• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• (The)Study of the Eastern Classic
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• no.35
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• pp.101-133
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• 2009

Shi Zhen Wang has established his own comprehensive poetics; diachronically, he integrated the main theories on poetry from Wei and Jin to Ming and synchronically the major themes and concerns including 'pure and far-off', 'strong and firm', 'Adoration of Tang', 'Adoration of Song', 'gentle and mild', 'manly and broad minded', 'Nothern Song Ci' and 'Southern Song Ci', etc. The constant goal he sought in this integration process was to represent the intrinsic value of the literary on the basis of the absolute and objective standard without leaning toward a certain value. The standards and values, which are originated from the theory of Shenyun, are founded, more exactly, on 'to reach to it with no written word', 'the meaning outside of the meaning', 'intuitional feeling', 'the nature', 'elegance and righteousness', etc. Because of this, he was able to find good points from each work without prejudice and have full use of his critical talents with objective attitude.

• Lingua Humanitatis
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• v.8
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• pp.39-58
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• 2006

In Hegels Wissenschaft der Logik wird die Idee als Leben des Begriffes, objektive Vollendung und Einheit von Subjekt und Objekt bezeichnet. Die Idee ist die Einheit von Begriff und dessen Existenz und des weiteren die "allgemeine Bedeutung des wahren Seins". Die Idee ist nicht die Namensgebung einer Abstraktion der Sache als abstrakte Sache oder einer reinen Form, sondern 'das Werden zum Diesem' oder 'das Diese' des konkreten und realistischen Objektes 'Dies hier und jetzt'. Auf einer solchen logischen Bestimmung beruhend, behauptet Hegel in seiner ${\ddot{A}}sthetik$ die Gleichheit zwischen "$Sch{\ddot{o}}nheit$" selbst und der "Idee der $Sch{\ddot{o}}nheit$". "Das $Sch{\ddot{o}}ne$ selbst" ist gleichzusetzen mit der "Idee der $Sch{\ddot{o}}nheit$" und wenn die Idee in einer bestimmte Form hineinpasst, wird dies das Ideale genannt. Hier liegt der Grund, weshalb wir die Idee als Begriff, Begriff des Daseins oder Einheit des Objektes bezeichnen $k{\ddot{o}}nnen$. Die Idee ist die Einheit von Begriff und dessen $Realit{\ddot{a}}t$, jedoch ist die dominierende Kraft der Einheit der Begriff. Die Idee ist die $Totalit{\ddot{a}}t$ der subjektiven Bestimmung und nur das Werk dass mit dem Begriff passend Einheit und $Objektivit{\ddot{a}}t$ hervorbringt, ist wirklich $sch{\ddot{o}}n$. Umgekehrt gesagt bedeutet diese Aussage, dass etwas wirklich $sch{\ddot{o}}n$ ist, wenn dies zu dem Begriff passt, und dass das genau zum Begriff passende ist mit dem Begriff gleichzusetzen ist. Wie bereits $bewu{\beta}t$, hat Kant die $f{\ddot{u}}r$ den kognitiven Begriff verantwortliche bestimmende Urteilskraft und das ${\ddot{a}}sthetische$ Urteil treffende reflektierende Urteilskraft, differenziert. Im Gegensatz dazu $erkl{\ddot{a}}rt$ Hegel die Beziehung zwischen Sein und Denken, Dasein und Begriff, Begriff und Idee mit dem Blickpunkt dass das $Verm{\ddot{o}}gen$ und die Funktion der Urteilskraft selbst eine grundliegend auf Reflektion beruhende Bestimmung ist und eine auf Bestimmung beruhende Reflektion ist. Nach dieser Logik entsprechend $f{\ddot{u}}hrt$ er die Beziehung zwischen der $sch{\dodt{o}}nen$ Sache und $Sch{\ddot{o}}nheit$ zusammen. In dieser $Erkl{\ddot{a}}rung$ verwirft Hegel Kants Begriffe wie Urteilskraft und Geschmack, und verwendet vorwiegend die von seiner Lehre vom Begriff auftauchende Begriffe. Die Zielsetzung dieser Arbeit ist, den Satz in Hegels ${\ddot{A}sthetik$ "Das $Sch{\ddot{o}}ne$ ist die Idee des $Sch{\ddot{o}}nen$" auf den Grund zu gehen. Um dieses Ziel zu verfolgen, wird das epistemologische $Verh{\ddot{a}}ltnis$ zwischen Dasein und Begriff, das logische $Verh{\ddot{a}}ltnisas$ zwischen Begriff und Idee betrachtet.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.117-133
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• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• Journal of the Korean Institute of Landscape Architecture
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• v.15 no.2
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• pp.57-66
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• 1987

본 연구는 경관선호에 관한 평가방법을 서술적으로 구명하면서 기존의 경관선호에 관한 평가방법이 자연적 요소를 많이 포함한 경관의 평가출 정착히 하는데 따르는 문제점을 제시하고 경관의 우연적 국면에 따라 경관선호의 우연성(Contingency in Landscape Preference)을 개관하면서 경관평가의 우연성(Contingency in Landscape Evaluation)에 의한 우연적 경관평가방법(Contingent Approach in Landscape Evaluation)의 가능성을 시사했다. 최근까지의 경관평가방법을 크게 분류하면 총체적(Universal) 접근방법, 개성적(Idiosyncratic) 접근방법, 조화적(Contrastic) 접근방법 등으로 나눌 수 있다. 그런데 경관성에서의 우연성을 강조함 으로써, 앞의 세방법만을 가지고서는 경관의 실체 파악이 어렵기 때문에 새로운 방법이 강구되어야 한다. 이의 한 대안으로 경관선호에 대한 평가를 우연적 접근방법으로 해결함으로써 평가영역과 평가요소를 확장시킬 수 있다. 따라서 수학적 매트릭스가 가능하다는 시사를 본 연구에서 구시하면서 새로운 평가방법으로 우연적 경관평가방법을 제시했다. 우연적 경관평가방법은 우연적 경관성에 의한 심미성을 고려하여 종합적으로 분석할 수 있으나 우연적 영역을 의도적으로 설정하지 않는 한 현실적으로 재정적 흑은 시간적 제약성을 지니고 있다. 그러나, 경관선호의 정도에 관한 평가보다는 경관의 본질을 구성하는 모든 요소를 고려한 평가가 경관선호평가에 대한 종합성을 반영할 수 있다. 경관평가의 모호성에도 불구하고 경관의 본질은 우연성에 의존한다고 본다면 우연적 경관평가방법은 크게 무리가 없다. 결국 경관은 생명성을 지니고 있기 때문에 현상으로만 볼 것이 아니라 동시적이면서 산재적 이며 상황적 다양성으로 간주해야 하며 고러란 관점을 강조한 것이 우연적 경관선호 및 경관평가에 대한 접근이라 할 수 있다.도 나타났다. 직업간의 유의성은 학생과 타 직업간에 나타났다. 직업간의 유의성은 학생과 타 직업간에 현격하게 나타났으나, 개인차를 나타내는 속성적 변수는 상호보완적인 변수기능을 수행하고 있기 때문에 다양한 행동의 설명력있는 이유로 볼 수 없다.때로는 민담에서도 풍수가 주제가 되는 경우가 있고, 일반적으로는 역사적 사실이나 인물을 통하여 취락민이지녀온 자연요소에 대한 인식관 또는 그러한 생활에서 나타나는 윤리관 등이 암암리에 표현되기도 한다. 민담을 통하여 우리는 주민들 의식 속에 남아있는 취락의 중요한 요소나 장소들을 찾아볼수 있고 더불어 이들을 중심으로 이루어 졌을지도 모를 생활모습들을 생각해볼 수 있다. 이러한 것들은 $\ulcorner$순응$\lrcorner$의 다른 일면 또는 때에 따라서는 극히 의도적인 $\ulcorner$표현$\lrcorner$적인 한 면모 - 그 대표적인 경우로 정원을 구성하는데 개재된 인간의 의미는 무언가를 표현 또는 표출하고자 함에 있다는 점 -라 볼수도 있을, 예로써 성리학적 사고관념으로써 집과 정사 그리고 주변 경관을 자신의 내적본직 또는 윤리적 영역으로 삼아 묘사.표현.구체화 시켜가기도 한다. 최소한 동족부락의 한두 예들에서 그러한 $\ulcorner$표현$\lrcorner$적 의도에 의한 경관구성의 일면을 확인할수 있지만 엄밀히 생각하여 보면 이러한 예의 경우도 최락의 총체적인 외형은 마찬가지로 $\ulcorner$순응$\lrcorner$의 범위를 벗어나지 않는다. 그렇기 때문에도 $\ulcorner$순응$\lrcorner$과 $\ulcorner$표현$\lrcorner$의 성격과 형태를 외형상으로 더욱이 공간상에서는 뚜렷하게

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.5
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• pp.22-35
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• 2018

The purpose of this study is to understand the idea of the ideal garden, pursued by Dasan, by analyzing the production process of his writing and the location of his dwelling, and the characteristics of the garden in the writings of Dasan (茶山) Jeong Yag-Yong (丁若鏞)'s "Jaehwangsangyuincheop (題黃裳幽人帖)" is concerned with his writings on an imaginary garden (意園). This paper assumed that "Jaehwangsangyuincheop" served as a blueprint for his ideal dwelling. The main research subjects are the external scenes described in the "Jaehwangsangyuincheop", and the garden elements and spatial construction that were visualized as a Korean Ink Painting (水墨畵) through the analysis of related works. The results are as follows. First, Hwang Sang was Dasan's favorite pupil, and "Jaehwangsangyuincheop" was written by Dasan while at Boeunsanbang in the winter of 1805 as an answer to a question that Hwang Sang posed about the residence of a hermit. By referring to this response, Hwang Sang established Ilsoksanbang (一粟山房) under Mt. Cheongae in Daegu-myeon, Gangjin. Secondly, the residence in "Jaehwangsangyuincheop" has mountains behind it and water in front of it (背山臨水). The residence was used as a place to combine life and leisure. It was an ideal residence that secluded the scholar(隱士). Thirdly, Dasan's ideal garden was shown as operation of natural geography in a residential location, practically using various plant materials, expanding physical boundaries of garden, pursuing synesthetic aesthetics while enjoying garden elements, and having an active experience of the taste for the arts in the extended garden. "Jaehwangsangyuincheop" depicted the life of a scholar with the taste of elegance (雅趣), who live in reclusiveness (隱逸), which was wanted by Dasan after exile. It was realized as Ilsoksanbang. "Jaehwangsangyuincheop" was interpreted as the ideal of a feasible dwelling that faithfully reflects Dasan's conceptual thoughts on the garden.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.415-424
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• 2011

Interactive media art can be said to be art in which audience participation and communication through interaction is considered to be most important Previously the role of the audience is to unilately accepted the artist's message, whereas the role of the audience observing interaction media has been changed to the point of the producer, actively participating in completing the artwork through interaction. This study analyzed the interaction and communication between the audience and interactive media artworks from the audience's point of view (in the view of reception theory) by the investigation of the case of the artworks that were on exhibition. Employing the exhibition interpretation medium with docent explanation and wall text was experienced how to improve audience's communication when they watched the artworks. The docent explained the intention of artists and their artworks in the manner of storytelling and induced the audience to focus naturally on the artworks. As the result, the role of the exhibition interpretation medium was found to be significantly high in enhancing the degree of emotional communication with the artworks, so in this study I attempted to present that the role of the docent is an important factor for enhancing the audience participation and emotional communication through interaction with the artworks.

• Cartoon and Animation Studies
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• s.31
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• pp.227-248
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• 2013

With the advancement of computers, opening title sequences in movies are continuously improving. Initially, titles and opening credits were created using what is called the optical method, whereby text was photographed on separate film and then copied onto the movies film negative. In contemporary movie making, however, the title sequence may be seamlessly integrated into the beginning of the movie by an insertion method that not only allows for more diverse technical expression, including the use of both 2D and 3D graphics, but also for its emergence as an independent art form. As such a title sequence, in as little as 50 seconds or up to 10 minutes, is able to convey the films concept while also suggesting more implicit intricacies of plot and thereby eliciting greater interest in the movie. Moreover, according to the directors intent and for a variety of purposes, the title sequence, while maintaining its autonomy, is inseparable from the movie as an organic whole; therefore, it is possible to create works that are highly original in nature. The purpose of this study is to analyze the kinetic typography that appears in title sequences of ten films produced by the Korean entertainment industry in 2012. Production techniques are analyzed in a variety of ways in order to predict the future direction of opening title sequences, as well as present aesthetic and technical models for their creation.