• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• The Journal of Art Theory & Practice
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• no.13
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• pp.7-33
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• 2012

The memory of the Korean War is about the time period when people lived toughly during evacuation, due to being exposed to the natural climate such as intense cold or heat without any protection, leaving their comfortable home and living in temporary built shelters which were barely enough to avoid the wind. 'Death is concealed and only the figures of evacuation for survival were expressed, just as how the government ordered. Since the experience of the battlefield is personal and fragmentary, that is broken into pieces, it does not have compatibility. As war is a distorted experience that cannot be placed in a big picture, it is not possible to take a view of the war's big picture. Having this individualized experience as a common collective memory is an issue and it is the will that people tries to pursue. The reason why the evacuees from north to south, and as well as from the south to further south were all able to be adopted as the theme of artworks due to the military action that emptied the occupied territories of the North Korean Army under the forced removal command. In such situations, the natural state of the 'snow' was like a symbol of the 1.4 Recession. The group of people who were thrown into the intense cold displaced the war damage of loosing their base livelihood, and symbolized the obedient citizens who faithfully follow their government's command. The figure of advocating anti-communism is projected as a figure of a refugee during cold winter-time and it contains ones past which he or she obeyed its own country's commands. Evacuation, especially the evacuation during the winter is a visual device that can confirm these kinds of country's command. The consequences were same for the artists as well. Therefore, the situation being communal could be found due to the individual experiences during war are ideological. The image of the refuge shown in the picture played the role of strengthening the consciousness of defecting to South Korea into the meaning of the 'Finding Freedom.' I would like to express that the reason of them leave their home during the harsh winter is in order to avoid the oppression of the Communist Party. The evacuation that people went through was not to 'Finding Freedom', but 'To Survive'. Later, this evacuation has been imprinted as a behavior of choosing free Republic of Korea, which was an ideological issue. Anti-communism was the rule of survival in South Korea society, and people have the tendency to remember what they want to remember. As it is not the people who possesses an incident, but the memory that possesses ones, people cover their memory with disguised plots in order to forget the violence and to live a different prologue. They share the incident of violence as a hurtful memory. The tragedy of the Korean War was the result of Ideology and being in between the powerful nations' rights, but the violence during the war has been depicted as a natural disaster, which was the evacuation in heavy snow.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• Journal of Digital Convergence
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• v.11 no.1
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• pp.413-421
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• 2013

We, currently settled on the peninsula, have a long history and our ancestors lived over the vast land further to the central Asia and northern China. Normally, our ancestors traded with many countries, but they fought battles when they were on bad terms and many countries emerged and disappeared. In this history, a variety of cultures have been established and the traditional martial arts is a part of those cultures. Our martial arts has been almost severed because of the development of fire weapons in the late Chosun Dynasty, Japan's colonial rule, and 1950-53 Korean War. Fortunately, we can study the traditional martial arts from history books, the records on the martial art books and relics. Muyeadobotongji, the martial art book published in the late Chosun Dynasty, regrets the negligence of martial arts Giyae(arts) after Japanese Invasion of Korea in 1592 and the Manchu war of 1636 and accommodated the martial art skills from Chosun, China and Japan. It is useful for studying martial arts, because it contains detailed description and drawings, clothes and accessories, and the specification of the weapons. However, the problem is the level of Giyae of the martial arts organization and individuals based on Muyeadobotongji vary and some organizations are arguing about the numbers.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1737-1746
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• 2006

The purpose of this study is to present a concrete image of the ideal beauty as shown in era preceding 1945 that effects the shaping of our aesthetic values; by analyzing its characteristics through the covers of women's magazines of that period, this research aims to promote the understanding of beauty of the human body. The scope of my research extends throughout the collection of women's magazines stored in the National Library and the Korea Magazine Information Center. The gathered research materials are: 5 kinds of Shin-Yeo-Sung (신여성), 51 kinds Yeo-Sung(여성) and 30 kinds of Ga-Jung-Ji-Woo(가정지우). The result of the research could be summarized as the followings. Before the 1920's in response to the violent opening, there was a trend of sticking to the traditional standard. In the 1920's, the prevalent images of women were meek and fragile. Japanese standard of beauty was explicitly indicated. In the 1930s, as Western movies started to be shown to the general public, western features were idealized and furthermore intelligence was required as a further condition. In the 1940s, preparation of the war led to encouragement of images of motherhood and natural beauty, and resistant to this trend led to pseudoclassicism.

• The Journal of the Korea Contents Association
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• v.10 no.10
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• pp.152-160
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• 2010

Modern comics find their roots in caricatures, which have a basic element of comics as a combination of wrings and drawings. In three East Asian countries, new media, comics have been developed by joining modern arts and cartoons which is a news form of western comics. As modern comics have evolved according to situations of the three countries, they expand from the satire on the system, foreign invasions, and internal corruption to the enlightenment of the people. However, the criticism on the system lead to the oppression, and the imperialism in East Asian countries enforce the agitation, war engagement, propaganda of the colonialism on the comics. Current East Asian comics have been occupying the largest part in the world comics, and have their roots in the modern comics. So it is meaningful to investigate the characteristic of modern East Asian comics.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.192-207
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• 2018

The Hyangwonjeong and Chwihyanggyo located in the back garden of Gyeongbokgung Palace have mainly been investigated by referring to historical records about the reign of King Gojong and various drawings thought to have been made in the late Joseon period. Because the current Chwihyanggyo was rebuilt temporarily after being burned to the ground during the Korean War, its form and the location of its reconstruction are not grounded on any accurate historical investigation. Although there are some photos of the Chwihyanggyo that were taken between the end of the Joseon period and the Japanese colonial era, there is no information about the photographer or when they were taken, and it is hard to see which photos show the original Chwihyanggyo Bridge with them. The Cultural Heritage Administration, which is currently promoting the restoration of the Chwihyanggyo, has recognized this problem and initiated research on the matter. In 2017, an excavation survey successfully identified the original location of the Chwihyanggyo, as well as that of Hyangwonji Gado (假島), and the shape of the first foundation stone in the pier. With these findings it was possible to infer the ways in which the Chwihyanggyo has changed over the years. Moreover, by measuring the AMS (Accelerator Mass Spectrometer) of the samples collected in the mounding layer of the Gado where the Hyangwonjeong is located, it was discovered that the Hyangwonjeong was constructed sometime after the Imjin waeran (Japanese Invasion of Korea in 1592), which means that the theory that 'the late Joseon Hyangwonjeong was not the former early Josenn Chwirojeong' is groundless. Judging by the materials found to date, we can reasonably assume that the Chwihyanggyo and Hyangwonjeong must have been built around the same time that Geoncheonggung Palace was founded in the late Joseon period.

• 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.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.12-31
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• 2016

Gangwon Provincial Office, which is Historical Landmark No. 439, existed from 1395 to 1895. It played a significant role of provincial administration. Gangwon Provincial Office was rebuilt in the $17^{th}$ Century when governors' additional job system began. It had 50 buildings and 670 sections. During the Japanese colonial era and the Korean War, most of the buildings were demolished, and in 2005 partially restored. Currently, after the old Wonju City Post Office was demolished, the back garden facilities of the Provincial Office are being restored. The back garden of Gangwon Provincial Office was completely destroyed when the Japanese army base at Wonju made it a playing field during the Japanese colonial era. After demolishing the old post office in the back garden, excavation and investigation were made. A pond and building relics were found, but they were too damaged to be restored. However, this thesis found that there were Bongraekak, Yeongjusa(Kwanpungkak), Cheyako, Joojeong Rainbow Bridge after studying literature and paintings. There were also Hwansunjeong and Bangjangdae outside the pond. The names of the back garden and how they were made are related to hsien. In the pond, they made 3 islands signifying Mt. Samshin(immortal world) in the legend and built pavilions on that. The pavilions of the back garden were named Bongrae, Yeongju, and Bangjang, and the titles of other pavilions also had the names of hsien. The back garden of Gangwon Provincial Office was made like an immortal world, befitting its role of governing Mt. Bongrae(Mt. Geumgang.) The governors of Gangwon Province often went to the back garden and enjoyed becoming a hsien. They regarded themselves as the owners of Bongrae, i.e., the immortal world. Gangwon Provincial Office has a unique historical significance because it implemented an immortal world, making use of the characteristic of Gangwon Province.