• Journal of Digital Convergence
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• v.19 no.2
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• pp.463-469
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• 2021

The aesthetic value of Korea is rising in various fields through the use of designs using Korean materials. Korean materials contain oriental ideas and are widely used as materials for design development due to the uniqueness of its form. The purpose of this study is to present basic data of nail art design differentiated nail art designs required at the nail art industry site by producing nail works using Korean materials. Accordingly, We proceeded on the basis of theoretical consideration and empirical research for the development of nail art design, a field of beauty in this study, and made a Korean and unique nail art design work using the Four Gracious Plants. For this purpose, we considered theoretically the characteristics of nail art and the Gracious Plants, and made nail art design works derived from empirical research. The work was analyzed by color, texture, and design elements of form. Therefore, the mixed method of Nail Art and the Gracious Plants, which is the core of this study, is considered to be meaningful in laying the foundation for creative nail art design development.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.25-38
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• 2010

This study aims to, first, classify the approach system of utilizing national and local amenities into three groups: evaluation of the level of the amenity, evaluation of the value of amenity resources, and utilization of amenity resources. Secondly, the study aims to derive an evaluation index which is required according to the approach system. As for a strategy of utilizing amenities, the self-diagnosis based on the evaluation of the level of local amenities is required. In this study, three sectors, ten items and 43 detailed items have been derived though specialists, FGIs(Focus Group Interview), and the cases within and outside of the country. In the survey with specialists, a unit-space key index which can be used in accordance with the unit-space characteristics(such as urban and rural area, fishing villages, mountain villages, and littoral areas), environmental area, important index and optional index have been derived. As for the evaluation index which is needed for the development of typical local amenities resources, 14 detailed evaluation indexes from three sectors have been derived. These have been classified again into six key indexes, six important indexes and two optional indexes. In the evaluation index of amenity resources, natural and environmental value-such as ecological value of preservation, uniqueness of aesthetic landscape and ecological value of restoration-historic and cultural value of preservation and individuality of the resources, and aesthetic and cultural values are derived as being important. As for utilization of amenity resources, 15 items from three sectors-such as reservation, restoration, intentional use, and industrial use-have been derived. Also, through a survey with specialists, key indexes and important indexes were derived by unit-space. As a result, in urban areas, seven items-including creative development of space, aesthetic landscape control and development of cultural contents-have been derived as key indexes; in rural areas, mountain villages, fishing villages and littoral areas, eight items-including brand of region, brand of the products, and brand of tourism resources-have been derived. In environmental areas, six items-including reservation of natural resources, historic and cultural heritage, and restoration of ecosystem-have been derived. Indexes derived from this study can be utilized in order to establish a strategy for amenity plans and an implementation strategy, but can be readjusted, allowing for various regional characteristics. It is, thus, advisable that local governments selectively utilize indexes according to regional characteristics or newly develop them for the maximum utilization of regional amenities.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.639-654
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• 2014

What is noticeable in Changgeuk Madame Ong is that for "narrativization," a main character is replaced with Madame Ong and her mother and a reinvented story as a result thereof is the female liberation from oppression. The director sought for the completeness of the narrative with a plot line created (i) by daringly deleting the latter half (episode relating to Gangsoe's death), which was a persistent problem unsolved both in the original and its derivative contents, (ii) by diluting Gangsoe's patriarchal authority and thereby creating the ending of endless love and the fruition of love, and (iii) by severing the link between Madame Ong's doomed fate of widowhood and Gangsoe's doomed fate of death by the violation of a taboo (the key factors of the original story) and at the same time, thereby inserting the doomed fate of death by Jowang (god of fire), declaring a war against jangseung (Korean traditional totem pole), the aesthetic structure representing "fictionization," and enabling a female character to gain love, fame and life through free will and spirit of resistance. The director achieved a remarkable success in terms of composition by (i) taping into a variety of genres of music, (ii) by maximizing the effect of Madame Ong's solo, (iii) by strengthening the "uniqueness of each part" through chorus, (iv) by creating a dramatic atmosphere for the change of scene, (v) by applying a dual variation of tension (resistance theme) and relaxation (freedom theme), etc.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.28-38
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• 2018

The purpose of this study is to clarify what is the unique garden making methods of Enshu Kobori by surveying and analyzing that existing garden of Enshu Kobori is different from the existing Japanese garden that had been built up to such a period. Enshu Kobori breaks away from the conventional frame that was established with the gardens of existing Karesansui style(枯山水樣式) with the materials of rocks and sands. Enshu Kobori is produced to make harmony with the rocks by trimming the Rhododendron indicum and this type of making method of Enshu was originated from the aesthetic principle of kireisabi. Due to this type of cause, the garden of Enshu Kobori displays splendid and yet a simple beauty of gardening. With respect to the establishment of a garden unique to Enshu Kobori as such, it seemed to have the cultural background expanded with the cultural perception and official family class of the edo period where it strived for new things. Therefore, Enshu Kobori was designed as the ornament-oriented garden rather than the garden that requires direct ceremonial act. The subject sites for this study are Raikyuji, Daichiji, Shodenji, Nanzenji Hojo and Konchiin as intended by Enshu Kobori. Contents of the study contemplate the location of garden, factors to introduce the garden, structure of garden, background of garden, use of stones, plants and scenic views to clarify the uniqueness of the Enshu Kobori garden.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.86-93
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• 2009

This study analyzes the systematic visual images and factors in and outside of the main courtyard in Byungsan-seowon. The results are as follows; In terms of space distribution, Ip-kyo-dang is located at an elevation of 85m and the distance to Byung-san is 365m. Byung-san with the mean gradient over $50^{\circ}$ looked so stiff, and the east side of that cliff is higher than west. In terms of the angle of elevation relationship between Man-dae-ru and Byung-san draw 10.5 degree and it suits with human scale. The D/H ratio of 1:3 makes the given place very spacious but the linear stiff shape of Byung-san may cause the feeling of closeness. The results of the visual image analysis of the main yard facing Byung-san is very positive with a score of 1.70 in openness, 1.78 in wideness, 1.96 in beauty, 1.96 in harmony for the spacious arrangement which overall, makes the seowon beautiful with many open spaces. There are 4 main implicated factors analyzed which are uniqueness, aesthetic, openness and nature. Out of the total variables, these factors' descriptive ability is 55.90% and the remaining 44.10% is error and peculiarities variables. The factor which contributed most to Byungsan-seowon's main yard's visual preference was the 'aesthetic' with B-values of 0.661 and 0.455 in the nature category.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.1
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• pp.43-56
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• 2012

The purpose of this study was to propose management strategies through aesthetic landscape assessments for landscape units in the Han River riparian(HRR) area. First, this research reclassified the HRR into "natural," "artificial," "agricultural," and mixed landscape types and selected 37 representative case areas(about $1km{\times}1km$). This study found 71 landscape units in consideration of topography and land surface classification. Landscape assessment consisted of landscape quality and landscape integration assessment. The criteria for assessing landscape quality were "naturalness," "interest," "uniqueness," and "landscape function." "Landscape quality" was ranked into five grades using a matrix. The landscape integration assessment consisted of an inner integration assessment in each landscape unit and outer integration assessment among landscape units. As a result of the field study, case sites were found to have 4,288 landscape units and an area of $42.8km^2$. The forest area was found to have the most space with $11,580,905m^2$(27.1%), while the wet lands had just $52,348m^2$(0.1%). In the landscape quality assessment, about 30.5% of the total area consisted of landscape units that scored highest in "naturalness". In the landscape integration assessment, about 39.3% of the total area consisted of landscape units which scored highest in "integration", denoting visual interrelation and harmony. The existence of disparities in landscape quality in accordance with the form of the landscaping was determined using a Oneway ANOVA, with "naturalistic" landscaping scoring the highest and "artificial" landscaping scoring lowest. This study may contribute to making the HRR area a more ecologically sound and visually attractive landscape space. It is recommended that the aesthetical and ecological value of the landscape unit should be assessed simultaneously in the future.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.