• Journal of Contemporary Eastern Asia
• /
• v.12 no.2
• /
• pp.5-17
• /
• 2013

This paper discusses the future of journalism, including social-media use. The findings within this paper are based on the results of the "Social Survey on Social Media Use in the Great East Japan Earthquake." The author conducted this Internet-based survey in June 2012, and the results discussed herein are based on a sample size of 1,000 persons. The main findings suggest that social-media use during and immediately following the March 11, 2011 earthquake in Japan has been developing in a mutually complementary manner with traditional media.

• Journal of Contemporary Eastern Asia
• /
• v.15 no.1
• /
• pp.17-26
• /
• 2016

The present research applies the Theory of Harmony through Holistic Engagement to the foreign policy of Japan. As the third largest economy in the world and one of the most highly developed countries in the world, Japan is a major international power. Most analysts interpret Japan’s foreign policy through the lenses of realist, exceptionalist, or liberal institutionalist approaches. All the previously mentioned approaches tend to be based on etic studies conducted from the point of view of outsiders. The present interpretation of Japanese foreign policy applies an emic model based on primary sources from the Greater East Asian region and concludes that the Model of Harmony through Holistic Engagement shows considerable explanatory traction in interpreting the direction and development of Japanese foreign policy, in particular in the last two to three decades.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.3 no.1
• /
• pp.57-76
• /
• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• Korean Institute of Interior Design Journal
• /
• v.20 no.3
• /
• pp.110-118
• /
• 2011

Today aesthetics expression could be a 'Everyday-life Beauty', because today art & design are closely related with a contemporary life. This thesis dealt with a everyday-life and sensitive design which sublimate from everyday-life material to the concept of aesthetics, such a purpose of this thesis establishes a base of everyday-life design through everyday-life aesthetics. This purpose made to pay attention to Japan's aesthetics concept, because Japan has been maintained and developed its own everyday-life aesthetics. Even if Japan doesn't have only everyday-life aesthetics, it is useful that is studies as some kind of a prototype. So this study analyzed about a everyday-life aesthetics and the expression method through the case-study of Japan. According to Yonagi Muneyoshi and Leonard Koren, the Wabi-Sabi has three conceptual characteristics like impermanent, incomplete, and imperfect and six expression characteristics like implication, tranquility, simplicity, coarseness, purity, and association. This study process is as follows. In the first a vocabulary of interior design was derived from three conceptual characteristics and six expression characteristics, and spatial facts was abstracted from it, and then volume, form, and then shape of composition facts of interior space was extracted from it. Finally the expression characteristics of the Wabi-Sabi in interior design was derived from these processes. In conclusion, the expression characteristics of the Wabi-Sabi in interior design is the transitional space through a Shadow, the conversional space through form and material composition, and the copying space through a natural friendship.

• Journal of Contemporary Eastern Asia
• /
• v.7 no.2
• /
• pp.17-27
• /
• 2008

• Journal of the Korean Society of Costume
• /
• v.50 no.8
• /
• pp.75-86
• /
• 2000

This paper examined the contemporary kasaya of each country in Asia, focussing on the Kasaya Kongyang ceremony and kasaya varieties. As well, the countries in Asia were divided into the southern Buddhist countries, northern Buddhist countries, and Tibetan buddhist countries, and were comparatively analyzed. 1. In terms of the Kasaya Kongyang ceremony, now days the southern Buddhist countries perform the Katina ceremony, passed down from the time of the Buddha. In the northern Buddhist countries, namely China, the kasaya is bestowed to the monk at the end of the precepts ceremony, while in Korea, the kasaya is bestowed to the monk at the end of the ceremony of "opening the eye" of an image. There is no Kasaya Kongyang ceremony in Japan and Tibetan Buddhist countries. 2. In terms of the varieties of kasaya, because the Katina ceremony is performed with 5 jo in southern Buddhist countries, their kasayas are made up of 5 jo, with the exception of Myanmar's sungari. In Taiwan and Korea, which are of the Zen order and part of the northern Buddhist countries, there are 5-25 jo. In Japan, which is of the Kyo, or doctrinal order, it is made up of 5-9 jo. The Tibetan Buddhist countries have only jo that are 7 and 23. In conclusion, when Buddhism was transmitted from the southern Buddhist countries to the northern Buddhist countries, we can see that the Kasaya Kongyang ceremony and the from of the kasaya itself changed from practical robes to majestic ones, in accord with the Mahayana doctrine of saving all sentient being. Therefore, the kasaya simbolizes the Buddhist philosophy that Mahayana claims the existence of many Buddhas at one and the same time.same time.

• The Research Journal of the Costume Culture
• /
• v.29 no.6
• /
• pp.828-848
• /
• 2021

The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

• Korean Institute of Interior Design Journal
• /
• v.13 no.2
• /
• pp.20-28
• /
• 2004

This paper aims at researching the characteristics in Bruno Taut of architecture and its influence In Japanese modern architecture. We also can study how to harmonize Japanese traditional architecture with western architecture through activities of Bruno Taut in Japan. Especially, Japanese architectural society had a dispute on their national architectural style in 1910. During the 1930's, however, the rationalist architects denied this 'Jaegwan' style architecture, and insisted a different new Japanese architectural style. Thus Japanese modem architecture adapted two axis of Western and Japan, it had been developed with their conflict and harmony by turns. This activities of Bruno Taut in Japan deeply and freshly influenced on the contemporary Japanese Architectural situation.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.3
• /
• pp.313-322
• /
• 2000

The purpose of this study was to investigate the characteristic and image of oriental costume designs which represented among three countries, Korea, China and Japan. The specific objectives were: 1) to find out the positioning of oriental costume design. 2) to find out relation to oriental costume image and preference. The stimulus were 75 costume designs of contemporary costume which represented the traditional images of three countries Korea, China and Japan. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textile. The data were analyzed by Multidimensional Scaling Method and Regression Analysis. The specific objective were as follows: 1. According to image positioning. The oriental costume design was classified by simple-decorative, soft-hard. 2. As result of regression analysis. The preference of oriental costume image was related to attractive factor.

• Journal of Contemporary Eastern Asia
• /
• v.10 no.1
• /
• pp.55-71
• /
• 2011

China has been experiencing high economic growth along with massive change in its industrial structure. How will the industrial structure change affect the Chinese economy? Similar changes were observed by Japan, when the Japanese banking system fell into a structural failure in terms of the inability to respond to the paradigm shift from "catching up" to "frontier economy." This paper is undertaken to highlight the lessons that China can learn from Japan's prolonged financial slump. We point out that big cities in China have already shifted to frontier economy and major provinces are on the same trend. We argue that in spite of economic reform reshaping the Chinese banking system, the financing pattern of state owned commercial banks (SOCB) is not in line with the industrial change. The Chinese banking system should be overhauled or transformed to respond to the increasing uncertainty along with the paradigm shift. Otherwise, China may fall into the same dilemma that Japan had faced in its industrial structure change.