• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.99-106
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• 2020

Changam, Lee Samman(1770~1845), who created his own handwriiting to be referred to as the three great writers of the late Joseon Dynasty, invented as the original 'Haengunyusu Typeface' and developed Calligraphy spirit of DonggugJinche in Honam province. He ultimately pursued the state of tonglyeong by raising the personality of 'writing is the person's personality' and the attitude of learning the old. Through the book chang-amseogyeol, he basically polished Haeseo of Han Dynasty and Wi Dynasty and emphasized that Haengseo and Choseo are done automatically when muscle strength and bone strength are established. And since calligraphy originated from 'nature', it goes through the 'Beobcheongwijin' spirit. After doing so, expressed the state of tonglyeong of " mubeob-ibeob ", the stage of reaching. In addition, Changam showed the aesthetic that you can get the novelty by pursuing the philosophy of 'Wu' and the 'beauty of Stupid and Lacking' based on LaoTzu and ChuangTzu. This is a philosophy that follows nature's logic to reveal nature's nature. And it is an aesthetic that protects his 'True Wu' without knowing and greedy. On the other hand, Changam promoted natural and vital beauty through force in the method of using the brush. He suggested the 'Push and Hard' of the Han dynasty, pushing it with force using this power properly. In particular, the feeling of an IlunMujeog brush in 『Changam Calligraphy-The cloud stays Poem』 overflows with the vitality and bizarre and strange dynamism of the spirit and typeface as eum-yang harmonizes with each other. In addition, the beauty of Push and Hard containing polyeoghamse is misaligned, but it has achieved a natural aesthetic without invading. This work demonstrates the real look of Changam choseo. In addition, the beauty of Push and Hard containing polyeoghamse is misaligned, but it has achieved a natural aesthetic without invading. Changam proves the real look of "Haedong's best Chose Maestro".

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.69-86
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• 2020

Haenghaeng Ilgi (Diary of a Royal Trip) (koo 7152; hereafter Ilgi) in the collection of the National Museum of Korea provides an account of Crown Prince Sado's incognito royal visit to Pyeongyang in the fourth month of 1761. Ilgi was written by Ham Daeil, a low-ranking military officer in Pyeongyang. Ham was singled out for praise by Crown Prince Sado (1735-1762) and served the prince from the seventh day of the fourth month to the first day of the fifth month. Ilgi documented the deeds of Crown Prince Sado during this period and provides detailed information on his incognito visit to Pyeongyang, which was not officially recorded. Ilgi shows characteristics differentiating it from many other diaries. For example, the quality of the paper, neat handwriting, and well-organized sentences differ from those of common diaries. These distinctions indicate that Ilgi is closer to an official document than a private diary written by an individual. Since Ilgi records Crown Prince Sado's incognito visit to Pyeongyang, is only vaguely known otherwise, its contents need to be examined in terms of whether or not they are fully factual. As the first step in such verification, It is traced that Ham Daeil's family history which turned out to match what is written in Ilgi. Moreover, Ilgi mentions about Prince Crown Sado's writing a piece of calligraphy, and a matching piece of calligraphy written by Sado still survives today. It can be confirmed that the contents of Ilgi are factual in at least these regards. However, although Crown Prince Sado was known to have met people from various social classes during his visit to Pyeongyang, Ilgi focuses only on Crown Prince Sado and Ham Daeil. This suggests the possibility that the surviving version of Ilgi may be an edited condensation based on original texts containing more complete information on Crown Prince Sado's visit. Ilgi is presumed to have been produced during the generation of Ham Jeonghui, a son of Ham Daeil. The dates of birth and death of Ham Daeil fall during the reign of King Yeongjo. It is unlikely that any records regarding Crown Prince Sado would have been published while King Yeongjo, who was hostile to Sado, ruled the country. Ilgi also provides strong evidence that Ham Jeonghui presented the subsequent king, King Jeongjo, with the calligraphy by Crown Prince Sado and the diary. It is unclear if the book Ham Jeonghui presented him was the same as the extant version of Ilgi. Nonetheless, considering the situation at the time when King Jeongjo was pursuing several projects to honor his father Sado, it is highly probable that Ilgi was produced during the reign of King Jeongjo. The periods of presenting the calligraphy and the diary respectively overlapped with the production of Hyeollyungwon, the royal tomb of Crown Prince Sado, and Sado's sixtieth birthday. Therefore, is it considered reasonable that Ham Jeonghui produced Ilgi to promote his own social ambitions.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.234-257
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• 2024

Great Dharani Sutra of Undefiled Pure Light (Gwi) (LKH 10703) donated by the family of the late Lee Kun-Hee to the National Museum of Korea in 2021 is a calligraphy album consisting of sixty-two leaves compiled using butterfly binding. It contains Great Dharani Sutra of Undefiled Pure Light, "Record of the Production of Mugujeong Pagoda by the Order of King Munseong," a postscript by Kim Jeonghui, and an appreciation record by Oh Sechang. This paper has revealed that this album is identical to the material that Suematsu Yasukazu introduced in Volume 15 of the journal Cheonggu hakchong in 1934 and that it includes elaborate copies of Great Dharani Sutra of Undefiled Pure Light and "Record of the Production of Mugujeong Pagoda by the Order of King Munseong" on yellow Chinese paper, both of which were excavated from inside the Mugujeong Pagoda at Changnimsa Temple in Gyeongju in 1824. It has also reconfirmed that it is highly probable that the Great Dharani Sutra of Undefiled Pure Light that Jo Byeongsun, the former director of the Seongam Old Books Museum, unveiled in 1998, is a transcription of the original sutra excavated from Mugujeong Pagoda at Changnimsa Temple in Gyeongju. Moreover, it has concluded that the Great Dharani Sutra of Undefiled Pure Light owned by Park Cheolsang is likely to be another example of copying the transcription of the original sutra excavated from the Mugujeong Pagoda at Changnimsa Temple in Gyeongju. In the album of copies donated by the estate of Lee KunHee, six of the Chinese characters promulgated by Empress Wu were used fifteen times in total. Four of the characters of Empress Wu were utilized ten times in the Great Dharani Sutra of Undefiled Pure Light (national treasure, Bulguksa Temple collection) found among the reliquaries from the Three-story Stone Pagoda at Bulguksa Temple in Gyeongju and were also seen in the album of copies donated by the estate of Lee Kun-Hee. The use of the same characters of Empress Wu and other variant characters suggests that both the album of copies donated by the estate of Lee Kun-Hee and the Bulguksa sutra were based on an edition distributed in the Unified Silla Period during the eighth century. Kim Jeonghui confirmed the exchange of calligraphy between Korea and China through studies on bronze and stone epigraphs. He believed that the Great Dharani Sutra of Undefiled Pure Light and "Record of the Production of Mugujeong Pagoda by the Order of King Munseong" excavated from Mugujeong Pagoda at Changnimsa Temple were authentic materials showing the elegant calligraphic styles that prevailed before the Ouyang Xun style. Thus, the album of copies donated by the estate of Lee Kun-Hee holds great historical and artistic significance in that it is a rare example of Kim Jeonghui's evidential study of a transcribed sutra and an original record of the production of a pagoda from the Unified Silla period.

• 한국정보교육학회:학술대회논문집
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• 2004.08a
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• pp.668-676
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• 2004

미술영역 중 서예영역은 7차 교육과정으로 개편되면서 $3{\sim}5$학년 각 8시간, 6학년 6시간으로 한 단원씩 배당되어 6차에 비해 시간수가 11% 감소되었다. 그로 인하여 각 단계별 학습내용을 체계적으로 학습할 시간이 부족하며, 지도할 자료 부족과 자료제작의 어려움, 또한 학생 개인 수준 차이로 서예지도에 많은 어려움이 있다. 이러한 문제를 해결하고자 본 논문에서는 초등 미술과 서예영역의 교육과정을 분석하여 각 학년별 교과 내용의 효과적인 필법 자료를 단계별로 학습의 흐름에 맞추어 투입할 수 있도록 다양한 멀티미디어 자료들을 본 학습 자료와 심화 학습 자료를 재구성하거나 개발하여 적용하는 초등학생을 위한 웹 기반 서예교육 시스템을 설계하고자 한다. 이를 통해 서예 지도를 위한 교사들의 자료 준비와 부족에 대한 부담감이 줄고, 학생 개인차를 고려하여 자료를 투입할 수 있어 자기 학습력 신장을 엿볼 수 있으며, 학생 스스로도 서예에 대한 흥미도가 높아져 향상된 작품을 볼 수 있을 것이다.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.231-238
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• 2017

Today, as a means of online communication, the use of emoticons is activated in SNS. Emoticon is an important element to share impact effects and fun together with various content design attempts. In this paper, we analyze the expression patterns changed through development process of emoticons, and analyze characteristics and effects of emoticons which are combined with traditional culture among the types of emoticons currently used.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.152-154
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• 2010

시대와 문화마다 사용되는 문자와 그것을 표현하는 도구가 다르게 나타나지만 공통적인 특징은 의사소통과 기록을 그 목적으로 한다는 것이다. 그리고 원활한 의사소통을 위하여 시각화시킨 글자는 연상을 통해 특정적인 상징의 의미를 떠올리게 되고 시각화시킨 도구 또한 이미지 연상에 영향을 끼치게 된다. 본 연구에서는 글자를 시각화시키는 캘리그라피의 표현도구가 글자의 형태를 벗어나 도구 자체로써 수용자에게 어떠한 이미지를 연상시키는지 알아보기 위하여 진행되었다.

• Journal of the Korean Society for Library and Information Science
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• v.35 no.4
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• pp.79-95
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• 2001

This study suggests adaptations and expansions of DDC 21 for the Korean libraries. Adapted and expanded tables of Table 2, Table 5, and Table 6 are added regularly in the related subjects in the schedules. Classes of 200 Religion and 745.61 Calligraphy are newly adapted and expanded. Classes for Oriental medicine (610.95) and Korean music (789) are suggested. Other classes of 030, 050, 060, 070, 080, 181, 310, 340, 400, 800, 915, 950 are adapted based on the previous studies.

• Korean Journal of Community Nutrition
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• v.13 no.4
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• pp.510-519
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• 2008

This study was conducted to develop and evaluate nutrition education media for breast cancer. The booklet was developed and consisted of breast cancer and diet, breast cancer and nutrition, breast cancer and food safety and Ingredients and recipes for breast cancer. The questionnaire requested information related to demographics, importance and satisfaction of evaluation for nutrition education media, evaluation of each chapter, and satisfaction of educational media. The data were analyzed using SPSS for Windows(version 12.0). The results were summarized as follows. The importance score for nutrition education media was higher than the satisfaction score. As a result of IPA analysis, quadrant I included 'comprehension', 'appropriateness of media', 'emphasis of the point'. Quadrant II classified with 'appropriateness of terms', 'interest', 'authenticity', 'appropriateness of illustrations'. Quadrant III included 'appropriateness of color and calligraphy', 'simplicity'. Quadrant IV classified with 'appropriateness of examples', 'concreteness'.

• Conservation Science in Museum
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• v.19
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• pp.53-68
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• 2018

Hanging scrolls and handscrolls are common mounting for East Asian painting and calligraphy in which wooden Chukmok with Chukdu of various materials are attached either at the top and bottom or at each side of a work. Hanging scroll paintings or calligraphy can be hung for appreciation and rolled up for preservation. The Chukmok and Chukdu of a hanging scroll were made from different materials and were known by distinct names in Korea, China, and Japan. In Korea, the wooden Chukmok were called sanghachukhoengmok(上下軸橫木), which means horizontal wooden bars for the top and bottom axes. The wooden Chukdu were called Chukdu(軸頭), meaning the head of an axis. These Chukmok and Chukdu were made of Korean red pine, nut pine, or shiny xylosma. In China, the rod was called zhougan(軸杆) and zhoutou(軸頭), and they were made of Japanese cedar, sappan wood, or red sandalwood. In Japan, the top rod was called hassou(八双; 八裝) and the bottom jikugi(軸木), and they were made of Japanese cedar, red sandalwood, or crystal. In Korean hanging scrolls, the cross section of a Chukdu is either flat or round, and it can be either patterned or patternless. The designs include concentric circles, two circles, and three circles. Among the portraits of meritorious subjects analyzed in this study, three examples feature concentric circles on Chukdu with a flat cross section, which coincides with most of the king's instructions housed at the Jangseogak Archives. This suggests that flat Chukdu with a concentric circle pattern were used for binding most of the paintings of meritorious subjects commissioned by the royal court.

• (The)Study of the Eastern Classic
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• no.32
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• pp.29-50
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• 2008

This thesis is an introduction and critique of the recently released 'Wongyo-Jinjeok(원교진적)'. 'Wongyo-Jinjeok' is the critique of Seokjeong Jeong-Jik Lee (석정 이정직, 1841-1910), a practical scientist and writer during the last years of the Korean Empire, on the calligraphy of Wongyo(원교) Gwang-Sa Lee (이광사, 1705-1777). Even though whether or not Seokjeong follows the flow of Donggukjinche(동국진체) is to be determined by the specialists in this field, this thesis is based on the view that Seokjeong was influenced by Donggukjinche. The academic value of 'Wongyo-Jinjeok' is Seokjeong's preface and epilogue which critiques Wongyo's writing. 'Wongyo-Jinjeok'is a collection of calligraphic specimens from the 18 pieces of Chinese poetry Wongyo had written before and after June 1756 which was the year after he was banished to Booryung. Seokjeong critiqued the writing of Wongyo from the perspective of calligraphic history in the preface and epilogue of 'Wongyo-Jinjeok'. Seokjeong had been positive about Wongyo's taking after the pre-Wangheejee calligraphic style. But at the same time, Seokjeong thought that Wongyo's ability to create was limited by the public morals of that time. Such thought of Seokjeong can be interpreted as an evaluation of Wongyo's calligraphy as having been externally stern but failing to transcend the realm of mastery to the realm of creation.