• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• (The) Research of the performance art and culture
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• no.19
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• pp.5-33
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• 2009

Jain-Danoje's course since modern is not different with almost all of folk performances, which were restored and reconstructed with a background of the designation of an intangible cultural heritage and National folk arts contest sine the 1960s. Generally, these folk performances were decontextualized in course of extinction and reappearance, and recontextualized in course of new directions on tradition. Also, the performances were interpreted differently and transformed by the main constituents of reappearance. Jain-Danoje nowadays has a regular form just at that time that has been designated as a cultural heritage at 1970s. But, today's Jain-Danoje is clearly different with the last appearance in 1936 and some Literature and jainhyun-eupji. I think such differences would stems from the process of reproduction. From this perspective, I had investigate Old literature and the early days report, and the current text. Especially, I will show the considerable change which has been occurred in the Yeowonmu and Hojanggut, the central role to configure that identity, by comparing past and today. As a result of consideration, today's form of the Yeowonmu and Hojanggut are created texts that mind the designation of an intangible cultural heritage and National folk arts contest. These texts has been reproduced without understanding about structure and current of folk festival and state of performance which has been transmitted on premodern society. some intellectuals search for an archaic form of Jain-Danoje based on jainhyun-eupji that created in 1895, except the other jainhyun-eupji. Moreover, because of the understanding with a bias, they can't grasp the meaning about the religious service for Hanjanggun, and they can't see the facts of Yeowonmoo. In addition, they were aware of 'o-sin' that led by Hojang as a fancy dress parade in a carnival, and that is recognized as a component of Jain-Danoje, so there was other text which is different from our own festival.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.66-83
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• 2018

This article focuses how the materials of hatstrings of the 19th to 20th century gat, the Korean top hat for men among the collections of National Folk Museum of Korea, was transformed after port opening treaties with overseas since 1876. As a result of analyzing the materials of the hatstrings, amber, tortoiseshell, wood and bamboo as the traditional materials were used, and ivory, glass (soda glass, lead glass, alkali mixed glass) and plastics (cellulose nitrate, phenol-formaldehyde, polystyrene, acryl) were newly used for the hatstrings. Bamboo, wood and amber were the most frequently used materials. Bamboo was mainly used for the pipe of hatstring and were combined with beads and central decorations of other materials. This shows the trend of bamboo hatstring according to the simplification of the clothing and the culture by Regent Heungseon Daewongun. Ambers were used in the central decorations and beads and the origin of ambers was baltic amber just like the amber relics found in Korea. Compositions of glass were soda glass and alkali mixed glass which were excavated or handed down in Korea from ancient times to Joseon dynasty. But in the case of lead glass, Na2O was detected and it is considered to be a new type lead glass for crafts which came from overseas after port opening since 1876 because it showed the characteristic that it deviates from the lead glass component found in Korea. Plastics such as cellulose nitrate and phenol-formaldehyde were used as new synthetic materials to replace traditional materials such as tortoiseshell, amber, and coral as in the West. Cracks, crazing, crumbly and yellowing of cellulose nitrate of hatstrings were observed by deterioration. The survey of the materials of the 19th to 20th century hatstrings among the collections of National Folk Museum of Korea showed that the introduction of new materials such as glass and plastics were used to replace natural materials such as tortoiseshell and amber along with the use of traditional materials after port opening since 1876.

• Cartoon and Animation Studies
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• s.19
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• pp.65-88
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• 2010

The purpose of this article is to investigate the relation the animation to culture archetype, focusing on the case of the matter for animation content creation. Furthermore, in the paper, we also study about the animation industry development using various cultural archetypes such as the tale, myth, legend, folk tale, which are usable for animation content industry. For purposes of this study, we analyzed the aspects of power of folk tale and the essential vitality of folk tale in KBS Satellite Channel's and Michel Ocelot's $\grave{e}$re>. Above all, the origin of literature, folk tales are characterized by their uniqueness of each people as well as the global universality, being reproduced over and over again in oral literature. In the existent mode, folk tales have a firm structure because of storytelling, and have characteristics of performance and tradition on the basis of this structure. These characteristics can make emotional experience deepen and insure quality of narrative experience through direct communications. In this context, comparing folk tales of diverse forms of each nation and discovering the ethnicism and universality would not only be critical in the animation content development aspects, but provide precious data for effective animation marketing to apply One Source-Multi Use.

• International Journal of Contents
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• v.12 no.2
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• pp.12-23
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• 2016

This paper presents a novel concept of Disaster Prevention Design (DPD) and its derived subjects and topics for the safety of folk villages in both Korea and Japan. Nowadays, design concepts are focused on 'human-oriented nature' as a whole and this tendency fits to be appropriate for disaster prevention against real dangers of a future society, which is expected to have far more complicated features. On the other hand, convergences have performed with other areas in the field of Information Communication Technology (ICT) so that we can easily find examples like 'the strategy of ICT-based convergence' of the Korean Government in 2014. Modern content designs including UI (user interface) and USN (ubiquitous sensor network) have been developed as one of the representative areas of ICT & UD (universal design) convergences. These days this novel concept of convergence is overcoming the existing limitations of the conventional design concept focused on product and/or service. First of all, from that point our deduced topic or subject would naturally be a monitoring system design of constructional structures in folk villages for safety. We offer an integrated model of maintenance and a management-monitoring scheme. Another important point of view in the research is a safety sign or sign system installed in folk villages or traditional towns and their standardization. We would draw up and submit a plan that aims to upgrade signs and sign systems applied to folk villages in Korea and Japan. According to our investigations, floods in Korea and earthquakes in Japan are the most harmful disasters of folk villages. Therefore, focusing on floods in the area of traditional towns in Korea would be natural. We present a water-level expectation model using deep learning simulation. We also apply this method to the area of 'Andong Hahoe' village which has been registered with the World Cultural Heritage of UNESCO. Folk village sites include 'Asan Oeam', 'Andong Hahoe' and 'Chonju Hanok' villages in Korea and 'Beppu Onsen' village in Japan. Traditional Streets and Markets and Safe Schools and Parks are also chosen as nearby test-beds for DPD based on ICT. Our final goal of the research is to propose and realize an integrated disaster prevention and/or safety system based on big data for both Korea and Japan.

• Journal of architectural history
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• v.8 no.4 s.21
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• pp.81-94
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• 1999

The purpose of this study is to interpret a house as material into culture. Main method is an ethnographic interview with dwellers as a part of a participant observation, a kind qualitative study. Significantly two different types of folk housing are discovered in East and West areas of the Cheju Island. In the East, kitchen itself forms a separated building, Jeongji-gori, whereas in the West, kitchen is within a main building, An-gori. Different type of kitchen is formed by the different family system. While independent family system of son and father selects a separate kitchen building as a general rule of Cheju Island, an extended family system between father and son selects same kitchen, Jeongji-gori, in the east area. Natural environment of infertile soil of east area makes family work together and eat together. Inner space of the kitchen building is utilized not only in cooking but also in eating, working, and sleeping. In order to explain folk house type, a 'culture area' concept is suggested. The interrelated 'cultural type' of architecture behind a physical surface 'type' is suggested as a new typology.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.307-323
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• 2007

One of the distinguishing features of late Jeosun s Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi s subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosun si motives in the Hansi history. Moreover, each writers various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk ewistence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Journal of the Society of Disaster Information
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• v.7 no.1
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• pp.64-74
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• 2011

Cultural properties should be protected more than other facility because of its symbolization of a nation's historic and conservative value. So proper and effective actions for the management of our legacies is necessary. On this study, we'll research cases of cultural properties fires and manage to show the safety system of legacy and analyze problems of the system so that we can result in improvements for the safety of our treasures. This study is not to include almost all kind of cultural assets but only confined in a category of wooden materials, so there's limit of this study. And we should consider fires of tangible cultural properties, souvenirs and folk materials later period.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.115-123
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• 2001

The crossover in fashion refers to the coordination of different items, each with a different atmosphere. In a broad sense, it is the mutual exchange across the existing areas, that is, the creation of a new style by disparate and opposite elements coexisting in a look. This paper studies typical features of the crossover shown in modern fashion based on sub-culture by examining the concept and formation factors of the crossover through social aspects rather than particular art modes to predict the current fashion and suggest a new direction. Crossover fashion appeared in social and cultural environments, has four characteristics : the visual discordance of sexes, the appearance of the lingerie look, the mixture of folk style, and the appearance of the reactionary mode. The crossover, appeared in sub-cultures and diffused into the public, may be considered the creation of a new sense of beauty and a possibility for the future. It is expected to keep expanding ifs range in fashion, since it is an expression of human will to restore liberal sensibility not confined to formality.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.49-59
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• 2013

This research study investigates the cultural significance and meaning of Thai Mudmee, their historical content, and the variety of the Thai Mudmee techniques, including patterns, symbol and colours. The aim has been to develop the traditional pattern and designs of the Thai Mudmee and produce contemporary textile pieces more appropriate for modern lifestyle tastes both in Thailand and Internationally. By reviving the Thai weaving tradition it is also hoped to encourage and maintain the continuous survival of tradition Mudmee, providing new sales opportunities and markets both in Thailand and abroad. Studying various attempts to redevelop traditional crafts in different countries brought to me the idea of how to develop folk crafts, the problems that occur in this area have encouraged me to express how folk crafts could be benefit from the design process. In this thesis I also express my recommendations for other researchers and the Thai government, as well as other people who interested in Mudmee design. The thesis concludes with the possibilities of how to improve the design of the Mudmee fabric and further areas of research.