• 한국실내디자인학회논문집
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• 제21권4호
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• pp.163-171
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• 2012

The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on heritage; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: Traditional components were most reproduced in the ornaments placed all over the restaurant and applied to the chirography of the restaurant logos, walls, and windows/doors in a big number. The methodology of transforming tradition was evenly applied to each of the spatial components. With the most transformations occurring to the lattices, there were many different ways to transform tradition including the partition, chirography, pattern, red lantern, furniture and ornament, and traditional materials that were turned into modern ones. Few examples of reinterpreting tradition were observed in the restaurant titles, inside floors, and ceilings, but plenty of examples were found in the walls, windows/doors, lighting, and furniture in a range of ways. Most of them reinterpreted the traditional forms and added altered patterns to them to remind customers of tradition. In short, all of the three ways of expressing tradition were actively applied to each component in an array of ways.

• 한국실내디자인학회논문집
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• 제21권5호
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• pp.280-288
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• 2012

The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on tradition; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: TM style, in which modernity was principal, usually did transformation and reinterpretation of traditionality. As for the design attributes of the styles, the TM style, they processed a majority of the spatial components as modern or reinterpretation of traditionality, which would be easily considered to be modern without careful observation, and applied a small amount of direct reproduction or transformation, which gives out a direct hint at traditionality, to attract more attention. Many of the spatial components did not express traditionality directly, expressing it indirectly or metaphorically. Traditionality was expressed in a small number of the spatial components, thus serving as a focus or impact point in the given space.

• 한국수학사학회지
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• 제26권5_6호
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• pp.329-343
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• 2013

Japanese mathematics, namely Wasan, was well-developed before the Meiji period. Takebe Katahiro (1664-1739) and Nakane Genkei (1662-1733), among a great number of mathematicians in Wasan, maybe the most famous ones. Taking Takebe and Nakane's indefinite problems as examples, the similarities and differences are made between Wasan and Chinese mathematics. According to investigating the sources and attitudes to these problems which both Japanese and Chinese mathematicians dealt with, the paper tries to show how and why Japanese mathematicians accepted Chinese tradition and beyond. As a typical sample of the succession of Chinese tradition, Wasan will help people to understand the real meaning of Chinese tradition deeper.

• 한국수학사학회지
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• 제26권4호
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• pp.219-232
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• 2013

Japanese mathematics, namely Wasan, was well-developed before the Meiji period. Seki Takakazu (1642?-1708) is the most famous one. Taking Seki's interpolation as an example, the similarities and differences are made between Wasan and Chinese mathematics. According to investigating the sources and attitudes to this problem which both Japanese and Chinese mathematicians dealt with, the paper tries to show how and why Japanese mathematicians accepted Chinese tradition and beyond. Professor Wu Wentsun says that, in the whole history of mathematics, there exist two different major trends which occupy the main stream alternately. The axiomatic deductive system of logic is the one which we are familiar with. Another, he believes, goes to the mechanical algorithm system of program. The latter featured traditional Chinese mathematics, as well as Wasan. As a typical sample of the succession of Chinese tradition, Wasan will help people to understand the real meaning of the mechanical algorithm system of program deeper.

• 미술이론과 현장
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• 제16호
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• 만화애니메이션 연구
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• 통권29호
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• 한국실내디자인학회논문집
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• 제23권2호
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• pp.156-165
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• 2014

The purpose of this study is to reveal the expression characteristics of Chinese and Sichuan traditional culture at the modernized restaurants which sells Sichuan food focusing on the Chengdu area. In terms of research methods, 12 selected Sichuan restaurants were visited from January 26th to February 1st, 2013 for the investigation research. The expression methods of traditional culture were divided into traditional reproduction, traditional transformation and traditional reinterpretation. The study results were as follows. First, in the external space components, facade has brought the Chinese and Sichuan local tradition as original or applied negative transformation like the replacement of the materials even though it is modernized. Secondly, in terms of the components of the internal space, as for the ceiling, the Chinese traditional culture transformed or reinterpreted the traditional ceiling structure, with which the culture was expressed indirectly. Thirdly, in terms of the decoration elements in the interior space, as for the furniture, various methods like the reproduction, transformation and reinterpretation of the Chinese traditional furniture were employed but there was none furniture which included the Sichuan local traditional culture. In a short, both of Chinese and Sichuan local traditional cultures were used as they were or transformed diversely or expressed colorfully.

• 복식
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• 제59권8호
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• International journal of advanced smart convergence
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• 제8권1호
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• pp.204-213
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• 2019

Perhaps nothing more vividly illustrates the many different ways in which traditions can be interpreted than a study of the life of Confucius in modern times. In China and Korea, Confucian values and culture are dismissed and scorned during some periods and held up as facilitators of cultural prosperity in others. This changing perception of and attitude toward the Confucian tradition in modern society embodies the long life of the Confucian tradition and its continually evolving trajectory, as well as its versatility within shifting sociopolitical milieux spanning distance and time. In this paper, I investigate the (re)emergence of Confucius in modern Korea and China with a comparative and critical gaze. I demonstrate how different modern interpretations of Confucius, both negative and positive, in these two countries bring new life to the Confucian tradition within their own complex social realities. By focusing on the recent revival of Confucius in China-Anti-tradition of Korean dramas, the Restoration of Confucian Culture in China and Korean Wave, the modernity of China in Confucius are examined, and finally, in terms of the means of realization of the Chinese dream-I illuminate how the image of Confucius serves the (re-)invention of contemporary China, with her pervasive desire to romanticize and materialize China's past as well as her future.

• 복식문화연구
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• 제32권4호
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• pp.547-563
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• 2024

This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen's men's fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand's official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.