• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.54-77
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• 2020

Produced during the Goryeo period (718-1392), the statue of the monk Huirang Daesa at Haeinsa Temple in Hapcheon is almost life-size, with a height of 82.4 cm, a width of 66.6 cm at the knees, and a maximum width of 44 cm at the torso (front and back). Notably, it is the only known example of an East Asian Buddhist sculpture made from wood and dry lacquer that was formed by joining the front and back halves. However, a similar technique was used on a dry lacquer statue of the Medicine Buddha at Cheongnyangsa Temple in Bonghwa, which is estimated to date from the late Goryeo or early Joseon period. As such, this technique is thought to represent this particular time period. In an eighteenth-century travelogue about a trip to Mt. Gayasan, the author describes a sculpture that is believed to be the statue of Huirang Daesa at Haeinsa Temple, based on various unique features that closely correspond to the sculpture's current appearance. For example, the sculpture is said to have a hole in the chest and rough, knobby tendons and bones, two features that can still be seen today. Another sculpture of a Buddhist monk who was active in the western regions during the third and fourth century also has a hole in the chest, which is said to be a symbol of spiritual strength. The travelogue also states that the statue was lacquered black at the time, which means that it must have been painted with its present colors some time in the nineteenth century. Over time, the sculpture has been enshrined in various halls of Haeinsa Temple, including Haehaengdang, Jinsangjeon, and later Josajeon (Hall of the Patriarchs), and Bojangjeon. Records show that images of Buddhist monks, or "seungsang," were produced in Korea as early as the Three Kingdoms period (18 BCE-660 CE), but few of these works have survived. At present, only four such sculptures are extant, including the images of Huirang Daesa from the Goryeo period, and those of Monk Naong and Uisang Daesa from the Joseon period. Of these, the sculpture of Huirang Daesa has special significance for its early production date (i.e., CE. tenth century), outstanding production techniques, and superb artistic quality, realistically capturing both the external appearance and internal character of the subject. The tradition of producing, sanctifying, and worshipping statues of monks was prevalent not only in Korea, but also in China and Japan. However, each country developed its own preferred materials and techniques for producing these unique images. For example, while China has a large number of mummified Buddhist images (yuksinbul), Japan produced diverse images with various materials (e.g., dry lacquer, wood, clay) according to period. But despite the differences in materials and techniques, the three nations shared the same fundamental purpose of expressing and honoring the inherent spirituality of the monks.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.6
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• pp.16-24
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• 2020

The purpose of this study is to analyze the usage behavior of Seoullo 7017, the first public garden in Korea, to understand the usage status by analyzing blogs, and to present usage behavior and improvement plans for Seoullo 7017. From June 2017 to May 2020, after Seoullo 7017 was open to citizens, character data containing 'Seoullo 7017' in the title and contents of NAVER and·DAUM blogs were converted to text mining and socialization, a Big Data technique. The analysis was conducted using social network analysis. The summary of the research results is as follows. First of all, the ratio of men and women searching for Seoullo 7017 online is similar, and the regions that searched most are in the order of Seoul and Gyeonggi, and those in their 40s and 50s were the most interested. In other words, it can be seen that there is a lack of interest in regions other than Seoul and Gyeonggi and among those in their 10s, 20s, and 30s. The main behaviors of Seoullo 7017 are' night view' and 'walking', and the factors that affect culture and art are elements related to culture and art. If various programs and festivals are opened and actively promoted, the main behavior will be more varied. On the other hand, the main behavior that the users of Seoullo 7017 want is 'sit', which is a static behavior, but the physical conditions are not sufficient for the behavior to occur. Therefore, facilities that can cause sitting behavior, such as shades and benches must be improved to meet the needs of visitors. The peculiarity of the change in the behavior of Seoullo 7017 is that it is recognized as a good place to travel alone and a good place to walk alone as a public multi-use facility and group activities are restricted due to COVID-19. Accordingly, in a situation like the COVD-19 pandemic, more diverse behaviors can be derived in facilities where people can take a walk, etc., and the increase of various attractions and the satisfaction of users can be increased. Seoullo 7017, as Korea's first public pedestrian area, was created for urban regeneration and the efficient use of urban resources in areas beyond the meaning of public spaces and is a place with various values such as history, nature, welfare, culture, and tourism. However, as a result of the use behavior analysis, various behaviors did not occur in Seoullo 7017 as expected, and elements that hinder those major behaviors were derived. Based on these research results, it is necessary to understand the usage behavior of Seoullo 7017 and to establish a plan for spatial system and facility improvement, so that Seoullo 7017 can be an important place for urban residents and a driving force to revitalize the city.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.

• (The) Research of the performance art and culture
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• no.40
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• pp.193-222
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• 2020

In this study, the development of traditional contents is to be enabled to succeed the values of the heritage on the song sang during dry-field farming of Bongpyeong Memil-dorikkaejil-sori. In addition, the identity on the heritage of songs sang during farming were diagnosed, and their value in context with the history and the value as the community for succession are emphasized as the value of cultural asset to expand the discussion up to the level of traditional cultural industry works. In the Bongpyeong Memil-dorikkaejil-sori, the intrinsic artistic value, the excellence of value as the educational experience, factor for overcoming the extinction of farming songs, and the promotion direction of the storytelling on buckwheat were provided. This is breaking from the formalization and being old-fashioned on the Bongpyeong Memil-dorikkaejil-sori to focus on the symbolization of the agricultural heritage in the modern context, habituating and spreading the gene of slash-and-burn field (hwajeon or budaeki). In terms of methodology on awareness, historicity or creativity, alternative method on the folk songs in labor was provided by having critical mind on the Bongpyeong Memil-dorikkaejil-sori and buckwheat songs. By reviewing the field contextualization of designating the intangible cultural asset, suggestions were made on activating the succession, and even the method of symbolic registration on the heritage of buckwheat farming was mentioned. Heritage on agricultural culture that can represent Pyeongchang and Gangwon must be discovered to be made into a brand. In addition, the uniqueness in the Madang 'Song Madaengi Traditional Music' must be found to apply as the brand on the point in which the people around the world can have consensus for utilization. As the farming song, rediscovery of the Bongpyeong Memil-dorikkaejil-sori is required to create the sustainable status as the multi-purpose cultural contents and provide the network of professionals for activating the folk songs to enable the opportunity of qualitative substantiality and spread instead of quantitative growth. In addition, festivals for each region, especially the festival for Pyeongchang area must be utilized centrally on the development of farming songs to organize the storytelling actively.

• Journal of Science of Art and Design
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• v.9
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• pp.5-24
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• 2006

Human hunted and picked to survive and a vessel was made naturally to store something being hunted and picket, which was a great invention. In modern times, society changed and development of science gave us convenience in making a vessel and various kinds of store instruments which was made of pure natural material, of new stuff, such as plastic and iron. but human became to be inclined to regress into nature because of problems of environment. We can say that the representative trend is well-being, after all this is a symptom to return to life being persued by predecessors before the science civilization was developed. Ancestors have lived with nature, adapted themselves to it. For examples they have built the house which became to be a part of nature and just like it, and studied a method of storing food to eat for four seasons, then displayed a storagehouse and storage containers everywhere of the house. Now Korean has the custody of kimchi in refrigerator at every house, but our forefathers controled a timing to eat food with studying a method of storage to put to use nature. With hot wind of well-being, Korean food is becoming to be globalized, according to this, concern about the wisdom of progenitors is growing more and more. It's an example that the world shows concern seriously about the pottery, which have stored kimchi for a long time fleshly, in globalization of kimchi. This study have three purposes, the first. checking documents about the development history of pottery which is a kind of ceramic, and then the second, through an scientific experiment, with studying characteristic of pottery being built by the wisdom of ancestors, informing the merit of pottery and necessity to the world, and futhermore, the third, working up the development of close environmental vessels putting to use the characteristic of pottery.

• (The) Research of the performance art and culture
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• no.34
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• pp.173-214
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• 2017

This study examines and compares music-related records in the mubo (舞譜; choreography notes) written by Sung Gyeonglin (成慶麟, 1911 - 2008), based on the records of 11 kinds of jeongjae (the music and dance performances at the royal court) found in Lee Byungseong's (李丙星, 1909 - 1960) Changsa and Jungjaecheol (呈才及唱詞綴). Even though these records are personal, they provide valuable information about the mubo of the Iwangjikaakbu (the Royal Music Institute) during the period of Japanese colonization. The eleven kinds types of jeongjae-'Cheoyongmu (處容舞)', 'Hyangryungmu (響鈴舞)', 'Mugo (舞鼓)', 'Bosangmu (寶相舞)', 'Chunangjeon (春鶯?)', 'Gainjeonmokdan (佳人剪牧丹)', 'Suyeonjang (壽延長)', 'Mansumu (萬壽舞)', 'Bongraeeui (鳳來儀)', 'Jangsaengboyeonjimu (長生寶宴之舞)', and 'Musanhyang (舞山香)'-can be largely divided into two types: Dangak (Tang dynasty music) and 'Hyangak (traditional Korean music).' The former is distinguished musically by whether or not the jukganja appears. For the appearance of the jukganja in 'Sujeyongjang', 'Bongraeeui' and 'Jangsaengboyeongjimu', the 'boheojaryung (步虛子令)' was used and given the impressive name of jangchunbullojigok (長春不老之曲).' The term punggyungjigok (豊慶之曲)' was used for music that guides a group dance and dancers. For the latter, hamnyungjigok (咸寧之曲) was performed during the development of the dance, and the pungungyeonghoijigok (風雲慶會之曲) was played at the end of the piece. As for the accompaniment for the jeongjae performed by the Iwangjikaakbu, it is significant that various elaborate names were attached to Sangryungsan, Jungryungsan, Seryungsanm, Garakdeoli, Samhyunhwanip, Yeombulhwanip, and taryung (the traditional Korean ballad), which were all parts of 'Samhyunyoungsanhoesang (靈山會上).' Specifically, the 'Hyangdanggyoju (鄕唐交奏)' in 'Jeongjaemudoholgi' was accompanied by various melodies of the 'Samhyunyoungsanhoesang', which were given extravagant names. These are the personal records of the Iwangjikaakbu mubo that were retained by Lee Honggu (李興九, b. 1940), who owns the 'Hakyeonhwadaehapseolmu.' Among them, the ten kinds of jeongjae found in the notes of Sung Gyeonglin are often referred to as 'mueui (舞儀)' and widely used for research on individual jeongjae performances and the history of their development. The notes of Lee Byungseong have not been investigated thoroughly until now and this is the first study that provides a comparative analysis of the notes of Lee Byungseong and Sung Gyeonglin. This investigation is expected to contribute to the further research and knowledge of the jeongjae performance during the period of Japanese colonization.

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• (The) Research of the performance art and culture
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• no.36
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• pp.185-221
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• 2018

This study examined the process of the formation of Deoneum, Sugungga(水宮歌), and its tendency of the change through the trace of the Pansori masters who worked in 19th century. The time that the main group of the Sugungga masters appeared in the Pansory history is estimated in early 19th century. The Sugungga masters in this time could be divided in two groups, one is the early days masters who worked in early 19th century and the other is the latter days masters who worked in middle and late 19th century. Kwon Sam-deuk(權三得), Song Heung-lok(宋興祿), Yeom Gyeo-dal(廉季達), and Shin Man-yeob(申萬葉) are the Sugungga masters who worked in early 19th century. By the records they left, I could confirm that they used the description about the dramatic characteristics in the work and Soritjo(Pansori master's tonality), like the appearance of 'Bangge(crab)' and 'Tiger', and particularly they developed which has the scene of the Rabbit's deceiving the Dragon King and Rabbit's return, 'Goandaejangja(寬大長者)', 'Gaja-Eoseoga', 'Sojinowha(笑指蘆花)', 'Apnae-Beodeuleun' and the scene of 'Rabbit's curse(the part that Rabbit curses Byeljubu)' etc. I could understand that the interest of the early days Pansori masters about Sugungga is on the characters and the latter part of the work. The separation of Dongpyeonje(東便制) and Seopyeonje(西便制) of Pansori was done in the middle and late 19th century. As the Dongpyeonje master, Song Wu-ryong(宋雨龍), Park Man-sun(朴萬順), Song Man-gab(宋萬甲), Shin Hak-jun(申鶴俊) and Yu Seong-jun(劉成俊) worked. As the Seopyeonje masters, Park Yu-jeon(朴裕全), Kim geo-bok(金巨福), Kim Su-yeong(金壽永) and Baek Gyeong-jun(白慶順) etc. sang Sugungga. The Dongpyeonje masters developed the 'Toggigibyeon(토끼奇變)' related Deoneum paying attention on the latter part of Sugungga same as the early days masters. Meanwhile it looks like that they had interest in developing the parts which belong to the middle and early parts of Sugungga like 'Toggiwhasang(토끼畵像)', 'Gogocheonbyeon(皐皐天邊)' and 'Tobyeolmundab(兎鱉問答)'. The Seopyeonje masters developed the parts belong to the early part of Sugungga, which are related to Dragon King and the courtiers in Sugung palace, like 'YongwangTansik(龍王歎息)'. And I could confirm that they developed the parts influenced by Shin Jaehyo's editorials like 'Tosahobi(兎死狐悲)' and 'Goguksancheon(故國山川)' etc. In short, I could confirm the trend that the Pansori masters in 19th century had interest in from the latter part to the early part of Sugungga. If taking a look focusing on main characters, they moved their interest in from Rabbit to the courtiers including Byeoljubu(鱉主簿) and Dragon King in Sugung palace, and it could say that, in this trend, Sori part and Deoneum were developed.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.55-68
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• 2020

The inscription found on buncheong ware (粉靑沙器, grayish-blue-powdered celadon) provides information on the bowl today, but in the past served as a device for controlling tributary payments (貢納) and the movement of government property (官物). The inscription had to be written or engraved clearly so that it could be recognizable to officials in charge of managing bowls. Such inscriptions offer important clues for contemporary research on buncheong ware. Buncheong Bowl with Stamped Design and Inscription of "Naeja" (內子) (bon 13808) in the collection of the National Museum of Korea bears a distinct inscription compared to other buncheong ware. Commonly, the inscription on buncheong indicated the name of the government office (官司名) to which the vessel belonged or the name of the place (地名) where the vessel was produced. However, the inscription "Naeja" on the buncheong bowl at the National Museum of Korea has no corresponding government office. "Naeja" is in fact a misspelling of Naeja (內資), meaning this bowl belonged to the Naejasi (內資寺, Royal Bureau of Procurement). Although "Naeja" (內子) was a misspelling of the intended Naeja (內資), it was still understood as a reference to the Naejasi since they were homophonic. Recently, buncheong ware with misspelled yet homophonous inscriptions have begun to be excavated in downtown Seoul. Examples including "Naeja" (內子) instead of Naeja (內資) and "Insu" (仁守) instead of Insu (仁壽) have been unearthed from historical sites in Seoul that functioned as consumption sites, meaning they were in fact circulated as government property despite the misspellings (whether accidental or the outcome of ignorance). Such misspelled yet homophonous inscriptions are characterized by the use of simple characters and a few sloppy strokes. Like other buncheong ware bearing the inscriptions of government office names, the bowls with the inscriptions of "Naeja" (內子) and "Insu" (仁守) were discovered at historical sites in Seoul. These misspelled homophonous inscriptions reveal that errors occurred during the process of engraving inscriptions on buncheong ware produced as a tributary payment during the early Joseon Dynasty and that buncheong ware with such errors were still distributed.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.12 no.4
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• pp.25-34
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• 2017

In market-oriented, infinite competition era, even the world's top-tier companies can be collapsed suddenly. In order to continue to grow, a company must constantly introduce new value to the market. What is required in today's business environment is the manifestation of entrepreneurship. The purpose of this study is to examine the relationship between corporate entrepreneurship and business performance and organizational commitment. The results of the empirical analysis are based on the data from companies which have more than 20,000 employees and 30 years business history. Structural Equation Modeling analysis was conducted to confirm the relationship between corporate entrepreneurship, business performance, and organizational commitment. Also, multiple Regression Analysis was conducted to confirm the relationship between entrepreneurial competency, corporate entrepreneurship performance, and management expectation performance. The causality between latent variables was significant. As a result, it was proved that entrepreneurial competencies had the significant effect on both corporate entrepreneurship performance and management expectation performance. Also, the study result was proved that organizational commitment showed the mediating effect between entrepreneurial competencies and corporate entrepreneurship performance. Based on the study results, the needs for developing individuals equipping entrepreneurial competencies was identified for increased business performance which was accomplished through the manifestation of entrepreneurship.