• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.530-539
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• 2020

In this paper, we implement a digital content that visualizes the ten kings of Hell kings appearing in Buddhist myths according to their keyword. The ten kings of Hell are called ShiWang, and can be found in ordinary temples as tangible cultural Heritage such as paintings of the Buddha. ShiWang is a great king who controls the underworld and has been passed on in various forms in shamanism and Buddhist culture. We analyze the ShiWang, who appears in ancient literature, analyzes its features by hell and categorizes keywords. When the public chooses keywords of interest from implemented digital content, digital content represents the ShiWang and Hell image and descriptions associated with the selected keywords. Applications of the digital content are as follows; development of games and cultural characters, digital storytelling using traditional culture, teaching Buddhist culture and doctrines, games, etc.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.110-139
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• 2020

Reclamation is the act of creating new lands by constructing dikes in offshore tidal flats to utilize them for various purposes, including the establishment of farmland to secure food for an increasing population. Based on the fact that reclamation has resulted in drastic changes in the environmental, economic, social, and cultural aspects of land expansion and development, population movement, and the formation of cities since ancient times, I reviewed the value of reclamation sites and addressed the issue of how to preserve and utilize them. "Reclamation culture" refers collectively to the recognition and concept system, behavior styles, and cultural products created by changes in the environment, and the tangible, intangible, and natural heritage generated directly and indirectly by reclamation is defined as "reclamation cultural heritage". It shows that the historical background of reclamation accords with prevailing trends, and that the reclamation sites possess cultural heritage value due to their historical, academic, and scarce characteristics. Numerous reclamation cultural heritage sites at the Gwangwhal and Gyehwa dikes are on the verge of being destroyed, with their original function having ended after the construction of Saemangeum Sea Wall. I propose measures to preserve these under the principle that utilization is based on the basic premise of conservation. First of all, modern and contemporary reclamation sites must necessarily be designated and managed as registered cultural properties, local cultural heritage, future heritage, and agricultural heritage. In particular, as it has been confirmed that reclamation sites created after the Goryeo and Joseon dynasties and the 1950s have not been designated as cultural heritage sites. It is necessary to review the characteristics and values of such reclamation sites through a full survey of national reclamation data. Effective and sustainable utilization of reclamation cultural heritage, which has not been acknowledged in the past due to its close relationship with our lives, is necessary to search for hidden stories found within that heritage, to organize governance for the efficient use of reclamation resources, and to build a museum to collect and display the history and culture of the reclaimed areas. Finally, through links with countries with experience in reclamation, we will be able to cope jointly with international issues such as those pertaining to society, culture, and environment, and would be able to implement various projects to further the advancement of human beings.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.30-51
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• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.602-610
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• 2014

Tongyeong International Music Festival was established to commemorate the world-renowned composer Isang Yun. Despite its short history, the event is quickly grown into a global music festival. This paper considers the future direction of Tongyeong International Music Festival as seen through the musical world of Isang Yun. Although Isang Yun suffered through Korea's modern history and was deported from his own country, his works clearly use Korea, in particular the cultural heritage of Tongyeong, as his creative energy. His music is reflected in the festival in various forms, i.e., East and West, past and present, North and South and maestro and rookie, while pursuing a world of harmony. In order for Tongyeong International Music Festival to join the ranks of global festivals, an effort needs to be made to find the values from the tangible and intangible cultural resources of Tongyeong, the source of Isang Yun's musical creations, and connect these values to the music festival. I believe that, based on such cultural capacity, when Tongyeong International Music Festival becomes a unique festival that differentiates itself from music festivals in the west, it will advance into the successful music festival of a global music city.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.32-59
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• 2020

South Korea's area-based heritage preservation system originates from the "Preservation of Traditional Buildings Act" enacted in 1984. However, this system was abolished in 1996. As there was a need for protection of ancient cities in the 1960s, Japan enacted the Historic City Preservation Act in 1966, and 'Preservation Areas for Historic Landscapes' and 'Special Preservation Districts for Historic Landscapes' were introduced. For the preservation of area-based heritage sites, the 'Important Preservation Districts for Groups of Traditional Buildings' system introduced as part of the revision of the Cultural Heritage Protection Act in 1975 was the beginning. Then, in the early-2000s, discussions on the preservation of area-based heritage sites began in earnest, and the 'Important Cultural Landscape' system was introduced for protection of the space and context between heritage sites. Also, '33 Groups of Modernization Industry Heritage Sites' were designated in 2007, covering various material and immaterial resources related to the modernization of Japan, and '100 Beautiful Historic Landscapes of Japan' were selected for protection of local landscapes with historic value in the same year. In 2015, the "Japanese Heritage" system was established for the integrated preservation and management of tangible and intangible heritage aspects located in specific areas; in 2016, the "Japanese Agricultural Heritage" system was established for the succession and fostering of the disappearing agriculture and fishery industries; and in 2017, "the 20th Century Heritage," was established, representing evidence of modern and contemporary Japanese technologies in the 20th century. As a result, presently (in September 2020), 30 'Historic Landscape Preservation Areas', 60 'Historic Landscape Special Districts,' 120 'Important Preservation Districts for Groups of Traditional Buildings," 65 'Important Cultural Landscapes,' 66 'Groups of Modernization Industry Heritage Sites,' 264 "100 Beautiful Historic Landscapes of Japan,' 104 'Japanese Heritage Sites,' and 15 'Japanese Agricultural Heritage Sites' have been designated. According to this perception of situations, the research process for this study with its basic purpose of extracting the general characteristics of Japan's area-based heritage preservation system, has sequentially spread since 1976 as follows. First, this study investigates Japan's area-based heritage site preservation system and sets the scope of research through discussions of literature and preceding studies. Second, this study investigates the process of the spread of the area-based heritage site preservation system and analyzes the relationship between the systems according to their development, in order to draw upon their characteristics. Third, to concretize content related to relationships and characteristics, this study involves in-depth analysis of three representative examples and sums them up to identify the characteristics of Japan's area-based heritage system. A noticeable characteristic of Japan's area-based heritage site preservation system drawn from this is that new heritage sites are born each year. Consequently, an overlapping phenomenon takes place between heritage sites, and such phenomena occur alongside revitalization of related industries, traditional industry, and cultural tourism and the improvement of localities as well as the preservation of area-based heritage. These characteristics can be applied as suggestions for the revitalization of the 'modern historical and cultural space' system implemented by South Korea.

• International Journal of Costume and Fashion
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• v.12 no.2
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• pp.67-82
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• 2012

21st century is the Age of Culture, and a period that is represented by symbolism and imagery. This is no exception for the countries that want to enhance their image in the international community. In order for a country to improve its brand, it has to select a representative emblem, symbols and cultural items. The usual suspects for this are its name, flag, and anthem. Each of these items can elicit different types of symbolism. It can also be used to differentiate the country from others; however, these are not the only sources of symbolism at the country's disposal. Other popular tools include cultural heritage, both tangible and intangible, climate, natural environment, and its national character. A country can use these items to associate itself with certain images. The purpose of this study is to find an objective way to effectively boost Korea's brand. This will be done by comparing and contrasting the ways countries including Korea have used their national emblems to enhance their image. Data from each of the countries were collected and analyzed. The results of this study will become empirical evidence in researches aimed to develop fashion designs that use Korea's national emblem as its motif in order to improve its national brand Countries that were used for this research were United States, United Kingdom, Japan, France and Korea, and they were chosen because their national brand rated highly. The items selected for the analysis were scarves and neckties. This was because, compared to other fashion items, it was easier to sort out scarves and neckties that used motifs of national emblems as well as these two items having the highest usage rate of this type of motif. Group of experts looked through a combined total of 370 scarves and ties and they analyzed the following factors in the design: type of motifs, frequency, use of color, methods of expression and images.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Journal of the Korean housing association
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• v.26 no.2
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• pp.1-12
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• 2015

The era of globalization has ushered in dramatic changes in the past decade covering a wide range of distinct political, economic and cultural trends whereby people adapt their houses to suit their needs and desires. This paper discusses the process of change analytically, emphasizing the importance of understanding the transformation of Lao traditional houses and its impact factors to the transformation and adaptation to suit with globalization trend, and conservation of the characteristics of traditional houses. This study takes place in Luangprabang, an ancient city of Lao PDR, which was designated as a world heritage city in 1995 as it is rich with diverse, tangible and intangible values. Five cases of traditional house in Luangprabang are examined to understand their transformation through time, by analyzing the basic spatial formation, components and elements, especially to find out the impact factors to such transformation. The study revealed that the transformation of the traditional house is subject to not just one single factor, but to a number of factors, where globalization, regulation, economy, and social aspect factors play a prime role and are the root for all these changes. The case study also indicates that these changes are connected to the benefits of income generation as a survival strategy for the low and middle-income people in Luangprabang as well as the housing demands. In the transition period a new residential type appeared accordingly, in which living spaces were categorized according to their general functions. There was a harmony between people's needs and the physical characteristics of the house.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.240-247
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• 2018

In this paper, we implement a digital content that visualizes 33 Avalokitesvara-Bodhisattva according to the wishes of the public. The 33 Avalokitesvara-Bodhisattva is described in the Avalokitesvara-Bodhisattva tale that is found in the ancient literature "Memorabilia of the Three Kingdoms" as Tangible Cultural Heritage. Also, it is easily found in a wall painting of traditional Buddhist temples. The 33 Avalokitesvara-Bodhisattva is the saint of mercy that transforms into 33 various forms according to the wishes of the public. The Avalokitesvara-Bodhisattva tales deal with differences in the types of wishes of the public, and the tales have been speeded like wildfire among the people. So, in this paper, we classify them into 4 groups by the wishes (healing, security, academic achievement, disaster relief) of the public, and then analyze its symbolism and activity of the 33 Avalokitesvara-Bodhisattva. Also, we implement a 2D digital content that represents visually it according to the wishes of the public. Applications of the implemented visual content are as follows; development of character, game, and digital storytelling associated with traditional culture, education service for Buddhist doctrines, etc.

• Korea Science and Art Forum
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• v.16
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• pp.157-169
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• 2014

Lake Biwa Canal was a dream project that reminds us the passion and innovation of Kyoto Citizens more than water supply. It is a modernization project combining engineering knowledge and scientific technology, which started transportation by ship through big-scale civil construction as well as supplying electricity as the first waterpower plant in Japan, and it overcame the physiographic limit through adopting unique method of waterway transportation. Lake Biwa Canal, which has tangible and intangible culture heritage value as the traditional space of Kyoto, the Old Capital of 1200 years, conceives a cultural meaning that is connected through various mutual relation as well as scientific technologic factor. Lake Biwa Canal is not only the function for supplying water to gardens and temples of Kyoto region, but it is also a cultural fruit that is formed by complex causal relationship of various contents such as geographical and environmental background, the phases of the times, local development policy, political circumstances and religions. This study is aimed at interpreting the value of Lake Biwa Canal multilaterally by the convergence of cultural and technological aspects through the view of the world which the age tried to pursue, focusing on the construction of Lake Biwa Canal which was accomplished in the process of promoting the modernization of Kyoto.