• Journal of Ginseng Culture
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• v.5
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• pp.77-96
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• 2023

This study looks at the origin of a wild-ginseng, Korean ginseng, and traces the origin of associated wild-ginseng digging customs back to the Annals of the Joseon Dynasty. These historical customs helped Korea gain control over its wild ginseng resources following Japanese colonization acts, Korea's present-day forest laws, and Korean Civil Law. Prior to Japanese colonial rule in Korea (1910-1945), ginseng digging was a common custom, but Imperial Japan distorted Korea's own legal principles of the public rights of wild-ginseng digging during this colonial period. Distorted legal principles concerning digging customs continued after Korea's liberation from Japanese rule and were maintained until the enforcement of the Korean Civil Law in 1960, when legal principles of the right of common were changed to special servitude. The origin of the right of common can be found in the Sichojang of the Joseon Dynasty. The Sichojang, a place where local residents jointly collected firewood and fed livestock, was the minimum right to life and interest at the time. Since the right of common was the right to life, Imperial Japan attempted to abolish it, but it was never successful. In addition, distorted legal principles have been maintained in present-day forestry-related laws and regulations. Over 75 years since the liberation from Japanese rule in 1945, it is imperative to break away from the distorted legal principles and acknowledge that digging custom rights have changed from common customs to a special servitude under Korean Civil Law. Hence, an organization of wild-ginseng diggers is an unincorporated association, and their wild-ginseng digging customs can be constituted as a special servitude. Hence, their practices should be considered valid under customary law. Through this, it will be possible to clarify the legal nature and grounds for ginseng-related wild-ginseng digging activities, as well as the civil responsibility for the activities of wild-ginseng diggers.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.166-173
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• 2011

Asia has shown a tendency that a certain country's culture leads the fashion in turn every 10 years. The trend of Hong Kong movies in 1980's was called 'Hong Kong Wave', the trend of Japanese animation and games in 1990's was called 'Japanese Wave', and then the 'Korean Wave' began in the late 1990's. This term '~Wave(流)' is a Japanese-style term meaning '~way', '~style', '~group', and so on. In the same manner, recent popularity of Taiwanese TV dramas and a particular star that is in fashion in Japan are called 'Taiwanese Wave', and Chinese movies, broadcast, tourism, and etc. are called 'Chinese Wave'. Thus, the term 'Korean Wave' is a part of expression '~wave' used in Japan and it started to be used in the mean time, and was officially used in <韓流-Song from Korea>, a promotion record of Korean pop music, produced by Ministry of Culture and Tourism in Korea. In this paper I propose to correct the error of the term 'Korean Wave', and furthermore, to define a term expressing Korean culture and study for its usage.

• Journal of architectural history
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• v.21 no.6
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• pp.35-44
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• 2012

This paper aimed at investigating into the origin and meaning of the Japanese architect Terunobu Fujimori's 'piercing column', and drew a conclusion as follows. First, the piercing column that made its first appearance in his architect debut work Jinchokan Moriya Historical Museum (1991) was conceived unexpectedly from pencil lines on a sketch that went through over the building's roof. And the tree-like natural treatment of the column's surface was influenced by Takamasa Yoshizaka's description of a Mongolian mud-house. Second, most of piercing columns in his later works have nothing to do with a structural role as in Jinchokan, but were designed for a visual effect and as a symbolic gesture. Again, they allude to a tree in nature through a roughly peeling treatment of the surface. Third, considering his ideas in History of Humankind and Architecture (2005), his column could be related to a universal origin of architecture and a symbol of the sun-god faith, and in particular to independent columns of Japanese Shito shrines, such as 'Onbashira' in Suwa and 'Iwanebashira' in Izumo. That is to say, the Fujimori column is a medium that implies the animistic nature-faith of Japan. Nevertheless, Fujimori's naturalism hints at a disquieting quality through an intentional artificiality and a provocative conflict between structure and finish of a building, which might be one aspect of the modern condition, 'uncanny'.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.114-126
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• 2009

The purpose of this study is to analyze the art characteristics of Japonism expressed in Art Nouveau jewelry. This study also provided an opportunity to seek for the development direction of contemporary jewelry design for the future. The influence of Japanese arts in Art Nouveau jewelry, was mostly from Ukiyo-e, an art form from the Edo Dynasty in Japan. Japanese arts soon inspired the origination of Art Nouveau across Europe in the late 19th century. And the scope of its infuluence is shown in jewelry which created by contemporary painters and designers. Ukiyo-e, a folk painting was created from multi-color wooden printmaking emerged many Japanese art collectors, including Samuel Bing and Arthur Lasenby Liberty. This became a source of new inspirations for Degas, Monet, Gogh and the origin of Japonism. The layout techniques that used perspectives higher than eye level and that extremely cut or expanded major objects for emphasis were typical Ukiyo-e characteristics. The result of this study is found out by showing the evidence that influence of this Ukiyo-e's method came up with specificity as planity, naturality, decoration and express on the Art Nouveau jewelry.

• Korea journal of population studies
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• v.31 no.3
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• pp.131-157
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• 2008

The purpose of this study was to examine the difference in depression level of Japanese, Chinese and Vietnamese wives who are residing in Korean society. Special focus was taken to compare the differences in terms of the origin of nationality. Guided by the role theory, we analyzed the effect of parental role and work role on depression of foreign wives. Also we considered the social resources, ethnic characteristic that are well-known to be associated with the role performance, in this study. The data came from the sample of 524 foreign wives case (Japanese 35%, Chinese 31%, Vietnamese 34%). The result show us that depression level is different by origin of nationality of foreign wives: Vietnamese wives were more depressed compare to Japanese or Chinese wives. The effects of two social role on depression were significant even if the social resources and ethnicity are considered in the model. However, the strength of the effect of social roles were different by one another: having a job was especially effective to decrease the Chinese wife's depression level, while for the Vietnamese wives, parental role was essential to lower the depression level. In addition, the social determinants of depression were differ by the nationalities of wives. The results imply that the social adaptation process of foreign wife may be varied by the origin of nationality.

• Journal of the Korean Society for Library and Information Science
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• v.22
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• pp.219-257
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• 1992

Among the Chinese Characters originated in Japan, some of them are very ancient in their origin and others come to exist as different forms by being used widely in forged books in Chinese. These Characters can be divided into three groups. First, the Chinese Characters whose forms are different. Most of these are 'hoiui' (회의)character, being made by imitating the forms of the original Chinese Letters. These characters do have meaning but not pronunciation. This is one distinct feature of Chinese Characters originated in Japan. Second, the Chinese Characters whose meaning has been assigned by the Japanese people. These letters can be grouped into two. One is the letters whose meanings are entirely different from original Chinese Characters, and the other is the letters whose meanings are not known although their pronunciations are known. It can be explained that the letters with different forms are made because of the ignorance of letter's existence. Or, the letters were made on purpose in ordoer to be used in different meanings. Third, the Characters with a partial modification of original Chinese Characters. Among the Characters in three groups above, pure Japanese-made Chinese Characters are those in group one and three since those in group two are Chinese Letters whose meanings (or pronunciation) only are Japanese. As a results of detailed investigation of pure Japanese-made Chinese Character in JIS X 0208-1990, the followings are discovered: 1. Pure Japanese-made Chinese Characters are 147 in numbers. 2. The Characters which were originally Chinese but now considered to be Japanese-made are 5 in numbers. Among these letters, 39 Characters are not listed in TaeHanHwaSaJon(Whose fame is well known as the authoritative dictionary of Chinese Characters), 47 Characters are not found in the dictionaries of Chinese Characters compiled in Korea. 3. 14 Characters seem to be Japanese-made Chinese Characters although it cannot be said so with accuracy because of various meanings found in several dictionaries of Chinese Characrters.

• Journal of Engineering Education Research
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• v.22 no.5
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• pp.49-55
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• 2019

Folded structure is widely applied in various engineering fields. Many of the Japanese folding fans in the Edo era (1603-1868) have been successfully blended with the processing technology of "natural materials" that is the origin of Japan's "Monodzukuri" (craftsmanship) and its application "artistic originality". The charm of a fan lies in the diversity of stereoscopic expression not born in plane representation. For example, the effects of folds, the expression of the front and back sides flowing from the front to the back by double-sided description, and the two-layer effect of raising the backside from the surface using the permeability of Japanese paper, the calculated depiction are also seen. Moreover, by handling the fan, it also produced an illusion effect which skillfully calculated the change due to movement of the viewpoint. Students experience the natural materials such as Japanese paper, bamboo and starch paste, which are the materials of paint and fan at the time, and processing method, and know the difference with the current one. This study is to verify the effectiveness of engineering education which gains experience by making concrete fans and to understand deeply this traditional technology with the artistry of a Japanese fan at the same time. And we can learn from the characteristics of the fan to Japan's history and culture.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of the Korean housing association
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• v.18 no.4
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• pp.69-78
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• 2007

This study is to describe the changes of spatial structure of Korean traditional housing in urban context with the following preconditions. Firstly, Chosun Hanyang's urban housing should be classified as it's own type. Secondly, Chosun's traditional housing accomplishes a complete urban housing type in Japanese colonial period through the stream of time. And the purpose of this study is as followings. First is to find out the process of changes of urban housing in urban context from the latter period of Chosun Dynasty to 1960's. Second is to find out the origin of spatial structure of urban house which is being kept throughout the above changes. Third is to find out the unique characteristics of urban house and the fundamental differences with folk houses in province.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.69-79
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• 2014

In recent years, the number of love stories in Japanese TV series are decreasing. Comparing this with Korean popular TV series in Japan, it was found that Korean TV series have the following differences. In the Japanese series, the main characters were mostly from common origin. The conflicts within each relationship stage illustrated the conflicts between characters and their surroundings, as well as the conflicts which commonly arise in real life, that with the self. Confessions of love in the Japanese series used simpler expressions. Some couples did not even say "I love you". Further, when love was threatened, rarely was deep attachment shown. There were even cases where the main characters did not end up as a couple. On the other hand, there often existed a class difference between the male and female main characters in the Korean series and conflicts mostly arose from differences of environment, illness, love rivals, and etc. Every couple verbally confessed their love and they used more passionate expressions of love than in the Japanese series, and when love was threatened no man backed down and each showed his deep attachment. Finally, there were happy endings for everyone even after the many complications.