• Journal of Science of Art and Design
• /
• v.9
• /
• pp.89-115
• /
• 2006

한국근대미술은 유화 도입기인 1910년대를 한국미술사의 중요한 시작점이다. 1910년경부터 형성되기 시작한 유화 도입배경과 그것이 당시 사회의 절실한 요청에 의한 것이었는지, 그렇다면 그것이 무엇인지 규명하는 것이 한국근대미술 초기를 알 수 있는 중요한 문제일 것이다. 일본근대 유화의 역사는 국수주의와 서구주의 물결이 반복하는 과정에서 점차 일본화된 소재의 등장과 일본정서에 부합하는 화풍을 만들어 나가게 되는 것이 1890년대부터 1910때까지의 일본근대 유화계의 상황이라고 할 수 있다. 이 시기를 다시 요약하면 외광파와 인상파가 절충된 양식에 일본의 메이지낭만주의에 부합하는 소재 즉 일본전통이라고 할 수 있는 풍경에 대한 애착 등이 전체 유화의 기류로 나타나는 시기라고 할 수 있다. 실제 새로운 문화의 하나였던 유화는 점차 세계의 다양한 미술사조 속에서 일본화다운 것으로 발전하는 모습을 보여준다. '구로다 세이키'(黑田淸輝) 이전에 이미 형성되었던 일본근대 유화양식과 구로다의 외광파 양식, 또 외광파가 일본 근대유화의 주류로 형성하게 되는 계기, 여기에 프랑스에서 직접 배워 온 작가들에 의한 인상파 도입 그리고 일본 '메이지낭만주의'(明治浪漫主義)의 등장으로 인한 사회 환경구조의 변화 속에서 양성된 그들의 절충양식의 초기유학생들에게 큰 영향을 미쳤다. 우리근대미술은 '민족적 자부심'과 '민족적 열등감'이 동시에 존재하는 사회적 배경논리에서 출발하지 않으면 안 된다. 즉 근대미술의 사상적 배경에는 민족 개량주의적 발상과 계몽주의적 문화 활동에 있었다고 할지라도 근본적으로는 미술자체를 근대사회 발전의 연장선 속에서 파악하지 못했고, 따라서 미술자체를 새로운 문명수입이라는 근대적 풍물 정도로만 파악했던 것이 어쩔 수 없는 근대미술의 한계라고 할 수 있다. 이 시기에 미술을 주목한 이유는 근대적 사회로 발전하기 위한 하나의 필수적인 요소로 미술자체를 파악하고 나아가, 식산흥업(殖産興業)의 수단으로 인식 했던 신지식층에 의해 시작되었다고 할 수 있다. 문명의 발달이 미술의 발달에서 연원한다는 '미술문명론' 같은 시각이 미술자체가 성격이나 창작의 방향과는 무관하게 어떤 미술이든 그것을 활성화시키는 것이 근대 즉 문명화된 세계로 나아갈 수 있다고 하는 관점에서 비롯된 것이라고 할 수 있다. 한국근대미술에 있어서 아카데미즘 역시 일본근대미술과 불가분의 관계가 있음을 부인할 수 없다. 초기유학생들은 그 당시 일본의 잡지나 화단에서 일어나는 여러 가지 시안들을 피상적으로 이해하는 정도였을 것으로 파악할 수 있다. 이러한 맥락에서 보면 한국근대미술에 있어서 초기유학생들의 작품과 그 이후 선전에서 입선하는 작품들은 일본아카데미즘의 영향 밑에 있다고 해야 할 것이다. 일본 근대 유화에서 형성된 외광파의 요소와 인상파 요소들이 일본 낭만주의로 표면화된 하나의 일본근대 유화의 형식 그대로가 한국아카데미즘의 성격을 결정하고 있다고 할 수 있다. 게다가 1922년에 시작된 선전은 심사위원 대부분이 동경미술학교 교수이면서 구로다의 제자이거나 동료였다는 것은 이러한 사실을 더욱 확고하게 뒷받침하고 있는 것이다. 초기유학생들이 남긴 작품들은 완전한 인상파에 대한 지식이나 깊은 자아의식을 가지고 제작된 것은 아니라, 일본 동경미술학교에서 가르치고 있었던 것들을 그대로 수용했다고 할 수 있다. 따라서 이들의 그림은 구로다의 외광파라고 부르는 것들의 영향보다는, 인상파를 보고 배웠던 동경미술학교 교수들의 영향을 더 많이 받았다고 할 수 있다. 그리고 이들의 영향은 그대로 한국 근대미술의 아카데미즘을 형성하는데 커다란 영향을 미치고 있음을 부인할 수 없다.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.321-359
• /
• 2021

This paper examines the unique features of Korean farmer's music-or nongak-in Hawaii by exploring three nongak groups from different decades beginning in the 1970s. The first community-based nongak group began in the 1970s, with the establishment of the Wahiawa Korean Seniors Club. In the 1980s, there was another group supported by the Kalihi-Palama Immigrant Service Center. And in the 1990s, the Hawaii Korean Farmer's Music Assoiation, which is still active, was founded. I ullustrate the overall changes made by the three nongak groups as follows. First, they show a shift from social groups playing music to a music group doing social activities. Second, from a group of people negotiating their music, through a group led by musical leadership, to a group with a leader who created his own musical leadership. Third, from a music group began out of a pseudo-shaman ritual, through a group purely playing music, to a group adding samulnori and further creating a new rhythmic pattern. These changes occurred because, while the members are all first-generation immigrants, their experience of nongak in the motherland was different because of their age differences. In addition, they emerged because the level of awareness and acceptance of samulnori-which has gained huge popularity in Korea-were different.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.637-667
• /
• 2019

I have researched in the field the religious and performance culture of Indonesia through the musical iconography of Borobudur. There are many kinds of musical instruments which belong to India or Indonesia, performers being either court or folk musicians. Contemporary south-east Asian Indonesia has a broad religious heritage. Most of the population is Muslim, but the culture and customs are rooted in Indian Ramayana. I discovered, for example, the same percussion instruments played on a person's knees. I also came across similar string instruments with long and elliptical resonance casks on the iconography of the Incense Burner and Byam temple stone pagoda of Beakje dynasty in Korea and in Borobudur in Indonesia. The two musical instruments can not be found in other countries, such as Silla, Koguryŏ, China or the silk road area, but only Indonesia or India. This suggests that Beakje Buddhism is from the southern regions rather than China. I also discovered the same dancing motion with the court performers on the iconography of Borobudur, and the same musical instrument and performance in the Gamelan in today's Indonesian performance. Despite a disjuncture between the people and their past, the Shailendra Buddhism is alive in people's life and culture in the present day. So we can discover some familiarities between Indonesia's Gamelan and the percussional performance in Korean Buddhist rituals.

• Journal of the Korean Society of Food Culture
• /
• v.6 no.3
• /
• pp.281-291
• /
• 1991

Kasugadaisha was built in the 9th century at Nara, Japan and it was the powerful Fujiwara's Shrine at that time. And also Wakamiyasai which has transmitted from generation to generation about for 1200 years at Kasugadaisha is typical sacrificial service of Nara Ages and it was built up with the historical background from Korean peninsula, especially Bekje. So it could be presumed to be important data to survey the sacrificial service in order to study on the ancient dietary culture of Korean and Japanese. 1) They used a live flower or paper flower in every sacrificial services. But in Korea, it has been used not only in the sacrificial services but also in happy events. And also it has been changed to use silk or developed rice cake instead of paper. 2) Steamed rice cake in Siru has been taken after boiled rice and unpolished rice. 3) Fried rice cake like doughnut was beginning of fried cake like Yak-kwa. 4) Four colors of red, yellow, green and white are symbolic at the high offering. There are a lot of cake, candy and some kind of biskuit four colors used in every events even now in Korea.

• Journal of Korean Society of Archives and Records Management
• /
• v.7 no.1
• /
• pp.83-109
• /
• 2007

This paper focuses on the Bijombon Haerampeon written by Lee Eonjin The analysis of the paper is associated with the following: i) the career of Lee Eonjin ; ii) the manuscripts and collected works of Lee Eonjin ; iii) Haerampeon ; iv) Lee Yeonghyu and Nam Ok ; v) and the comparison of the Bijombon Haerampeon and Haerampeon carried in Songmokkwanjip and Songmokkwansinyeogo. Lee Eonjin(1740-1766) was a great poet and better known as one of the four great interpreters in Chosun dynasty. Woosangingbok was the only manuscripts handed down up to now among the works of Lee Eonjin. Woosangingbok ran the Bijombon Haerampeon, 6 pieces of itinery, 3 pieces of poem, 5 pieces of letter. Lee Eonjin visited Japan from the 6th of October, 1763 to the 20th of June in 1764 as a member of Tongsinsa in attendance upon Cho Om. He wrote Haerampeon vividly with five characters what he observed during his stay in Japan. It was composed on board of Ilkido from the 28th of May to the 8th of June in 1746. After Lee Yeonghyu and Nam Ok reviewed Haerampeon, Lee Yeonghyu placed a blue point and circle and Nam Ok placed a red point and circle. Ultimately the result raised the value of Haerampeon. Haerampeon is to be divide into four parts. Four parts are described below: the first part, the geographic features and products of Japan; the second part, the grow of Osaka city and the cityward tendency of world products; the third part, the racial prejudice, religion, and life; and the fourth part, the good neighborly relations with Japan. Finally, as compared with the proofing and difference of three kinds of text, namely, the Bijombon Haerampeon and Haerampeon carried in Songmokkwanjip and Songmokkwansinyeogo, it is approved that the Bijombon Haerampeon is the most correct text and has the value of cultural properties as a national treasure. The Result of this research will be contributed for research Lee Eonjin and utilized as information resources in the field of bibliographic science, Korean language and literature, and historical studies, etc.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.5-46
• /
• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.17 no.2
• /
• pp.23-42
• /
• 2006

This is a study of the digital archives of Culturecontent.com where 'Cultural Archetype Contents' are currently in service. One of the major purposes of our study is to point out problems in the current system and eventually propose improvements to the digital archives. The government launched a four-year project for developing the cultural archetype content sources and establishing its related business with the hope of enhancing the nation's competitiveness. More specifically, the project focuses on the production of source materials of cultural archetype contents in the subjects of Korea's history. tradition, everyday life. arts and general geographical books. In addition, through this project, the government also intends to establish a proper distribution system of digitalized culture contents and to control copyright issues. This paper analyzes the digital archives system that stores the culture content data that have been produced from 2002 to 2005 and evaluates the current system's weaknesses and strengths. The summary of our findings is as follows. First. the digital archives system does not contain a semantic search engine and therefore its full function is 1agged. Second, similar data is not classified into the same categories but into the different ones, thereby confusing and inconveniencing users. Users who want to find source materials could be disappointed by the current distributive system. Our paper suggests a better system of digital archives with text mining technology which consists of five significant intelligent process-keyword searches, summarization, clustering, classification and topic tracking. Our paper endeavors to develop the best technical environment for preserving and using culture contents data. With the new digitalized upgraded settings, users of culture contents data will discover a world of new knowledge. The technology we introduce in this paper will lead to the highest achievable digital intelligence through a new framework.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.1
• /
• pp.90-102
• /
• 2012

Sansuyucheop by Heojoobugun(虛舟府君) as the subject of this study is a 십이-width picture album by the eldest grandson of 11 generations for Goseong Lee family, Lee Jong Ak(李宗岳: 1726-1773), a figure having five habits(五癖) for ancient documents(古書癖), playing the gayageum(彈琴癖), flowering plant(花卉癖), paintings and calligraphic works(書畵癖) and boating(舟遊癖) etc., who boated with 18 relatives, and those by marriage from old home, home of mother's side, wife's home, and his home for 5 days Apr. 4 through 8, 1763, starting from Imcheonggak, through Yangjeong(羊汀), Chiltan(七灘), Sabin Auditorium(泗濱書院), Seonchang(船倉), Nakyeon(落淵), Seonchal(仙刹), Seonyujeong(仙遊亭), Mongseongak(夢仙閣), Baekwoonjeong(白雲亭) and Naeap Village(川前里), Iho(伊湖), Seoeodae(鮮魚帶) to the returning point, Bangujeong(伴鷗亭), cruised magnificent views around Banbyeoncheon called 'Andong 8 Gyeong' or 'Imhagugok', and whenever the boat anchored, appreciated the scenery at each point, and enjoyed and loved arts playing the geomungo. This study reached following findings through grasping physical, ecological, visual and aesthetic changes about the places, sceneries, plant elements and past and current scenery of the width pictures expressed at this Sansuyucheop. The refinement on the boat seeing the clear river water, white sand beach, fantastically-shaped cliffs expressed at this Sansuyucheop, exchanging poems and calligraphies, and enjoying the geomungo is a good example displaying the play culture of high-class in Joseon Dynasty. Also construction of Imha Dam and Andong Dam has caused serious visual and ecological changes, making us not enable to feel the original mood of the background spots such as Yangjeonggwabeom(羊汀過帆), Chiltanhuseon(七灘候船), Sasubeomjoo(泗水泛舟), Seonchanggyeram(船倉繫纜), Nakyeonmosaek(落淵莫色), Mangcheonguido(輞川歸棹), Ihojeongdo(伊湖停棹), but only discern then landscape or sentiment through the landscape described at the canvas. The 1st picture(Donghohaeram, 東湖解纜), and the 11th picture(Seoeobanjo, 鮮魚返照) of Heojoobugun's Sansuyucheop expressed trees thought to be fallen, brad-leaf tall trees, and the 9th picture(Unjeongpungbeom, 雲亭風帆) formed a pine forest called 'Gaeho(開湖)' by Uncheongong planting 1,000 pine trees with the village people in 1617. In addition, Seunggyeongdo expressed ever-green needle leaf trees at the natural topography, and fallen-leaf tall trees around the pavilion and building. Comparative consideration of Heojoobugun's Sansuyucheop and Shinam's Dongyusipsogi(東遊十小記) showed that the location of Samgok is assumed to be Macheon and Chiltan, so Imhagugok is assumed to start from Baekunjeong of Ilgok, Igok from Imcheon and Imcheon auditorium, Samgok from Mangcheon and Chiltan, Sagok from Sabin Auditorium of Sasoo, Ogok from Songseok, Yukgok from Sooseok of Seonchang, Chilgok from Nakyeonhyeonryu, Palgok from Seonchalsa and Seonyoojeong, and Gugok from Pyong Yuheo. This study can be significant in that it could clarify that Heojoobugun's Sansuyucheop is judged to be valuable in exquisitively expressing the coast of Banbyeon River, the biggest branch stream in the Nakdong River at the latter half of Joseon Dynasty, and as a vital diagrammatical historical data to make a comparative analysis of currently rarely-seen ancestors' life traces and landscape factors with present ones.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.513-557
• /
• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.