• Journal of the Daesoon Academy of Sciences
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• v.18
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• pp.81-99
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• 2004

This text discusses trends in the construction of religions since the Meiji Era, using Konkokyo and Restoration Shintoism as examples. The construction of religions is applied here as the process of a deliberate acceptace of religious images as a discourse of "Civilization" endowed with "kyougi" or "Doctrine" and "kyousoku" or "Rules of Instruction." Winding through a meandering path, these constructed religions do not take precedence over "Jikyou" or "State Religion." Yet, "Jikyou" for a while was fixed in its own fragemented self-imagery. As for Shinto, in 1900, the Office of Shinto Shrines became independent from the Office of Shrines and Temples in the Department of Domestic Affairs, and clearly Shinto and Shinto Shrines were part of secular state ideology. In the Bakumatsu and Meiji Periods, it ultimately was cut off from Restoration Shinto, thereby achieving this development on its own. This tells of the formation of an entirely new and modern Shinto within a secular "Jikyou." Konkokyo, moreover, as a religion establishes "kyousoku" and "kyougi." As a Shinto sect, it takes steps on the path toward recognizing a self-identity, namely as religious Shinto. As a result, dogmatization and systemization progress, and "Byoukinaoshi" or "illness-recovery" from the Tokugawa Period weathers. Also, as for progress in the Shinto religious order, from its foundation, the characteristics of a unified state and religion emerge, and thus there is an acceptance of significant restrictions. This dillema continues to persist as a problem in postwar Japan. Shedding light on Tokugawa Era practice also sheds light on where we can now take religious concepts.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.165-181
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• 2016

This study looks into the Korean traditional costume formation and the thoughts of the Korean people that form the foundation of that Korean traditional costume formation. And the goal of this study is in linking the thoughts and formative characteristics reflected in the Korean traditional costume formation to the fractal geometry, in an attempt to reveal correlation between Korean traditional costume formation which have existed for thousands of years to contemporary science of the West. The fractal theory that appeared as the new paradigm of contemporary science displayed similarities with the traditional ideologies of Korea, and the fact that formation principles of fractal appear in the formation of Korean costume, formed based on the Korean ideologies, show magnanimous capacity of the traditional Korean culture. When we look at the concept of fractal, the word fractal refers to the structure in which the shape repeats, where small structure is similar to the whole structure in form in endlessly repeating structure. In other words, 'fractal' means a structure that geometrically untangles the concept of 'self-similarity' which possesses the same shape in parts and in whole, and its major characteristics include 'self-similarity', 'circularity' and 'repeatability'. Korean costumes were formed based on the Han-thoughts, with a structure that possesses parts within the whole and the whole within parts, in accordance with the self-similarity theory of 'fractal'. This study compared studied fractal phenomenon which appear in formation characteristics of Korean traditional costume, which were formed based on the Korean traditional ideology, in other words, Korean costume formation and formation principles of fractal geometry were compared studied.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.20-31
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• 2011

Decentralization is an effort to liberalize people from its character of neutralizing or restraining people while indwelling in the previous thought system. Decentralization in fashion is one of the phenomenon of post-modernism fashion, and it is closely related to de-culturalism, crossover, abolition of rank, and etc, and it is in line with Asian look which includes orientalism fashion. The study intends to consider the Phenomenon of Decentralization of Asian Look and its Method depicted in the western fashion. The study focuses on documentary data, and the it is held with the basis of Asian look shown in western fashion. If ideology which influenced the formation of folk costume of Asia, Asian look is the dissolution of such ideology, and post-modern amusement is substituting it. The most conspicuous characteristic of decentralization phenomena of Asian look is pastiche which is a combination and reallocation of external style of many cultural zones and many folk costumes, and it shows mutual irrelevance, and it is a neutral imitation which has internal meaning and humor disappeared. Also, Asian look shows characteristics of parody and irony, which are reversal characteristics of aesthetic value which is expressed through methods of addition, modification, distortion, exaggeration, inversion, dissolution, and etc. Parody which is expressed through imitation regarding previous style shows effect of humor or satire, but its characteristics show that it expresses respect or admiration regarding the original The method of irony is showing sarcasm with ironical method regarding the peculiar style of Asian folk costume, and it pursues unexpected shock and joy, and it is closely related to orientalism fashion. Expansion and constancy of Asian look reflects the interest regarding folk of Asia and Asia, and it is a movement which intends new attempt by abolishing stereotype, and furthermore, it is expressing liberty of humans.

• Journal of the Korean Institute of Landscape Architecture
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• v.15 no.2
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• pp.101-113
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• 1987

The landscape structure of the both pre-industrial and industrial cities should be influenced to the topographical feature , religious thoughts, political ruling system and history. In the major socio-cultural factors in the pre-industrial townscapes in korea, the Feng - Shui(poongsu) which is an acient human settlement organization system based on the “Yin - Yang” principle and “Five Elements” and “Chryaegogong”system were the most important factors to the formation of traditional town scape in Korea. The landscape during the Japanese colonial periods were basically reorganized through change of “Boundary”, “Center” “Direction(path)” and “Domain” which were expressed by distinct traditional townscape in Yi dynasty. The physical shapes, meanings and behaviors of townscape were expressed properly of the intention of the colonization. As changes to the mordern industrial cities, the townscape had been amended landscape elements of the Japanese imperialism to an ideology of rebirth nation. Also as changes to the modern industrial cities, “Boundary”, “Center”, and “Domain” spreaded into the suburbs by funtionalsm and these were expressed an incoherent value system which were the advancement of growth, pursuit policies as well as an advancement of science techniques.

• International Journal of Fuzzy Logic and Intelligent Systems
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• v.13 no.4
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• pp.291-297
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• 2013

Chaotic dynamics have been studied by many researchers in the fields of biology, physics, and engineering. Interest in chaos is also expanding to the social sciences such as politics, economics, and others, including the prediction of societal events. The concept of leisure has developed from a passive concept correlated with relaxation, entertainment, and ideology formation into a positive concept that assumes a more active role. As information and communications technology develops, digital leisure activity is expected to continue spreading. This expansion of digital leisure function correctly, as well as. Traditional leisure activity functions correctly more, whereas digital leisure activity is predicted to function incorrectly more often. In this paper, we propose a mathematical addiction model of digital leisure that deals with its dysfunctions such as addiction to digital leisure, including computer games, internet search, internet chatting, and social media. Herein, to solve addiction to digital leisure, we propose a model derived from a nicotine addiction.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.297-304
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• 2001

The study is Intended to clarify the ideologies and principles applied to the formative expression of church architecture which is contained both the God and human. After modern times, from the result of study of modern architectural movement, all of architectural ideology have not been developed with the church architecture. Some of architectural concept have been the foundation of modern church architecture. Among them, focusing the area which is developed the form of the church architecture wish the regional architectural expression -America, Northern Europe and Latin America - the expressional characteristics have derived that the church architecture have specific characteristics by the analysis of the characteristics from the influence of the regionalism. After all, regionalism-church architecture which describes recognized and behavioral organism and recognize the kind of the regional tradition and show regionalized formation shows the expressional characteristics of modern church architecture.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.9
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• pp.1347-1360
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• 2009

Historical compliance with economics in a political interchange accepts the elements of multiculturalism to develop a new field in the research with China. New research seeks to point out the characteristics of the Baekje dress style in relation to studies on East Asian fashion that observe the role and place of Baekje apparel. This study reveals the formation background of Baekje dress culture. Examined are the cognitive world of Baekje dress culture. The study reveals the form of the three Baekje Kings and royal dress.

• Archives of design research
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• v.16 no.3
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• pp.175-182
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• 2003

The objective of this study is to systematically understand the swiss graphic style and examine the design ideology of designers and the visual features, with the focus on the posters that played the largest role in the formation and settlement of the swiss graphic style. Although through other visual designs such as editorial design, from the outside beyond posters, the swiss graphic style has evolved to exert a large influence around the world, based on the posters that served as the main medium for expression by designers and that were used the most in instigating the public, this study aims to cast light on the swiss graphic style, which has become recognized as the textbook of the graphic design around the world since the mid 20th century. First, the study casts light on the meaning of the creation of the graphic style through the background and the formation process, aiming to examine the visual features of the swiss graphic style and how they are integrated through the posters of Swiss designers. The personal activities and efforts of individual designers contributed significantly to the formation and development of a certain design style; however this study intends to identify the other equally important elements: the underlying social and cultural influence, the legacy of previous design styles and ideologies, the collective enthusiasm of designers, and the active progress of experimental research.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.270-285
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• 2020

This study examines the state of archeological research on Silla and Unified Silla conducted in North Korea and identifies its characteristics. In South Korea, most research has focused on prehistoric times in North Korea, and little research has been done on Silla and Unified Silla. Noting this, we attempted to examine the history of archaeological research in North Korea to provide foundations upon which to go forward. The research was examined in terms of general archaeological themes including tombs, fortresses, the capital city, earthenware, roof tiles, ornaments, weapons, and horse harnesses, and we identified four characteristics from the examination. First, Juche ideology had a great influence on interpretation of the unification of the three kingdoms. The Juche ideology was first proposed in 1955, and at the time, it was not fully established as an ideology but rather seen as constituting opposition to toadyism. Accordingly, the unification of the three kingdoms led by Silla was seen as amounting to collusion with foreign forces and was not acknowledged. A piece of evidence shows that this change took place around 1962. Second, an inclination to testify to the 'uniqueness' of the cultures of the three kingdoms is observed. The argument is that culture in the Korean peninsula has unique characteristics that set it apart from Chinese culture, and that the cultures of the three kingdoms share much in common. This inclination was not mentioned in research until the 1950s, and it can be seen as an effort to comply with Juche ideology and prove the principle of unity as stated in the national leader's instructions in the 1960s. Third, the influence of Goguryeo on the formation of Silla culture is emphasized. Related research explains that Baekje, Silla, and Gaya adopted the 'superior' culture of Goguryeo, and could establish 'uniqueness' of culture accordingly. It is claimed that an advanced Goguryeo culture was disseminated throughout Balhae and Unified Silla, and then to Goryeo, resulting in a true unification of the ethnic culture. Fourth, researchers in North Korea presume the Silla tombs and other relics to be far older than South Korean researchers' estimate. From a standpoint of highlighting the long history of Korea, they estimate the Silla Dynasty was founded in the early or mid-first century. Accordingly, archeological evidence that demonstrates the establishment of the state is dated as far back. Such an estimate is also indispensable in justifying the explanation that the chamber tombs of Goguryeo had a direct influence on Silla. These research characteristics which arose during the 1960s continue to be basic guidelines for North Korean researchers.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.