• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.263-269
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• 2023

Zhang Yu was a famous Taoist priest and poet in Yuan Dynasty, compared with the identity of Taoist and poet, his handwriting had greater influence in history. According to the relevant historical data, people at that time were mainly attracted by his Taoist identity and poetic talent. However, if we considered him as a poet,or a calligrapher to inspect,it would be often easier than facing a Taoist priest. Zhang Yu's poems and relationships can be used as some clues for our investigation of his calligraphy activities,not only would it not affect us to judge the value of his calligraphy, but also we will comprehensively and objectively analyze his calligraphy works. His early calligraphy closely followed Zhao Mengfu, in his later years, when he met Yang Weizhen, the style of writing changed greatly.During this period, what kind of changes and fundamental influence had on Zhang Yu's life and book learning thoughts experienced. Our contributions to this paper are as follows.To solve this issue,this passage will try to find clues from several representative figures and representative calligraphy works of Zhang Yu, and draw on the research results of relevant scholars to discuss the identity of Zhang Yu as a Taoist priest and the origin and style characteristics of his handwriting and probed into the status and influence of his calligraphy in history.

• 기호학연구
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• no.56
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• pp.45-70
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• 2018

Criticism of the postmodern philosophy of the system of representation, which has continued since the Renaissance, is based on a critique of the dichotomy that separates the subjects and objects and the environment from the human being. Interactivity, highlighted in a series of works emerging as postmodern trends in the 1960s, was transmitted to an interactive aspect of digital art in the late 1990s. The key feature of digital art is the possibility of infinite variations reflecting unpredictable changes based on public participation on the spot. In this process, the importance of computer programs is highlighted. Instead of using the existing program as it is, more and more artists are creating and programming their own algorithms or creating unique algorithms through collaborations with programmers. We live in an era of paradigm shift in which programming itself must be considered as a creative act. Simulation technology and VR technology draw attention as a technique to represent the meaning of reality. Simulation technology helps artists create experimental works. In fact, Baudrillard's concept of Simulation defines the other reality that has nothing to do with our reality, rather than a reality that is extremely representative of our reality. His book Simulacra and Simulation refers to the existence of a reality entirely different from the traditional concept of reality. His argument does not concern the problems of right and wrong. There is no metaphysical meaning. Applying the concept of simulation to algorithmic art, the artist models the complex attributes of reality in the digital system. And it aims to build and integrate internal laws that structure and activate the world (specific or individual), that is to say, simulate the world. If the images of the traditional order correspond to the reproduction of the real world, the synthesized images of algorithmic art and simulated space-time are the forms of art that facilitate the experience. The moment of seeing and listening to the work of Ian Cheng presented in this article is a moment of personal experience and the perception is made at that time. It is not a complete and closed process, but a continuous and changing process. It is this active and situational awareness that is required to the audience for the comprehension of post-representation's forms.

• Journal of Digital Convergence
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• v.11 no.1
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• pp.413-421
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• 2013

We, currently settled on the peninsula, have a long history and our ancestors lived over the vast land further to the central Asia and northern China. Normally, our ancestors traded with many countries, but they fought battles when they were on bad terms and many countries emerged and disappeared. In this history, a variety of cultures have been established and the traditional martial arts is a part of those cultures. Our martial arts has been almost severed because of the development of fire weapons in the late Chosun Dynasty, Japan's colonial rule, and 1950-53 Korean War. Fortunately, we can study the traditional martial arts from history books, the records on the martial art books and relics. Muyeadobotongji, the martial art book published in the late Chosun Dynasty, regrets the negligence of martial arts Giyae(arts) after Japanese Invasion of Korea in 1592 and the Manchu war of 1636 and accommodated the martial art skills from Chosun, China and Japan. It is useful for studying martial arts, because it contains detailed description and drawings, clothes and accessories, and the specification of the weapons. However, the problem is the level of Giyae of the martial arts organization and individuals based on Muyeadobotongji vary and some organizations are arguing about the numbers.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.91-98
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• 2023

Genre paintings, which describes the lives of ordinary people, has lifestyle and Pungnyu of our ancestors. Pungnyu is aesthetic consciousness and a way of lives. The culture of Pungnyu is a kind of art boundary that combines high spirits and art. The Pungnyu is an icon of Korean culture, realization of taste, and happens through "stroll", which means the walking peacefully, and "sightsee", which means go sightseeing. It shows through the rambling and the excursion. Hyewon's 'Jeonsincheob'('傳神帖', a kind of spirit transferred drawings book) is a genre painting which represents Pungnyu and shows various activities at that time. Therefore, we can understand our own spirit and soul through appreciating his paintings. Hyewon's 「Jeonsincheob」 has three special features. Firstly, it is the symbol of Korea traditional Pungnyu. Secondly, it contributes to development of the East art. Lastly, Hyewon's 「Jeonsincheob」 can be considered in terms of glocalism, which means the combination of globalization and localization and can be explained by the relation of the center=the periphery, the globalization=the Korean wave, the universality=the particularity. Hyewon's 'Jeonsincheob' has aesthetic boundaries. One aims at individual pleasure. Another aims at harmony with its natural environment in which you are. Also, it can be considered as the boundaries of enjoying together which aims at harmony with social environment among group members.

• Archives of design research
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• v.15 no.4
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• pp.67-76
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• 2002

This study is mainly based on the introduction process of formative art education method of Korean Bauhaus which was brought in this CQuntry through Japan. The introduction routes into Korea of Bauhaus education method by way of the United States through Germany have been disclosed since 1945, including Korean students studying in the United States as well as Scandinavian countries. Those introduction of Bauhaus method by Korean students into Korea had influenced the domestic university education. However, it was worth notice that Park Hui-rak pointed out through his writing that Bauhaus education method had already existed in the CQuntry before 1945 when korea was liberated from 35 years of Japanese colonial rule. Park hinted in his book of "Korean Design History,199B" that the curriculum of primary school, then affiliated with Taegu Education College had been possibly influenced from Composition Education" idealogy led by Japanese Kawakita Rensichiro. In Japan, Bauhaus education method had been independently introduced by civilians like primary school teachers of Kawakita. However, the possible introduction of the informative art education in the country by way of Japan leaves a lot of things to be considered. Because, the introduction was carried out by Choson governor-General which took charge of colonial rule of korea. Accordingly, the purpose of this study is to make full explanation on the introduction of formative art education and on the types. For that purpose, examinations on various materials and information released by many educational institutes as well as by choson Governor-General were included. As the result, it was possible to find out a trace of "Composition Education : Japanese Bauhaus Formative Art Education" in 1937, one year earlier pointed out. And it was remarkable that two interested books were found out, which mainly dealt with Spanung of Composition and Dynamic sense. Finally, through examinations in many aspects, five drawing education books written in 1930s, such as Drawing Guide Details and indication, were proved to be equal to Bauhaus Composition Education in terms of terminology and contents. Moreover, it has been made clear that Composition education Choson was made mostly under the control and management of Choson Governor-General in the of books on education systems in then education college.

• The Journal of Korean Philosophical History
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• no.25
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• pp.381-410
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• 2009

It is a very important book about painting theory, that "Xuanhehuapu"(宣和畵譜) was wrote by Emperor Huizhong(徽宗) in Song Dynasty. Fundamental discussions and studies in the relation of socio-economical base in Song Dynasty are still more needed. And accordingly, it is necessary to advent upgraded aesthetical articles. Li xue(理?) deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism(道家) and Zen Buddhism(?宗) also did. But some people who have not found "Xuanhehuapu" important meaning and rich and complicated aesthetic thought, gave low and even negative valuation to it. There is rich aesthetic in "Xuanhehuapu", which is not as simple and narrow as some people imagined. It was deeply influenced by the aesthetic thought of Confucianism(Lixue 理學), Taoism(Zhuangzi 莊子) and "Zhouyi"({周易}). I will be analytical in a few aspects "Xuanhehuapu" of aesthetics thought. 1. The calligraphy and painting is one flesh. 2. learn a good lesson from painting. 3. The handicrafts(Art, 藝) and Tao(道) unify. 4. It is a Art taxology. 5. It use a new art criticism methods.

• The Journal of Korean Philosophical History
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• no.53
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• pp.215-254
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• 2017

In the study of divining art, Hoche(互體) plays vital roles in the composition of Goaes(卦) and interpretation of Sutras, but the reality is that the research effort for Hoche has been poor along with the perception of its utilization. This study set out to investigate connections among Bongoae(本卦), Hoche, and Hoche of Hoche(Hohoche互互體) and thus shed new light on the importance of Hoche in the composition and interpretation of Yi. 64 Goaes belong to 16 Hoches, which should belong to 4 Hoches. 4 Hoches Jungcheongeon(重天乾), Jungjigon(重地坤), Suhwagije(水火旣濟), and Hwasumije (火水未濟). That is, one can make 6 Hoikgoaes(劃卦) by extracting Hoche from the 6 Hoikgoaes comprised of Hoche of Bongoae, and they converge on 4 Goaes of Geon (乾), Gon(坤), Gije(旣濟), and Mije(未濟). The present study named Hoche of Hoche Hohoche and argued that there should be some consistent connections in the interpretation of meanings of these 4 Hohoche Goaes and their respective Hoches and Bongoaes. Focusing on the discovery of common meanings among the Hoches and Bongoaes of "Danjeon(彖傳)" and" Daesangjeon(大象傳)" of Hohoche. Book of Changes begin with Jungcheongeon and Jungjigon and end with Suhwagije and Hwasumije. The Hohoche of 64 Goaes(卦) are concluded into these 4 Goaes, which indicates that the 4 Goaes have supervision over beginning and ending and that all the Goaes between them operate within the categories of 4 Goaes. The content of "Danjeon" and "Daesangjeon" in Hohoche holds certain semantic connections in the interpretation of Hoche and Bongoae restored to Hohoche and points to the directionality of the interpretation. Those findings open a window for investigating Hoche with the core principle of Goae formation in Book of Changes and imply that Hoche holds important significance in the interpretation of the Book.

• Korean journal of food and cookery science
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• v.30 no.4
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• pp.486-497
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• 2014

"Banchandeungsok" is recipe book written by a woman from a noble family who lived in Cheongju during the late 1900s. The book has 9 among 46 Kimchi recipes. In this study, the literatures from 1700 to 1900s, "Jeungbosanlimkyeongje", "Gyuhapchongseo", "Siuijeonseo", "Buinpilji", "Bogamrok", and "Josenmussangsinsikyorijebeob" were reviewed to examine the significance of "Banchandeungsok" Kimchi in the aspect of food culture. The results are as follows. "Banchandeungsok" Kimchies were considered as typical type of Kimchi of the late Joseon, and the main ingredients include Chinese cabbage, white radish, and cucumber. Salted-fish juice was not used for making Mukimchi, Bachujjanji, Jjanji in "Banchandeungsok", and gallic, ginger, green onion were used as main spice. Therefore, "Banchandeungsok" Kimchies belongs to Damjeo (light salting) type, which is characterized by light and clear flavor of present Cheongju Kimchi. While salted-fish juice was not used for "Banchandeungsok" Kimchies, yellow corbina was used in the most of "Banchandeungsok" Kimchies. Various forms of pepper were used in "Banchandeungsok" Kimchies - green pepper, peper leaf, minced, sliced shredded and powdered red pepper. Two kinds of Kkakdugi were introduced in "Banchandeungsok", which is the first record in the literatures. A typical type of stuffed cucumber pickles and unique type of cucumber Kimchi appeared in "Banchandeungsok".

• Journal of the Korean Institute of Oriental Medical Informatics
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• v.17 no.2
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• pp.130-287
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• 2011

"zhenjiusunanyaozhi(鍼灸素難要旨)" is composed of three volumes and published in 1529 by Gao Wu(高武). Gao Wu(高武) is skillful in astronomy, the art of war and the law as well as a medical practitioner in Ming Dynasty. The books he wrote "zhenjiujuying(鍼灸聚英)", "zhizhi(直指)", "douzhenzhengzong(痘疹正宗)", "shexuezhinan(射學指南)", "zhenjiujieyao(鍼灸節要)". "zhenjiusunanyaozhi鍼灸素難要旨" is written by classifying the origin of acupuncture and moxibustion. In other words, it is edited by classifying the contents related to acupuncture and moxibustion out of the ancient Chinese medical book "yellow emperor's canon of medicine and yellow emperor eighty-one difficult" in which are composed of 3 volumes as follows, Volume 1 says the main diseases on "the nine acupuncture needles figure" (九針圖), "the reinforcing and reducing the meridian" (補瀉), "the needle depth" (針刺深淺), "the five shu points - metal, wood, water, fire, earth" (正,滎,輸,經,合) based on 18 chapters in terms of acupuncture in "yellow emperor eighty-one Difficult "難經"", in which it quotes the annotation of "the difficulty by the original meaning "難經本義"" written by Hua Shou(滑壽) in Yuan Dynasty. Volume 2 is composed of 2 parts. Part 1 says the method of treatment on 36 Chapters, the method of acupuncture use in the Linshu "靈樞" and the Suwen "素問" such as "the rule of acupuncture use" (用針方宜), "the nine-pin method" (九針式) and "the nine-pin to only use the time appropriate to consider nature of Heaven, Earth and person" (九針應天地人時以起用) etc., Part 2 says "the five difficult acupuncture(五亂刺)", "the rise and fall of energy and blood(氣血盛衰)". "the pain tolerance(耐痛)" and ect., in which are in terms of method of treatment collected the original texts of 59 chapters on acupuncture to each disease and of 8 chapters on moxibustion in the Linshu "靈樞" and the Suwen "素問". Volume 3 includes 10 chapters in which consist of "the stabbing to disease in 12 meridians (十二經病刺)", "the eight extra meridian disease (寄經八脈病)", "the twelve meridians(十二經脈)", "the fifteen collaterals (十五絡脈), the twelve meridian muscles (十二經筋)", "the acupoint (孔穴)" and etc. This is the book edited comprehensively by classifying the contents on the theory of acupuncture and moxibustion and the circulations of meridians in "yellow emperor's canon of medicine and yellow emperor eighty-one difficult" and there is no case story in particular except his comments in person. This study is for the purpose of helping researching and developing acupuncture and moxibustion and applying their clinical training.

• Journal of Korean Philosophical Society
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• v.137
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• pp.439-462
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• 2016

This Article's aim is to articulate Confucius's theory of poetics in analects. Confucius tried to establish Humanism and educate the idea of 'learning to become a sage' based upon six classics. He empathized with the education of The Book of Poetry. Sze-ma Tseen said that the old poems amounted to more than 3,000. Confucius removed those which were only repetitions of others and sang to them with his lute, bringing them into accordance with the appropriate musical style. This is the first notice which we have of any compilation of the ancient poems by Confucius. Confucius said, "If you do not learn the Odes, you are not fit to converse with. The Odes 1) serve to stimulate the mind, 2) may be used for purposes of self-contemplation, 3) teach the art of sociability, 4) show how to regulate feelings of resentment, 5-6.) 'From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince. and from them we become largely acquainted with the names of birds, beasts, and plants.' Confucius' said, 'In the Book of Poetry are three hundred pieces, but the design of them all may be embraced in one sentence-- "Having no depraved thoughts."' This sentence is the final definition of Poetics.