• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.32-48
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• 2022

This study analyzed the construction pattern and historical reality of Gwallamji Pond(觀纜池) in the rear garden of Changdeokgung Palace(昌德宮), which has been received as distorted information and has not received sufficient attention. The main topics consisted of the construction period and reorganization in the pond garden, changes in the installed wooden bridge, the existence of the berthing facility, and whether the plan shape was deformed. The main results of this study can be summarized as follows. First, the Gwallamji Pond was already completed before the Gapsin Coup, which occurred in the year of King Gojong. Since then, the Gwallamji Pond area, including the surrounding facilities, has been neglected for a while and was extensively renovated in the early 1900s. It is difficult to find a clear basis for the suspension and resumption of the Gwallamji Pond construction proposed in the previous discussion. Second, three types of wooden bridges with different shapes and structures were installed sequentially in the Gwallamji Pond. In particular, the second wooden bridge, which installed after the maintenance of the Gwallamji Pond, is judged to be the pontoon bridge depicted in Donggweoldohyeong(東闕圖形), and the railing of the bridge was decorated to symbolize the imperial family of the Korean Empire. The third wooden bridge, which appeared intensively in Japanese colonial era, was a Japanese-style bridge. Third, a berth facility for boarding and disembarking existed on the eastern shore of the Gwallamji Pond. The berth facility is also described in Donggweoldohyeong and it remained until the Japanese colonial period. However, as the maintenance work of the Gwallamji Pond was carried out several times after liberation, the berth facility was gradually damaged, and there are no traces left now. Fourth, The Gwallamji Pond was originally constructed in a planar shape of the Korean Peninsula similar to the present. It is necessary to reconsider the conventional theory that the Gwallamji Pond, made in the shape of a gored-shaped bottle, was renovated in the shape of the Korean Peninsula in Japanese colonial era. Even when the term Pandoji Pond(半島池) first appeared, there was no view that the Japanese intentionally modified the Gwallamji Pond.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• Journal of Korean Home Economics Education Association
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• v.16 no.3
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• pp.1-25
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• 2004

This study analyzes the external forms of the household textbooks and also the contents of them used at girls' middleㆍhigh schools during the period of Japanese ruling over Korea. To this end, 8 household textbooks published from 1928 to 1937 were analyzed. The results of the study are summarized as follows. 1. The household subject had become the one of the most important subjects to girl students as the practical uses were emphasized in educational area during the period. As a result. the classes of the household were the second in hours, following the class of Japanese (the national language) to girl students. 2. The contents of the household textbooks were intended to contain 'the modern' and 'the newest'. The students were also suggested to apply the contents of the textbooks to real home life. Many pictures, photos and illustrations were included in household textbooks to help students to understand the contents of the subject. 3. The purposes of the household class were the reformation of the living conditions and home economics. 4. The external characteristics of the household textbooks during the period were as follows. - Written in Japanese vertically and the size of the textbook was A5 (150/210) with pulp paper of good quality - The type style of the body of the textbooks was Ming-style type- The sequent order of the textbooks was the outer cover, the title page, pictorial, introduction, table of contents, the body, appendix and the back cover. 5. The household textbooks consisted of the first volume and the second volume. The first volume contained clothing and textiles, food and nutrition and housing. Taking care of the aged. nursing. child care, household economy and home management were included in the second volume. 6. The household textbooks were designed to make women the housewives.

• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.

• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• Journal of Engineering Education Research
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• v.22 no.6
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• pp.51-63
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• 2019

This study aims to present concept of "gong" which was shared by traditional East Asian societies (Korea, China and Japan) and to identify how it has been developed through their respective process of modernization and industrialization. Despite the territorial proximity of the three countries, their industrial and technological development followed different patterns, and the notion of engineering from the Occident was also accepted and reconstructed with a certain difference in each country. Japan had developed its own concept of engineering as part of industrialization in Western style and in the context of establishment of an imperialist nation. What was important for Japan was how engineering could contribute to the national development of technology and industry, and to the development of Imperial Japan. For China, which attached importance to resistance to Western civilizations and to strengthening the competitiveness for and which needed to resolve domestic political conflicts, engineering constituted more than a simple issue on technological and industrial dimension; it was also associated with obtaining ethical and political legitimacy which would allow the nation to gain support from the working and peasant classes. Though belated, Korean attempted to build an independent modern state, yet experienced a considerable nuisance from the invasion of Japan and the protracted colonial period. Engineering of Korea had to take a long time before emerging from backwardness especially because of Japanese policies which tended to restrict technological development and avoid fostering qualified engineers in the colony. Therefore, engineering in Korea started to contribute to the nation's development and the improvement of technological competitiveness only after it was combined with modern higher education after liberation, under the name of engineering science (工學, gong-hak). This study argues that our recognition of what engineering was for and who engineers were in East Asia will allow us to evaluate current status of engineering education and provide us with significant insight which will be useful when we imagine the future society. Identity of engineering in Korea, China, and Japan has been developed along with historical contexts such as clash of civilizations, wars, recovery of sovereignty and obtaining of national competitiveness; now, what will be combined with engineering in the next generation? This question will lead and motivate engineering students to think and imagine about what future engineering should be and how they respond to it.

• Korean Journal of Comparative Education
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• v.27 no.3
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• pp.213-238
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• 2017

This paper aims to point out that the contemporary textbook is a common cognitive construct, and that the realistic drawings in the textbooks have played an important role in shaping the world recognition. The main subjects of this study are the racial-ethnic illustrations of elementary school geography textbooks, published by the Japanese Ministry of Education, the Japanese Government-General of Taiwan and Korea, the educational association of Manchu. By comparing the same factors in various textbooks, it examines how the temporal and spatial recognition of the world is adjusted by visual representation. The main findings of this study are three fold. First, the world was introduced to the extent of the sum that the census and the classifications of racial and ethnic groups were adopted. And the world appeared later in the year supported by the racial and ethnic minorities. Second, the expressive style of racial and ethnic groups changed from an emphasis on a heterogeneous part as an object of scientific observation in the early stage to a later one with a life culture similar to the reader. Third, racial ethnic illustrations have been used differently depending on the publishing region in the Empire, giving readers in different regions with different images of the same category. In many cases, it was possible to know the politics of representation and the use of certain racial ethnic illustrations. The textbooks of the first half of the 20th century gave great recognition to the people who could not meet with the readers by using the illustrations. A child in the mainland is aware of his position in a "viewing position" while viewing various empire people through the textbook. On the other hand, in the textbooks of the colonial children, they stood in the position of 'being seen', and showed a change in internalizing the position of the mainland along with the expansion of the empire.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.120-145
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• 2016

An understanding of 'original form' plays an important role as it is the starting point of heritage conservation. This paper delineated several types of understanding on 'original form' over times, and aims at analyzing the way how such concepts has provided a platform of repair works of timber buildings in Korea over times. Conservation in Korea was initiated by the attitude of the Japanese authority during the Colonial period and 'restoring into the earliest form', which had been set in the early stage of the Japanese conservation, has strongly influenced on Korean practice during the period. Such attitude has lasted even after the independence of Korea. In Japan, however, the attitude has shifted to taking a careful decision on the alteration of the existing form during the 1930s. In addition, examination and research in the repair work became essential steps to conduct along with the publication of the report of works. In Korea there has been lack of understanding on the importance of examination and research in repair works and the publication of report of the works has not been mandatory so that it has emphasized on the 'form' in conservation aiming at 'restoring the earliest form'. Such attitude has created the problem of replacing original material during the work which should aim at preserving and maintaining heritage in Korea. Because of these circumstances in preserving the architectural cultural properties in Korea, cultural buildings had succeeded in preserving the outer appearance but there are remaining questions on preserving the original states of them. This paper has pointed out that it is necessary to set out the principles of conserving 'original condition' through further study and discussion based on the careful consideration on both the international principles and Korean context.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.15-25
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• 2022

This study was conducted to provide useful basic data for restoration and maintenance of the Changdeokgung Palace(昌德宮)'s inner palace area in the future by exploring the background of terraced flower beds installed in the front space of Seunghwaru(承華樓) and grasping the reality before and after terraced flower beds were installed. The main results of this study can be summarized as follows. First, in the early 1900s, the front space of Seunghwaru formed a relatively higher terrain than the Nakseonjae(樂善齋) area. In addition, along the topography of high north and low south, a yard surrounded by Haenggak(行閣) and a rectangular open space connected to the West Haenggak of Nakseonjae were created. In particular, the rectangular open space was a staircase-type slope in which rectangular stone columns were arranged at regular intervals. Second, the terraced flower beds of Seunghwaru originated from the renovation of the new building of Nakseonjae West Hanggak, which was implemented in the late 1920s. This is because in order to secure enough available land for construction and auxiliary space during the renovation of the new building, the terraced flower beds for topographic treatment was created along the cutting area after cutting off the original topography of the front space of Seunghwaru. Third, after the construction of the terraced flower beds, many deformation occurred in the topographic features of the front space of Seunghwaru. The front yard of Seunghwaru was relatively higher than the Nakseonjae area, but most of them were cut off and disappeared as the terraced flower beds were created. The staircase-type also disappeared after the construction of the new building and terraced flower beds. The stylobate and front fence of Seunghwaru were newly built along the alignment of terraced flower beds and the unique style of narrow gate and auxiliary stairs were also relocated to the new fence.