• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.128-145
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• 2014

After independence, more introductory books on Korean culture were published in both Korea and Japan, along with various papers briefly presenting relevant materials. There are differences depending on the research field, however, a considerable number of articles about Buddhist paintings were published. Research on Korean sculpture was quite active among Japanese scholars. And numerous articles and publications on Korean painting were also presented in both Korea and Japan. Publications on Korean ceramics were increased as much as in other fields. From the late 1980's through late 1990's, research on Korean cultural properties continued to increase, as many young scholars began to conduct research very actively in Korea, producing many articles to introduce new materials. A small number of Japanese scholars also continued to research Korean cultural properties. The overall number of Korean researchers also increased, as existing scholars were joined by students who went to Japan to study and conduct research, thereby helping to significantly expand the area and topics of research. In this period, the exchange exhibitions between Korea and Japan were increased. Also the substantial research reports was began to be published by the national institution. From the early 2000 thrugh present, in all fields, research has progressed and improved since the late 1990's, with many individuals pursuing a microscopic approach to their artifacts and works. More graduate students have been focusing on Korean cultural properties in Japan as the subject of their master's or doctorial thesis in art history, and overall number of researchers in various areas has increased. In the field of Buddhist painting, painting, and Buddhist crafts some important books and articles have been published. However, research achievements have been somewhat uneven. In the area of ceramics, several significant examples of substantial research reports were published by the National Research Institute of Cultural Heritage. These publications are outstanding references that illustrate the future direction of research on Korean cultural properties in Japan.

• (The) Research of the performance art and culture
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• no.22
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• pp.253-285
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• 2011

The number of "Performing Arts Festivals" is growing increasingly in South Korea. This trend is mainly held in large cities which are difficult to communicate closely among residents. South Korea, while the pace of city life and speed of development are very fast, increasing number of "Performing Arts Festivals" with communal characteristics is in the natural process of festival evolution in large cities. In the evolution of the contemporary festival, it is natural to see some increase of modern festival after the development of traditional and folk festivals. It is important that the "Performing Arts Festivals" express the two elements, artistic character and festivity, not only in distinctively but also in harmony. The "Performing Arts Festivals" should consider the process of the organization, human resources, networking systems of the human communication process, resource use, etc. For the success of the festival, we must obtain the complementary effects between two attributes:festival characteristics and artistic senses. Therefore, we chose the 'Festival d'Avignon' as the reference of the total representation of artistic characteristics and festivity. From the case of the Festival d'Avignon, we get the implications of the development of performing arts festival in South Korea. To explain the festival value and artistic significance of the Festival d'Avignon, we explained the spontaneity and openness to public participation, the relationship between spectators and works, the representation of memory and communicative image, etc. To explain the artistic attributes of the 'Festival d'Avignon', we explained the mission to reconcile the artistic and the popular, to promote the artistic know-how, understanding how to communicate with the public, to consider more artistic quality than commercial benefits. Essentially, this study shows the meaning and the vision to forecast the future as well as the recent proliferation in various fields of Performing Arts Festivals. This study may help to improve analytical precision of Performing Arts Festivals.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Cartoon and Animation Studies
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• s.33
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• pp.247-270
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• 2013

Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.123-138
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• 2020

This study found Flower Jewelry works in the monthly magazine specializing in flower decoration for nine years from 2011 to 2019. Based on the analysis of the type of expression, method of expression, type and number of plant materials used, and the type and number of non-plant materials used for the flower jewelry found, it was conducted to find out the trend of flower jewelry in Korea. By expression type, a total of 96 works were analyzed as 20.83% for headdresses, 57.29% for necklaces, 5.21% for earrings, 6.25% for lists, and 10.42% for other works(χ²=94.833, p<.001). According to the analysis of the frequency of use of expression techniques, headdresses, necklaces, and lists for each work were produced using five to six different expression techniques and earrings were produced using two to four expression techniques. Material coupling techniques 34.43%, flower and leaf utilization 30.17%, visual techniques 16.63%, collectivization techniques 14.12%, technical highlighting techniques 4.26%, and other 0.39% (χ²=455.222, p<.001). The most frequently used techniques were framing techniques 16.63% and knotting techniques 16.44%. Plant materials used in flower jewelry were found to be 22.61% for Phalaenopsis spp., 13.48% for Gomphrena globosa, 9.57% for Gloriosa rothschildiana, 7.39% for Epidendrum cinnabarinum, 6.96% for Chamelaucium uncinatum and 4.78% for Craspedia globosa (χ²=718.104, p<.001). In the case of branch, the most common was used with 70.00% of the Cornus walteri, and 10.00% of Actinidia arguta, Celastrus orbiculatus, and Salix pseudolasiogyne were used respectively (χ²=10.800, p=.013). In the case of foliage, 24.65% Aspidistra elatior, 24.62% Asparagus asparagoides, 11.54% Senecio rowleyanus, and 6.15% Ceropegia woodii (χ²=269.385, p<.001). In the case of berries, 44.44% of the fruits of the Smilax china, 33.33% of the Hypericum patulum, and 11.11% of the Phytolacca americana were found (χ²=11.444, p =.022). Non-planting materials used in the manufacture of flower jewelry were found to be 47.34% of 2mm aluminium wire, 33.73% of copper wire and 10.06% of 1mm aluminum wire (χ²=186.704, p<.001). The figure was 53.57% for pearls, 12.50% for ribbons, and 4.14% for spangles and feathers.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.467-479
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• 2014

Topophilia refers to emotional bonding such as attachment to or nostalgia for one's home town, which is remembered or imagined as a beautiful and happy paradise experienced in youth. The time spent in one's home town may have been short, but the associated memories of it are strong and enduring. These can later act as a strong motivator to learn if the correlated emotions are positive. According to archival research conducted on Jooyoung Chung's life, his home town and the things found therein, such as cows, were the principal objects of his topophilia, and later became the driving forces behind his success story. The same applies to Dvorak. Dvorak sublimated his nostalgia for his home town by composing a piece of music on hearing the sound of a train. We can discover diverse rhythms in nature such as sunrises and sunsets, the changing seasons, and even our heart beat. If a melody is added to the rhythm, it transforms into art. And if we seek harmony and principles, it becomes science. In this study, Jeonbuk's nature, places, food, and arts, as represented in its educational resources, are analysed for their ability to give rise to topophilia. To gain some experience of this feeling we recommend that you visit the Jeonju Hanok Village, the value of Gochujang, reverse icespike on Mai Mountain or enjoy the works of the painter Book Choi.

• Journal of The Korean Association For Science Education
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• v.34 no.2
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• pp.175-186
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• 2014

This study investigated the influences of pair activity on characteristics of science imaginary pictures drawn by elementary school students and their perceptions of science imaginary drawing. To do this, fourth graders (N=123) from one of the elementary schools were selected and assigned to individual science imaginary drawing (n=61) and paired science imaginary drawing (n=62) groups. The students of each group were administered the questionnaires. The analyses of the results indicated that pair science imaginary drawing was useful in some cognitive aspects (e.g., the understanding of science imaginary drawing, the diversification of topics and times, the generation of scientific ideas, and the elaboration of the pictures) and motivational aspects (e.g., the inducement of interest and intimacy about science, interest about science imaginary drawing, and sociability with friends). However, there were some limitations in positively changing the perceptions of some cognitive aspects (e.g., the acquirement of new scientific knowledge, the remembrance of scientific knowledge, the improvement of the ability to construct scientific logics, and the improvement of scientific imagination) and aesthetic aspects (e.g., the improvement of the abilities to express themes in drawing, paint the picture, and complete the works of art). In addition, the difficulties in imagining, selecting the subject, and expressing could not be overcome; a few disadvantages in the lack of discussion skills were also pointed out.

• Journal of the Institute of Electronics and Information Engineers
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• v.53 no.11
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• pp.73-81
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• 2016

In general, infrared images have less sharpness and image details than visible images. So, the prior image upscaling methods are not effective in the infrared images. In order to solve this problem, this paper proposes an algorithm which initially up-scales an input infrared (IR) image by using adaptive dynamic range encoding (ADRC)-based super-resolution (SR) method, and then fuses the result with the corresponding visible images. The proposed algorithm consists of a up-scaling phase and a fusion phase. First, an input IR image is up-scaled by the proposed ADRC-based SR algorithm. In the dictionary learning stage of this up-scaling phase, so-called 'pre-emphasis' processing is applied to training-purpose high-resolution images, hence better sharpness is achieved. In the following fusion phase, high-frequency information is extracted from the visible image corresponding to the IR image, and it is adaptively weighted according to the complexity of the IR image. Finally, a up-scaled IR image is obtained by adding the processed high-frequency information to the up-scaled IR image. The experimental results show than the proposed algorithm provides better results than the state-of-the-art SR, i.e., anchored neighborhood regression (A+) algorithm. For example, in terms of just noticeable blur (JNB), the proposed algorithm shows higher value by 0.2184 than the A+. Also, the proposed algorithm outperforms the previous works even in terms of subjective visual quality.