• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.17 no.9
• /
• pp.163-177
• /
• 2016

This study suggests a method for making a system of basic materials for the restoration of the 3X3 Kan central hall remains of a Buddhist temple from the Joseon Dynasty. Because there are both an extant hall and remains from the Joseon Dynasty, the basic material can be constructed through comparison with the floor plan. Multi-step comparisons were found to be the most suitable example for restoration. For this study, five parts of the 3x3 Kan remains were compared with 70 extant halls for a case study. For the first comparison, the limit of collection makes four examples in the whole examples. There are many relationships with the area and the length ratio of the front to the side as the comparison articles, so there are examples that satisfied both comparison articles. However, there is little relationship between the length ratio of the front Eokan to the front Hyeopkan and the length ratio of side Eokan to the side Hyeopkan. The construction method of the basic material shows the possibility of expansion with various directions that have pros and cons.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.3
• /
• pp.581-587
• /
• 2022

The water god, Venerable Bhadra, Indian Tammola (Tamla as the 'mol' and 'ju' characters were eliminated) came to Tamla with 900 Arahants(The highest Buddhist monks) around 563-483 BC. It is the propagation of Buddhism through the world's most sacred water (Heiligkeit). The traces of the three surnames of Goyangbu are the first samsunghyeol and the dwelling of the den of Jonjaam(cave of venerable Bhadra) in Yeongsil, giving a glimpse into the era of living in caves. The second is a link that is in line with 3, the basic number in the decomposition of 900 (=3^*3^*100) disciples of Bhadra, considering that 3 and 3 of the three surnames in Goyangbu are three times 9. At this time, 3 is the person of heaven and earth, religiously, marriage, hope, or complete number, and Jeju culture is resting everywhere. For example, 3 of the samsunghyeol, 3 of the 1, 2, 3 Dodong, 3 of the 3 Dado, 3 of the 3 Mudo, 3 of the 3 disasters, 3 of the Goyangbu 3-surnames, 3 of the house Olle Jeongnang and, among 900 (=3^*3^*100) disciples of Venerable Bhadra, the common factor is 3. It is the 'island of 3'. These papers consist of 1 and 2 parts. In Part 1, the name of Tamla came from Tammola, India, and 900 Indian Buddhist Arahants estimated that the three surnames in Goyangbu were the ancestors. Part 2 highlights how the basic principle of jeonganag derived from Indian customs has evolved and is being used in modern mobile communication and DNA gene life science.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.2
• /
• pp.204-221
• /
• 2020

East Asian countries share a culture of perfuming clothes. The prosperity of the Maritime Silk Road and the incense trade are direct factors that have led to the development of incense culture. Perfuming clothes is a method of applying fragrance by burning incense. The Chinese could make an incense mixture with various types of incense, and records demonstrating use of perfuming clothes tools (熏籠) show that they might have perfumed clothes with incense mixtures. During the Tang dynasty, the incense trade thrived. Examples of ancient literature such as 『千金要方』, 『香譜』, 『香乘』 describe how to make incense for perfuming clothes and how to perfume clothes. 『桂海虞衡志』 and 『諸蕃志』 shows trade partners and goods. Incense was introduced to Korea alongside Buddhist culture. 『買新羅物解』 shows Silla traded incense with Japan. One of the trade goods recorded in 『買新羅物解』 is perfuming cloth incense (熏衣香), which establishes that Silla performed perfuming clothes at that time. During the Goryeo dynasty, Goryeo exported musk as well as ginseng. The royal family burned incense from the Song royal family. Noblewomen preferred sachets. The use of this dress continued into the Joseon dynasty. 『買新羅物解』 showed that Japan imported incense from Silla. 『The tale of Genji』 illustrates Heian nobles' incense culture, perfuming clothes culture, and trade of incense. Perfuming clothes tools became essential articles for marriage purposes and it developed in a practical shape. The Champa had a perfuming clothes culture. It is described on 『諸蕃志』. As Agilawood is found in Tongking, and Tongking was neighbor to the Champa and China, they might have had a perfuming clothes culture as well. Korea, China, Japan, and Vietnam shared a perfuming clothes culture. We can identify universality and commonality in the purpose of perfuming clothes, time of development, the method of making the incense mixture for perfuming clothes, the method of perfuming clothes, the tools, the gender of perfumer, and the type of herbs and spices.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.3
• /
• pp.57-67
• /
• 2012

This study draws the following conclusions about the nature garden culture with crane that is a dynamic landscaping factor introduced into nature garden by analyzing the literatures on cranes written and landscapes painted in Chosun Dynasty. First, crane symbolizes such Buddhist, Taoist and Confucius media as appearance of Buddha, desire for Taoist hermit world and long life, and a solitary's life of proud loneliness. It has been recorded that crane was raised from the Three Nations Era till the Japanese occupation and Confucius scholars in Chosun Dynasty opened shows concerning crane or formed literature groups enjoying poems of it, and often using crane as their denial of going into government service. Second, in order to introduce crane to nature garden, people caught wild crane and made a fence and some kind of pond for their growth. In addition, crane was strictly managed by appointed slaves and they trained crane for dancing and then tended to allow a crane to play on the yard in terms of abstract meaning or got two cranes free in consideration of their ecology. Third, for more appreciation of crane and the expression of some symbolism matching for it, both plum and pine, which mean a solitary's life and long life respectively, were planted in nature garden. And, Confucius scholars in Chosun Dynasty also enjoyed their refined tastes with appreciation, napping, reading and playing the harp, accompanied by crane. As aforementioned, Confucius scholars in Chosun Dynasty did not only draw the meaning symbolized by cranes and write poems about such symbolic meaning, but also positively introduce crane into nature garden as a dynamic landscaping factor, so that they enjoyed synesthetic senses including looks, motions and sounds of cranes for their refined tastes.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.1
• /
• pp.227-234
• /
• 2019

Hyochang Park was the royal tomb of the Joseon Dynasty, where were the tombs of Prince Munhyo and his birth mother Ui-bin Seong, king Soonjo's concubine Sook-Ui Park and Youngon princess by a concubine. It was upgraded from Hyochang tomb to Hyochangwon at King Gojong. The Japanese imperialism destroyed Hyochangwon and made it into a park, also moved to Seosamneung in 1944. After returning from Chongqing after liberation, Kimgu made the independence movement tomb in the empty space of Hyochang Park. There were 3 martyr's tomb, provisional government figure tomb. Kimgu himself was buried in Hyochang Park after his death in 1949. During the regime of Rhee Seung-man and Park Jeong-hee, there was a constant attempt to change the identity of Hyochang Park, where independence activists were buried. Hyochang Stadium, Wonhyo buddhist priest's Statue and North Korean Anti-Communist Tower were established. After democratization in 1987, the independence activist tomb of Hyochang Park began to gain meaning again. The 6th Republic succeeded the provisional government in the Constitution, also the national cemetery and independent park of Hyochang Park were attempted but the social consensus could not be achieved. This study focuses on the historical middle layer and symbolism of Hyochang Park and aims to contribute to social consensus on the identity of Hyochang Park by making a storytelling on the theme of 'Independence Road'.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.6
• /
• pp.333-339
• /
• 2022

Finding traces of the numerous contexts that exist in our culture surrounding an old-narrative and leading to it's textualization provides a chance to read the story anew. The 'Pieun(避隱)' section of 'Samgukyusa' contains the stories of people who hide from the world and avoid it, as well as the different types of stories by the compiler, the Buddihist monk, Ilyeon. In other words, the compiler has textualized the story. This study aims to attentively analyze the specific story in the 'Pieun' section and read the insights of the compiler on whether to move into the world or hide from the world. Through this analysis, it is apparent that the episode of 'Pieun' does not only illustrate the characters who wish to escape or hide from the world, but it also enables readers to grasp the intention of Ilyeon who deliberately includes the banquet story which is contrary to the meaning of the title. In the 'Pieun', he emphasizes that the behavior of revealing and hiding oneself to and from the world has significant religious and cultural meanings for an individual. The writer, without distinguishing people who move into the world or hide from it, used the Buddhist Dialectictics method to present a different interpretation.

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

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

• Journal of the Korean Society of Costume
• /
• v.64 no.1
• /
• pp.152-164
• /
• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• Journal of the Korea Furniture Society
• /
• v.21 no.2
• /
• pp.167-187
• /
• 2010

In this paper, the research is carried out about a couch, a horse foot chair, a horse foot table, and a multi-leg table among the furniture of Koguryeo. The couch had been widely used from the Chinese Han Dynasty, and the couch of the Koguryeo was influenced by that of Han. The couch of Koguryeo was a piece of furniture which was used not only for sitting purposes but also for symbolizing status ranking. The horse foot chair is a chair whose leg is finished with a horse foot shape, and is a relic which shows an aspect of the art exchange between the East and the West, appearing in Egypt and Mesopotamia, having influence on chairs of Greece and Rome, and being introduced into Koguryeo and Japan by way of the countries bordering on Western China and China. The horse foot chair was used by the royalty, the aristocracy and the priesthood, and use of the chair at that time reflects the effect of Buddhist culture. The horse foot table is a piece of furniture whose leg is finished with a horse foot shape as in the horse foot chair, and there are many instances that it is used together with the horse foot chair. The multi-leg table is configured to have a square plate, plural legs and footstool, and is used by the upper classes, being also influenced by China. In this paper, the study about the furniture of Koguryeo, which has not been closely considered up to now, is performed, and is important as a study about origin of Korean furniture. In the future, the research about succession of the furniture of Koguryo to that of Koryeo period should be carried out, and much more research material be investigated.