s.71
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• pp.29-38
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• 2007

The competition to capture a larger slice of the market in Mobile Communication business is increasing among companies. In order to achieve and maintain a competitive advantage in the Asian market, it is critical to continue to develop new technology. Understanding the underlying distinctive characteristics and needs of each market and the cultural backgrounds that drive those needs is a necessary focus. Companies with marketing strategies based on a correct understanding of market needs will capture dominant positions in the market. The purpose of this study is to identify those differences in user behavior and cultural tendencies among different people in different countries in the mobile telecommunication market. This research is based on an on-line survey in three countries (Korea, China, and Japan). Below are the contents of the survey on the mobile phone based on: 1) User behavior 2) Design preference 3) Purchasing behavior 4) User awareness on manufacturer brand. Through the analysis of this questionnaire it is possible to identify the differences and similarities among countries dearly. 1) Cultural trends and perceptions related to mobile phone usage were largely caused by differences in the state of technology, policies and business strategies of mobile sonics carriers and manufacturers, and national tendencies, of each country. 2) Korean and Japanese users produced similar responses to the questions related to advanced technology, whereas Korean and Chinese users responded similarly to national tendency-related questions. 3) To the questions related to business strategies of mobile service carriers and manufacturers, users in all three countries displayed markedly different responses. Once again, accurate analysis of the differences and similarities related to mobile phone usage in each country will help the companies in this industry to gain a competitive edge in the market. This study should not stop at simple comparison but be a framework for giving companies a dear future direction for technological development.

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.8 no.2
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• pp.75-82
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• 2013

This study was carried out to contribute to the self-help and sustainability of grassroots business in Gangwon-do. To achieve this, after setting up the concept of community business, understanding the current designating status of community business and analyzing the business content and the business promotion system, I tried to analyze the continuing factors of businesses and shops, which are more than hundred years old, in Japan and seek a solution to the sustainability of community business in the province. The community business in the province, which is designated and operated, is like this; 86 preliminary social businesses, 62 town businesses, 38 social businesses. The total comes to 186. The preliminary social businesses and the social businesses are assigned more in urban area and the manufacturing sector and educational field have a lot of business contents. When it comes to the business promotion system, there are many incorporated companies and limited companies. While the town businesses are assigned more in county area, the agricultural food field and cultural world have a lot of business contents. When it comes to the main participant of business, the agricultural corporations took the first place overwhelmingly. Especially, I found out that the main participants of community business consist of 38 voluntary associations, which is 20.4 %, and we need to make up for the specialty deficiency in business management. In order to keep the continuity of community business in the province, we could achieve the results of manpower development through the case analysis research, securing good materials which can give the consumers confidence, increasing the quality of the products, maintaining high technical skills, keeping up the tradition of business and demanding forecasting. I think a successive research efforts will be required for securing good materials and increasing the quality of the products in tandem with the local community. And also we need to establish a supporting & operating system through the liaison between the business & academic world, business & administration, and business & business for securing a management specialty as an industrialist.

• Journal of Korean Library and Information Science Society
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• v.45 no.1
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• pp.81-102
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• 2014

In 1978, there was an investigation before the repair of the pagoda in Suzhou Ruiguangsi (蘇州 瑞光寺) and many Buddhist literatures were found in the center of pagoda's 3rd floor. This study is the analysis of the forms and values of the literatures. Since there were 123 ea of precious literatures made from Tang (唐) period to early North Sung (北宋) period among the found Buddhist literatures, they have very important meaning in the bibliography for the time. Suzhou Reiguangsi (蘇州 瑞光寺) was built by the first king of Wu (吳), Sun Quan (孫權). He built this Buddhist temple to meet Monk Xingkang (性康) from Kangjuguo (康居國). When it had been first built, it had been called Puji Chanyuan (普濟禪院) and it was renamed as current Ruiguangsi (瑞光寺) after the major expansion in the early period of North Sung (北宋). The Ruiguangta (瑞光塔) was built by Sun Quan (孫權) in A.D. 247 immediately after the temple had been built. Sun Quan built this pagoda as a 13-floor pagoda to pray for the easy passage into eternity of his mother, national prosperity and welfare of the people. As time passed by, the pagoda was largely damaged and it was newly built in A.D. 1017 (天禧 1) of early North Sung (北宋) period; while it was named as Duobaota (多寶塔). The literatures found in Ruiguangta consist of 107 ea of 3 sets dharani (陀羅尼) scripture and 16 volumes of 5 books, total 123 ea. Especially, there were 7 books of full set transcript of Lotus Sutra (法華經) in relatively complete form. This sutra written in gilt lettering on dark blue paper was made in Middle Tang (中唐) period and it is believed to be the only one existing in East Asia as a scripture written in gilt lettering on dark blue paper (紺紙金字寫經). There were also 6 books of small letter edition of Lotus Sutra (法華經) in complete form, which was published during the early North Sung (北宋) period. This specific edition is incorrectly stated in most general reference books published in China as having been engraved in early Tang period (初唐) since a Japanese scholar wrongly introduced it as having been engraved together with Nakamura edition (中村本). It is meaningful that this error can be corrected by the finding of this study.

• Cartoon and Animation Studies
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• s.34
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• pp.317-344
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• 2014

Perspectives on the basis of arts and cultural management, this study intends to suggest improvements in core curriculums that are required in order for South Korea, a country that has initiated into the animation industry through outsourcing from big-budget animation production countries such as America and Japan, to develop its own strong base in creative animation industry. The perspectives of arts management in this context means an integration nexus between human studies, social science and management, and suggestions are as follow: First, it is crucial to understand the current trend of animation industry structure across the globe, as well as to develop the ability of co-production. Animation industry often requires technical skills, capital strength and human resources, each having equal importance. Therefore, thorough analysis of the three components in worldwide animation industry must be preceded for animation production services. To do so, collaboration with major animation creation countries is the best option and is highly encouraged, so that the national animation curriculum shall be enhanced to meet such demands and hence develop various abilities. The second is a good understanding of new-media and new-platforms. Not only the traditional distributor of animation such as television and theater, the distribution system expands its scope to a variety of online sources including pod-casts and the Internet. Under these circumstances, a deep understanding towards animation distribution system and an analysis of the new consumer channel are also of paramount importance for animation production. Third, a possibility of animation supply chain through diversified routes and media have paved the way for a possible animation production services and distribution without a mega-budget. Thus, new curriculum shall need to reinforce marketing and management aspects that will in turn help individuals to establish a self-employed creative business. Last but not least, this study further includes illustration of current curriculum of animation studies in national universities, followed by detailed suggestions for the curriculum improvements based on the above mentioned three factors. It was observed that the current curriculums have been solely focused on practical works and technical skills of animation and art studies; a four-year-course colleges that provide animation courses usually lack components of human studies, social science and management. Thus, this study proposes essential contexts of management studies that are needed for individual business and also curriculum improvements that are derived from the analysis of the current industry and the new media.