• 공원문화
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• s.72
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• pp.62-71
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• 1998

인간은 그동안 자연의 위협을 많이 정복했기 때문에 자연환경에 예민할 필요가 없어져 전통적인 지혜에 무관심하게 되었다. 그러나 풍수지리는 우리 선대들이 남긴 생활의 고급지혜다. 우리 조상들은 풍수지리설을 삶의 지혜로서 지금의 과학만큼 믿고 신봉해왔다. 우리의 전통문화, 특히 민중의 생활양식은 풍수사상과 얽히지 않은 것이 없을 정도다. 근래에 이르러 한때 토속신앙도 무너지고 풍수설은 미신으로 격하되기도 했으나 최근 들어서는 건축, 역사, 환경, 민속학, 조경 등 다양한 분야에서 풍수지리설이 활발히 연구되고 있는게 사실이다. 풍수지리의 어제 오늘 내일을 이야기 식으로 재미있게 풀이한 저서 "땅을 알고 터를 잡자"(김호년 저)를 몇차례로 나누어 싣는다.

• 공원문화
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• s.73
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• pp.66-74
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• 1998

인간은 그동안 자연의 위협을 많이 정복했기 때문에 자연환경에 예민할 필요가 없어져 전통적인 지혜에 무관심하게 되었다. 그러나 풍수지리는 우리 선대들이 남긴 생활의 고급지혜다. 우리 조상들은 풍수지리설을 삶의 지혜로서 지금의 과학만큼 믿고 신봉해왔다. 우리의 전통문화, 특히 민중의 생활양식은 풍수사상과 얽히지 않은 것이 없을 정도다. 근래에 이르러 한때 토속신앙도 무너지고 풍수설은 미신으로 격하되기도 했으나 최근 들어서는 건축, 역사, 환경, 민속학, 조경 등 다양한 분야에서 풍수지리설이 활발히 연구되고 있는게 사실이다. 풍수지리의 어제 오늘 내일을 이야기 식으로 재미있게 풀이한 저서 "땅을 알고 터를 잡자"(김호년 저)를 몇차례로 나누어 싣는다.

• 한국신재생에너지학회:학술대회논문집
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• 2011.05a
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• pp.208.1-208.1
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• 2011

우리나라 전국의 사찰수는 약 22,000개로 추정되며, e-나라지표에 의하면 사찰 역사가 오래되거나 전통 양식의 건축물과 문화재 등을 간직한 사찰로 문화체육관광부가 지정하는 전통사찰은 2010년 3월말 현재 전체의 4.2%인 935개로 알려져 있다. 대도시에 위치한 사찰을 제외하면 일반적으로 사찰은 계곡에 위치하여 인근에 하천이 있으며, 유역이 작아 유량은 적으나 경사가 심해 낙차를 크게 얻을 수 있다. 또한 설계제원이 비슷한 전통사찰들을 그룹핑하고 소수력발전시스템을 Kit형태로 표준화하여 개발한다면 초기투자비를 저감할 수 있는 장점도 있다. 따라서 본 연구에서는 전통사찰에 소수력발전의 적용가능성을 타진하기 위하여 유역면적이 $49.71km^2$인 사찰 1지점을 선정하여 인근의 하천을 이용한 소수력발전 성능특성을 분석하였다. 분석결과 단위 유효낙차당 설비용량은 약 9.3kW, 연간전기생산량은 약 28,602kWh로 산정되었으며, 낙차가 커질수록 설비규모와 연간전기생산량은 비례하여 증가될 것으로 추정된다. 부존자원이 부족하여 에너지해외의존도가 97%가 넘는 현실을 감안할때 전통사찰에 대한 타당성 조사를 통해 소수력발전을 적용함으로서 사찰에서 사용되는 전기에너지의 절약과 친환경 재생에너지의 활용을 확대해 나가는 것이 바람직 할 것으로 사료된다.

• (The) Research of the performance art and culture
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• no.32
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• pp.7-30
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• 2016

The inter­relationship of Korea southeast region community related to a mask dramas in depth. The Folk mask dramas are, for traditional community members to live well and enjoy cultural practices in society. Even if a mask drama would be performed in the 21st century, it would be the one of traditional society. It shows the life of traditional society and proposes the issue of traditional society. The thing is handed down well with technology of a mask drama assigned as intangible cultural asset. The Korea southeast region, Kyongsang Provinces, or Yeongnam area has been handed down several kind of mask dramas. These are Byeolsingut Talnori with religious, the Ogwangdae of wandering play team, the Ogwangdae of local residents, and the Dulnorum of local residents. The mask dramas of Korea southeast region are specified as intangible cultural asset, many traditional mask play were restored. The restoring is imitation. These things are difficult to assigned as the intangible cultural asset. But though it is the imitation of the mask dramas, it is culture phenomenon. So we need to make the fostering system.

• 한국문화재보존과학회:학술대회논문집
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• 2007.05a
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• pp.108-110
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• 2007

• KLA journal
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• v.17 no.4
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• pp.2-2
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• 1976

본고는 오는 5월 31일부터 6월 5일까지 개최될 국제도서관협회연맹대회 전체회의Ⅱ(출판과 출판물-등서 출판전통의 비교)에서 발표될 논문의 요약을 미리 게재하는 것임을 밝혀 준다.

• The Journal of the Korea Contents Association
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• v.21 no.2
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• pp.59-67
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• 2021

This study was conducted to foster domestic tea (茶) culture as a single cultural content containing domestic culture, to increase domestic cultural competitiveness, and to suggest new cultural sanctions in the content era. Given the growth of the contents industry and the flow of domestic culture, cultural contents represented by the "Hallyu" of today do not exist at present, so it seems the time to move to keep pace with the times through the development of more Korean contents. Accordingly, this researcher has shed light on Korean tea (茶) culture, and reviewed the case of China, which is known as the origin of tea (茶) culture, and suggested a strategy for content creation of domestic tea (茶) culture. For this, the most prerequisite is to identify the identity and value of the domestic tea (茶) culture, and then expand education on tea (茶) culture and diversify the profit structure to serve as Korean cultural contents (茶) It suggested that the rediscovery of culture should be made.

• (The) Research of the performance art and culture
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• no.41
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• pp.93-131
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• 2020

This article discussed the components of traditional art competitions held from 1930 to 1941. Of their various components, observations were made of hosts and sponsors, participants, and evaluations with a focus on the backgrounds and objectives of hosts and sponsors, participant aspects, and evaluation forms. Hosts and sponsors included newspaper companies, social organizations, music companies, stores, individuals, and eups. They hosted and sponsored traditional art competitions with their own respective reasons and justifications and there were multiple commercial and promotional objectives at the base. Participant aspects can be divided into gisaengs and male artists. While the participation of gisaengs was a natural phenomenon, aspects of the traditional art performance world of the 1930s and the quantitative increase of gisaengs had great effects and male artists participated because of the hidden purpose of the competitions, which was the discovery of traditional artists. Evaluation forms were divided into audience evaluations and expert evaluations. Audience evaluations began from 'pan' culture of the past and audience members involved themselves by casting votes and expert evaluations, in which master singers, master dancers, instrumentalists, and lyricists participated, came to the fore through expert courses of traditional art competitions.

• (The) Research of the performance art and culture
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• no.22
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• pp.157-183
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• 2011

This study is to find out the legitimacy and features of Honam Choreography via Lee Mae-bang and Han Jin-ok, two of the masters, and to seek better and more creative ways to pass it down in view of regional particularities. The study looks into the traditional choreography's multi-conceptuality that is derived from various forms of art and lends it its identity with the original notion rooted in Buddhist dancing. Despite the local cultural traits of the Honam area, the fact that Lee Mae-bang is more feminine and Han Jin-ok more masculine shows the two's worlds of dancing have been created from different perspectives, though they are quite common in their roots and locales. The particularities of passing down traditional choreography are given a thought in this study with the distinction and identity taken into account. Also, it will give an opportunity to discuss the importance of localism as aesthetic consciousness and communica tion channel. In any case, there is no doubt that local difference and communica tion make a very important source of culture when we look into the originality of the choreography.

• The Journal of the Korea Contents Association
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• v.6 no.1
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• pp.93-101
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• 2006

The purpose of this research is to verify what are the characteristic points of the tourism resources in the historical sites and what kind of factors can roll as the tourism resources in two old cities, Kyungju and Kyoto, Those two old cities are the oldest cities in the world and they have several world cultural heritages that registered by UNESCO. In Old historic cultural sites has its own tourism resources factors and characters such as Uniqueness, Authenticity, Historical character, Regional character, Art factor, Religious factor,