• Journal of Korean Home Economics Education Association
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• v.32 no.1
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• pp.51-76
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• 2020

The purpose of this research was to develop the education program on traditional living culture for home economics(HE) based on the 2015 revised national curriculum. The existing school curriculum for traditional living culture tends to overly focus on the theories about traditional culture and suffer from absence of continuity in learning activities. It can be argued that HE is an ideal subject for dealing with traditional living culture as it aims to develop students' ability to recreate the traditional culture, meeting present needs and trends. This study, thus, attempted to present the practical ways of improving the quality of education on traditional living culture by developing HE education program for high school students. To fulfill the purpose, this research, as a teaching topic, selected the traditional patterns and the "Obangsaek"(Korean traditional five colors) which can commonly be dealt with in the subjects of traditional Korean food, Korean costume and Korean style house. In particular, the program was developed following the ADDE process. In the stage of analysis, this article analyzed the HE curriculum and making activities included in HE textbooks based on the 2015 revised national curriculum, as well as the needs of teachers and students regarding traditional living culture education. In the stage of design, this study developed the instructional model, selecting class topics, tools and materials. In the stage of development, the programs on traditional living culture including costume, food and house were developed. In the evaluation phase, this research conducted the validity test and received the feedbacks from 12 HE educators in order to complete the programs. This study finally suggested that future studies in this area examine the effect of the presented programs on enhancing the students' perception of traditional culture and the will of developing and succeeding the traditional living culture.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.