• 식품문화 한맛한얼
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• v.2 no.4
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• pp.41-47
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• 2009

• KLA journal
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• v.22 no.2
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• pp.23-36
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• 1981

• The Science & Technology
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• no.8 s.459
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• pp.47-53
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• 2007

• Korean Architects
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• no.1 s.261
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• pp.60-67
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• 1991

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.117-122
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• 2020

In this study, among the new industries that are attracting attention as a new industry to lead the 4th Industrial Revolution era, Korean traditional culture and arts are being promoted in the context of local community efforts and collaboration between industry and academia. It aims to create jobs through local traditional culture, arts, tourism events and design product development, while seeking ways to secure labor force that can save and revitalize high value-added industries in the community. In particular, in the current situation where the era of change and the education of traditional techniques are increasingly ignored and neglected, this study is a traditional cultural art through natural dyeing education and cultural and art events conducted by industry, regional universities, and research institutes in Pyeongtaek for many years. It is expected to be used as a basic data for the transmission and creation of high value-added jobs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.49-57
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• 2020

Traditional landscape is a cultural asset left by Seonhyeon to modern society, and it can not only understand the landscape culture of ancient tradition but also provides / provided a new creative material for modern landscape designs / designed. However, it is well known that Korea and China have a relationship between the development and exchange of landscaping in a global background, the succession of traditional landscape architecture culture in a global background covers many dimensions, including protection, development and innovation, and that "traditional and modern" and "regionally and internationality" should be harmonized with each other. This study uses traditional Korean and Chinese landscaping buildings as research subjects to extract and organize related data through various channels, including basic literature research that understands the history and culture of the two countries. I interpreted the cultural backgrounds of the two countries by dividing them into religious ideas, traditional culture, and natural views, and highlighted the history of development and the relationship between the two countries. Based on this, it analyzed the differences created by traditional landscaping between Korea and China, and also specifically analyzed the "creation of righteous army" and "the law of righteous army." In particular, this study sought to inherit and innovate traditional landscape culture for the internationalization of "One Belt, One Road" based on the characteristics of Korea and China's landscape through a comparative analysis of the construction elements and methods of Yihwawon of the Ming and Qing periods and Gyeongbokgung Palace of the Joseon Dynasty on the theoretical background of landscaping and the significance of landscaping. The direction for the development and exchange with landscaping between the two countries was presented in line with the development trend of Korea-China landscaping in the global environment. In the future, the development of landscaping between the two countries is expected to be key to international cooperation in traditional culture, creative combination of local characteristics, creation of a harmonious landscape architecture environment, and co-prosperity of various cultures.

• Archives of design research
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• v.11 no.2
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• pp.203-213
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• 1998

The forthcoming twenty-first century is at the mercy of information and culture. A quality of humanlife is under the control of a cultural level. A nation's creative culture and a cultural level represent all things about the nation; and a national image, as a whole result of culture, is enormously influential. This new era of culturalism gives us a significant responsibility for getting ready for the late industrial society by practically harmonizing rationality of modem culture with conception of traditional culture. Industrializing culture and culturalizing industry will be the most important strategy for existence in these days of borderless international competitiveness. Cultural products which is containing a nation's own culture can not only enhance the national image, but also become high value-added industry. While general products are developed for the purpose of convenient and practical use, cultural products are created with the intention of informing international society about a nation or a region. In order to confront with a global market system and a change of cultural environment, it is necessary to create a proper design with cultural inheritance for modem likes and senses, to produce the design on a commercial scale, and to strengthen its competitiveness on international markets. In order that a commodity is born, distributed throughout markets, and delivered to a final consumer, it is essential to understand complicated process such as development, distribution and marketing of products and to systematize each part. Although we should not neglect any part, a political and systemical plan or a distributional and marketing idea will be beside the point in this article. This article presents importance of traditional patterns as a Korean cultural image, and it shows the process of designing and developing products in order for traditional patterns to be utilized for products effectively. I expect that concrete activation and systematization for those works can be carried out successively.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.12-24
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• 2013

The cities of Joseon dynasty had weak structure against fire. Fires have resulted in damage on property and life. But they gave a chance to development various policies, planning tools, techniques and facilities for minimizing the damages of fire. This study aims to understand the progression of fire control policy in Joseon dynasty. Fire control policies can be divided into four categories ; fire prevention, prohibition of fire spreading, fire extinguishing and rescue system. The progression of fire control policies can be divided into three steps. In the first step, from Taejong to Moonjong, various policy, such as regal & administrative system, planning tools, fire control works & appliances have been built and executed. In the second step, from Danjong to Hyunjong, fire control work have taken the central place of fire control policy. In the third step, from Sookjong to Sunjong, development of fire control appliances have taken the central place of fire control policy.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.57-67
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• 2012

This study draws the following conclusions about the nature garden culture with crane that is a dynamic landscaping factor introduced into nature garden by analyzing the literatures on cranes written and landscapes painted in Chosun Dynasty. First, crane symbolizes such Buddhist, Taoist and Confucius media as appearance of Buddha, desire for Taoist hermit world and long life, and a solitary's life of proud loneliness. It has been recorded that crane was raised from the Three Nations Era till the Japanese occupation and Confucius scholars in Chosun Dynasty opened shows concerning crane or formed literature groups enjoying poems of it, and often using crane as their denial of going into government service. Second, in order to introduce crane to nature garden, people caught wild crane and made a fence and some kind of pond for their growth. In addition, crane was strictly managed by appointed slaves and they trained crane for dancing and then tended to allow a crane to play on the yard in terms of abstract meaning or got two cranes free in consideration of their ecology. Third, for more appreciation of crane and the expression of some symbolism matching for it, both plum and pine, which mean a solitary's life and long life respectively, were planted in nature garden. And, Confucius scholars in Chosun Dynasty also enjoyed their refined tastes with appreciation, napping, reading and playing the harp, accompanied by crane. As aforementioned, Confucius scholars in Chosun Dynasty did not only draw the meaning symbolized by cranes and write poems about such symbolic meaning, but also positively introduce crane into nature garden as a dynamic landscaping factor, so that they enjoyed synesthetic senses including looks, motions and sounds of cranes for their refined tastes.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.194-210
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• 2013

Oiled paper (Yuji, 油紙) is an oil impregnated paper which was one of the daily necessities in Korea. As there has not been any accurate research on this subject, this study examined the literature from the Joseon Dynasty to study its origin, nomenclature, usage and production process. Goryeodogyeong (高麗圖經) and Goryeosa (高麗史) allowed the estimation that the origin of oiled paper was the Goryeo Dynasty, but the records of oil and paper in Samguksagi (三國史記) and Nihon Shoki (日本書紀) indicate the possibility that the production of oiled paper can be traced back to the 7th Century. The nomenclature and the usage of oiled paper in the Joseon Dynasty were examined through the Annals of Joseon Dynast (朝鮮王朝實錄), Ilseongnok (日省錄) and Seungjeongwonilgi (承政院日記), while the Royal Protocols of the Joseon Dynasty (Uigwe, 儀軌) and Takjijunjeol (度支準折) together with other literature were examined for its market value, use and materials. The literature from the Joseon Dynasty indicate that oiled paper was used for various everyday commodities with its waterproof, damp-proof and transparent properties and called in various ways according to its use and production process. This study studied the literature on oiled paper from the Joseon Dynasty, but the studies on the restoration of traditional oiled paper are still needed. Therefore, it would be necessary to study the traditional oiled papers in combination with the study of oiled paper relics, the reproduction of traditional oiled paper samples, and the case study of the papermaking masters who have been producing the traditional oiled papers.