• Cross-Cultural Studies
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• v.27
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• pp.255-289
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• 2012

In the course of completing a National Research Foundation project, I recently found that a handwritten Korean manuscript of The Tale of Mei Fei is kept in the Adan Collection, which is a significant scholarly discovery given that no relevant research is available. The editions of the Tale of Mei Fei available in Korea include ${\ll}$藝苑?華${\gg}$ edition, ${\ll}$說?${\gg}$ edition, and the handwritten manuscript in Korean collected in the Adan Collection. Being the only handwritten Korean translation of the work, the Tale of Mei Fei in the Adan Collection was appended by the translations of ${\ll}$한셩뎨됴비연합덕젼${\gg}$ and ${\ll}$당고종무후뎐${\gg}$. As for the practice of translation of the work, literal "word to word" translation was done for the most part of the text; some sentences were occasionally translated liberally. Also, as for the poems in the text, pronunciation of each Chinese character was provided along with the translated text.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• Cross-Cultural Studies
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• v.27
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• pp.167-195
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• 2012

A Chinese female writer Linhaiyin(林海音) and Chengnanjiushi(城南舊事), her representative work, have never been studied in Korea before although she and her literary works stand high and are well known in the history of the modern Chinese literature. Thus, in this paper, I analyze her and her novels included in Chengnanjiushi and study their literary value and meaning. To analyze and study them, I mainly consider novels Anhuiguan, Womenkanhaiqu, Lanyiniang, $L{\acute{\ddot{u}}}dagunr$, and Babadehuarluole included in Chengnanjiushi. Firstly, I look into her attitude and mode to observe children and women's life as a writer. Such attitude and mode succeeded to the spirit of the '5.4 literature'. Secondly, I evaluate Linhaiyin's 'Both sides complex' and its value in the history of literature. From this evaluation, the meaning of Linhaiyin's literature is highlighted. She was free from 'Both sides complex' occurred due to the circumstance of the times and played a role of a bridge so as not to break off literature of China and Taiwan. When her and her works are evaluated, this is one of the most important values. The characteristic of her writing mode is that she did not seek a compelling climax, a surprising reversal, or an exclusive plot or character in her works. In her works, plain description or unwitting conversation and story often imply deep meanings. Thus, at unexpected moment after reading her novels, readers truly listen to deep resonance for her attitude and mode to observe people's life. This is exactly her potential energy that makes readers sink into her literary world regardless of time and space.

• Journal of Fashion Business
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• v.20 no.6
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• pp.79-93
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• 2016

Since the development of patterns using tessellation is applied to a wide range of fields such as clothing, architecture, environment, and products, etc. and its expression principle is also found in various fields such as mathematics and science, etc. However, this pattern is mostly used as a math material with little studies on fashion and culture. In addition, it is thought that Korean traditional culture products need more various and modern design development methods and pattern through preliminary investigation which is simple copy of traditional items, simple copy of Korean Alphabet, Chinese character, and folk paintings. Therefore, it will present the method to make more design cases using Tessellation. Tessellation that combines mathematics and art will be the infinite form of designing of designers as well as creative training way to understand the composition principles of old culture and to raise sense of modern design. Tessellation of regular triangle, regular square, and regular hexagon was performed on the patterns which have meaning of wealth and prosperity of Korean traditional patterns. As the concrete method, first, each side of the regular triangle is developed symmetrically with patterns of fish, turtle, and cicadas. Second, rotational movement after symmetry movement about middle point of one side ${\times}$ 1 symmetry movement about middle point ${\times}$ 1 using crane and cloud, of the regular triangle was performed. Third, the regular square was tessellated parallel movement ${\times}$ 2 with "Da(multi)" and dragon pattern as the source image. Fourth, the sitting tiger was tessellated with symmetry movement about middle point ${\times}$ 2 and parallel movement ${\times}$ 1. Fifth, three bat patterns are tessellated by again rotational movement of two sides after rotational movement of one side and rotational movement of the other side. In addition, It developed traditional culture product design of the scarf, umbrella, aprons, neckties.

• Journal of the Korean Society for Library and Information Science
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• v.31 no.2
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• pp.59-77
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• 1997

Multicultural literature serves as a device for mutual understanding of different cultural. racial, and ethnic groups. This sort of literature is like a window through which a reader can see what other value systems are. It also helps minority children discover their own cultural past and develop a sense of belonging. The purpose of this study is to investigate the general characteristics of East Asian American characters in English language children's fiction and to highlight the differences among three groups : Chinese Americans, Japanese Americans, and Korean Americans.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.2
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• pp.119-126
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• 2021

The purpose of this study is to see if cultural contents that are characterized by experience goods have different types of One Source Multi Use (OSMU) phenomena. This study classified original works into web-novels and webtoons, and studied how OSMU evolution paths can be different between the two types of originals. In addition, this study compared Korean and Chinese examples. Using eight original works created between 1999 and 2012, which were later used for OSMU, this study investigated how web-novels and webtoons took different OSMU evolution paths in Korea and China. As a result, this study found that web-novels are more actively used in different formats than webtoons, probably because web-novels can more easily stimulate people's imaginations. In addition, Korea was found to use story-centered OSMU before character-centered OSMU, whereas China showed both types of OSMU simultaneously.

• Journal of the Daesoon Academy of Sciences
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• v.34
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• pp.141-169
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• 2020

This study focuses on the interpretation and transformation of "The Great Learning" within the Korean new religion, Daesoon Jinrihoe. Joseon Dynasty Korea was a member of the Chinese Character Cultural Sphere in East Asia. The examination and recruitment system of the Yuan Dynasty influenced the Joseon Dynasty for a long historical period. Zhu Xi's (朱熹) version of The Four Books were accepted and applied in imperial examinations during the Joseon Dynasty. The 18th century Confucian thinker, Jeong Yak-Yong (丁若鏞), overturned and rebuilt his own system for studying and interpreting The Four Books (四書學). Zhu Xi and Jeong Yak-Yong's systems of thought influenced Confucianism knowledge in that era. The historical figure deified as the Supreme God by Daesoon Jinrihoe, Kang Jeungsan (姜甑山), was trained in the study of The Four Books within that cultural and philosophical context, and this is especially evident in his interpretation and transmission of "The Great Learning." Kang Jeungsan regarding The Great Learning as deeply important. That text combined Confucian discourse on Principle, Mind, and Practice. In his interpretation, The Great Learning was also a medical and religious book that had holy and mysterious powers. In Mugeuk-do and Taegeuk-do (direct predecessors to Daesoon Jinrihoe), Jo Jeongsan interpreted the concept of Sincerity and Regularizing the Mind and incorporated them into doctrine as 'Sincerity, Respectfulness, and Faithfulness' and 'Guarding against Self-deception.' Park Wudang practiced and spread those doctrines to Korea, and Daesoon Jinrihoe devotees continue to follow those doctrines in present times.

• Journal of the Korean Society of Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.664-675
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• 2019

This study examined Korean sign Language of the linguistic form and the etymological forms about the origins of the Korean national sign languages. The general sign language has been shown through previous research all of place names from Chinese character except Seoul and Lmsil. And then, Sign language's form and origins which are current using in order to examine what kind of feature were analysed through interviews and publications in Korean association of the deaf people. As a result, it was analysed that was composed majority. indigenous sign language Korean place names were made and used by deaf than loan word character of Chinese characters, Hangul and loanword. When we consider that place names were correspond to a precious cultural heritage, representing the history with the culture and identity of the relevant area, we can worth of preservation and transmission to the abundant iconicity in the name of Sui. On the other hand the indigenous sign language korea place manes can worth deaf culture or korean sign language. Even lf geographical characteristics of area have been changed or local product was disappeared in this situation by The origin of sign language reach in modern time local specialty by geographical form lt continued over generation. This can be regarded as the Korean sign language of the form in the way of visual. lt will be very valuable heritage in the preservation deaf culture.

• Cross-Cultural Studies
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• v.27
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• pp.59-79
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• 2012

China and Japan are geographically close and the two countries had shared the Chinese Character Culture and the thoughts of Confucianism, Buddhism and Taoism since the ancient age. They also actively exchanged culture in various areas. Some cultural exchanges had been caused by surrounding environment and culture had been introduced to other country in a natural way; while some cultural exchanges had been forcibly introduced through artificial process. It is believed that such cultural phenomenon must have had impact on the make-up cultures of the two countries and it was assumed that there must have been commons and differences in the make-up cultures of the two countries. This study explored the historical background of the Ching dynasty of China and the Edo Age in Japan, which are in the same time frame, and studied the aesthetic consciousness of the two countries at the time. Then the make-up style of ladies in the two countries had been studied to find out how their aesthetic consciousnesses had been expressed in the make-ups of the two countries. Then the commons and differences in make-up skills between the two countries had been identified. According to the study results, the main stream of aesthetics during the Ching dynasty in China can be classified into Confucianism aesthetics and Taoism aesthetics. On the other hand, the main stream of aesthetics during the Edo Age in Japan can be classified into "mitate(見立)", "ikki(いき)" and "garumi(かるみ). The skin care in the make-up culture of Ching dynasty in China was based on "rouge (?脂, yanzhi)" and "powder(粉, fen)". The Ching ladies loved the make-up style using rouge. It had been same both in the high society and common people. The eyebrow care was delicate and curved so that the feminine beauty with elegant spirit could be emphasized. The lips had been expressed to be smaller and the ladies tried to express elegance and reliability, rather than frail and tender feminine image. The skin care in the make-up culture of Edo Age in Japan focused on even applying of white powder so that the face would look soft. The eyebrow make-up was a very important part of the make-up. The shapes of eyebrow had been advanced in various styles and there had been eyebrow make-up styles such as "crescent-shaped brow (三日月), "crane style brow (鶴眉) and "Tang style brow (唐眉). The lips had been applied of thick red color, imitating the make-up skill of the ladies in the entertainment business. The lips make-up skill expressing the lips in two colors had been quite popular. Among the make-up skills during the Edo Age in Japan, the "black teeth (齒黑)" can be said as the most unique make-up style of Edo Age.