• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.95-97
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• 2010

중국광고는 서양광고를 모방(模倣)하는 시기(時期)를 지나 현재 창의(創意)적 발전(發展)의 전환점에 와 있다. 중국 전통 이미지의 심미적(審美的) 추구(追求)는 중국의 광고 산업에 지대(至大)한 영향(影響)을 끼치고 있으며 보다 더 효율적(效率的)으로 중국 전통이미지를 활용(活用)하기 위해 매진하여야 한다. 따라서 중국광고 디자이너들은 전통문화에 대한 소양과 깊은 이해를 바탕으로 광고자체의 기본철학을 확립하여 중국(中國) 문화(文化)의 특색(特色)을 바로 잡아 만들어가야 한다. 본 연구에서는 2008년~2010년 중국주류(中國酒類)의 잡지광고에서 나타난 이미지 분석을 통해서 중국광고 디자인의 표현방법을 알아보고자 한다.

• Journal of Korean Library and Information Science Society
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• v.31 no.2
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• pp.139-167
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• 2000

Historical development of cataloging rules in Korea can be divided into the period of traditional single-entry cataloging, the introduction period of western cataloging rules, the period of international standardization, and the period of MARC. This study tries to review catalog organization relating to catalog structure and choice of headings, and rules for description relating to idenhfymg items from the period of traditional single-entry cataloging to the introduction period of western cataloging rules in Korea.

• Journal of Korean Home Economics Education Association
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• v.19 no.4
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• pp.137-151
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• 2007

The characteristics of Hyeonmoyangcheo-ism (wise mother, good wife) in the 1950s, which were observed through the girls' school curriculums and homekeeping textbooks, were arranged as follows. Firstly, Hyeonmoyangcheo-ism in homekeeping textbooks in the 1950s stressed the modern housewife. The Confucianwomen's virtues, such as submissiveness, faithfulness and samjongjido (obedience to father, husband and son), that were in girls' moral training and home management textbooks during the Japanese imperialism. This was a part of girls' education built on democracy and equality asserted by a new Korea, the 'modern nation'. Secondly, with the increasing demands for women's labor after the Korean War, women's occupations were reinforced and incorporated in homekeeping textbooks in the 1950s. Even though having a job was a secondary task to the role of a homemaker, the details of women's occupation illustrates the characteristics of Hyeonmoyangcheo-ism in this period of time. Thirdly, The resident practice program emphasized the tradition women's behavior along with the modern homemaker, the rational designer of homekeeping. This seems to have been reinforced from the criticism towards women based on Westernization after the Korean War.

• Journal of Communication Design
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• v.65
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• pp.70-81
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• 2018

From 1949 to 1966, after the new China was established, in order to consolidate newborn regime and erect national image, "proletariat revolutionary education" had become the main way of literary and artistic creation in the new era. In this era, Chinese animation began to produce to form the characteristics of emphasizing the ideological expression and political education from 1949 to1966, but it also made people misunderstand that it was the results of comprehensive containment of Soviet literary thoughts and creative models. In fact, Regardless of the subject matter, narrative, and role, Chinese animations have inherited and developed the ideological characteristics of the "Mun-yi-jae-do" literary view, forming a creative style that is different from the Soviet "dogmatism." The characteristics of "revolutionary hero role", "mythological expression of revolutionary thought" and "unique storytelling narrative mode" in Chinese animation from 1949 to 1966 were the inheritance and development of the "hero role", "mythological story", and "art of storytelling" of the important expression means of traditional art creation after the establishment of the "Mun-yi-jae-do".

• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.37-40
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• 2009

미국 뉴포트의 주택들은 20세기를 전후로 하는 시기에 당시 최상류층의 휴양용 저택들로서, 미국의 절충주의 건축을 대표할 수 있는 특징을 갖고 있는 주택들이다. 본 연구에서는 미국에서 유럽의 건축적 전통과 영향을 절충주의적 철학에 따라 자신들의 형식으로 완성한 양식상의 전개를 살펴보고자 한다. 단순히 외국의 건축으로서 보다는 전통적 건축보다 외국의 영향에 의한 근대건축 문화를 이룩한, 우리나라의 건축 양식적 문제를 상호 비교하여 살펴보는 한 사례가 될 수 있을 것으로 본다.

• Proceedings of the Korean Society for Applied Microbiology Conference
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• 2000.10a
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• pp.79-89
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• 2000

장류 중 비교적 늦게 우리식생활에 도입된 고추장은 고추의 도입시기인 임진란 이후 장류의 기본인 메주와 어울려 채소류 중심의 우리 식생활에 도입되었을 것이며 지금은 우리의 모든 요리에 광범위하게 이용되고 있는 향신 조미료의 하나로 세계에 그 유례를 찾아볼 수 없다. 고추장은 크게 나눠 전통고추장과 개량식으로 구분하는 바 가장 큰 차이점은 전자는 자연 발효한 고추장 메주를 사용하는 반면 후자는 순수 황국균에 의한 koji를 이용하면서 최종 제품에 가열과정이 없는 것이다. 우리나라 고추장 수요량은 약16만 톤 정도며 매출액은 약 1,165억 원으로 추산되는데 그중 60％가 공장산으로 고추장의 제조가 급격히 주부의 손을 떠나고 있다. 전통고추장의 비중은 전체 고추장에서 미미하나 아직도 상당수의 소비자에게서 선호되고 있으며 중소형 혹은 가내 규모로 농민의 소득증대에 기여하고 있다. 전통고추장의 문제는 자연발효에 의한 품질균일화 미흡과 품질개선 노력이 부족한 점과 유통 중 변색 및 가스생성에 의한 팽창과 내용물 유출인바 이번 연구를 통하여 변색의 주원인은 빛(U.V.)과 열 임을 밝혔고 주로 효모에 의해서 발생되는 가스 및 내용물의 유출문제는 천연 항균성 물질을 함유한 양고추냉이와 겨자를 첨가하는 경우 성공적으로 방지할 수 있었으며 품질도 오히려 개선되는 결과를 얻었다.

• Journal of Korean Library and Information Science Society
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• v.47 no.4
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• pp.191-217
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• 2016

Traditional records information system has greatly improved accessibility to users by providing internet access to the digitized form of traditional records, access to which have previously been restricted for the purpose of preservation. This study investigated the accessibility and serviceability of Korean traditional records by examining current traditional record information systems in Korea. After compiling a list of traditional records information systems, which were grouped by operating agency, we analyzed them by coverage period, document type, and content format as well as examining search options and browse categories. We also categorized and examined the information systems by user type. The result showed that out of 105 traditional records information systems serving various content types and services, only a fraction(16.1%) provide a comprehensive information that includes bibliographic information, annotated description, content image, content text, and translated text, and less than a half(49.5%) provide a detailed search, all of which point to a less than optimal conditions for access to traditional records and suggest a strong need for improved traditional records information systems in Korea.

• Journal of Bio-Environment Control
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• v.3 no.2
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• pp.160-176
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• 1994

우리나라 시설원예의 역사가 비교적 짧은 데 비하여 서양의 시설원예는 우리보다 오랜 전통을 가지고 있다. 서양에서 시설원예의 시작은 개인의 취미생활이나 미적 탐구 등에서 출발하였기 때문에 초기에는 식물재배의 한 방편으로 출발했다고 보아야겠다. 그 후 식물에 대해서 보다 심도 있는 연구가 이루어지면서 시설을 이용한 재배가 서서히 시작되었다고 생각된다. 따라서 시설원예의 상업적인 접근은 유럽의 경우에 19세기 초.중반부터 이루어졌는데 이 시기가 근세로 이어지면서 인구의 팽창과 산업의 발전이 급속히 이루어졌던 시기이기 때문이다.(중략)

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.187-195
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• 2021

Nam Nong Heo Geon(1908-1987) re-recognized and re-created the tradition of Korean Namjong painting by excluding Japanese art forms after liberation. He is a great painter in the Korean art world, who has succeeded and developed Korean Namjong Painting in a modern way, pioneering a new field of 'NewNamhwa' with a composition that fuses modern Western style and real scenery. Based on optimism, Namnong's painting world can be divided into three periods: the 'Namnong Sanin' period in the 1930s, the 'Namnongoesa' period from the mid-1940s to the early 1950s, and the 'the owner of Unlimsanbang' period after that. The Namnong Sanin period is a period in which the painting style handed down from the traditional namhwau family of Sochi and Misan is fully acquired, and the Japanese painting style for the exhibition in Seonjeon is reflected, and the local real scenery is treated a lot, and the two styles are mixed. In the Namnong-oesa period, after liberation, a new formativeness was explored in the traditional Namhwa style. In particular, based on the scenery and sentiments of the southern provinces, he focused on local and landscape paintings, depicting real landscapes with lyricism and local love, while expressing subjects with fast brush strokes, a worndown writing brush, and dry brushes, along with freehand adjustment of shading. The period of the owner of unlimsanbang is in accordance with the flow of modern art to some extent, but is gradually omitted as a composition full of academic fragrance that draws a meaning befitting traditional painting. I painted a lot of lyrical landscapes and pine trees of sumugdamchae. Namnong named it 'NewNamhwa'. Namnong established 'Namhwa Research Institute' and worked hard to nurture his disciples, where Im-in's son Heomun and Namnong's eldest grandson Heojin practiced, continuing the legacy of the 5th generation Unlimsanbang painter.