• Conservation Science in Museum
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• v.25
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• pp.51-62
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• 2021

The Belt with Rhinoceros-Horn Ornaments(known as a seodae in Korean) from the family of Princess Deokon's descendants housed in the National Hangeul Museum underwent emergency treatment for a special exhibition in 2019 upon the request of the National Hangeul Museum. Priority was given to the restoration of the original form of the severely damaged belt and the repair of its detached horn ornaments. Prior to the conservation treatment, researchers conducted a theoretical study of the belt with rhinoceros-horn adornments to learn the names of its structural components and the changes in form that the type experienced by period, thereby establishing a plan for conservation treatment and setting a direction. Among the belts worn by officials from the Joseon dynasty, rhinoceros-horn ornaments were attached to those of officials of the first rank and were considered the most precious behind the king's belt with its jade ornaments. The rhinoceros horn adorning the belt is classified into three categories according to quality. This belt has horn adornments of the highest quality, falling under the "grape design" category with dark brown dots concentrated in the center. The belt has a rectangular shape and lacks a buckle, reflecting a popular form from the nineteenth century. The structure of the belt was identified over the process of conservation treatment, offering information about its method of production. In addition, comparison of the relic with belts with rhinoceros-horn ornaments depicted in Joseon-period portraits of officials allowed the identification of changes in formal features and the detailed structures of belts with rhinoceros-horn ornaments by period. It confirmed that the belt subject to conservation treatment shows the features of belts with rhinoceros-horn ornaments produced in the nineteenth and twentieth centuries.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.741-747
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• 2022

The purpose of this study is to analyze the success and failure factors of the Seoul Garden show to redefine the purpose and goal of the Seoul Garden show in the future, and to create a foundation for the Seoul Metropolitan Government to contribute to the popularization and spread of garden culture and improvement of emotional life. In order to achieve the above purpose, a survey was conducted on two groups of the general public and exhibition participants. The contents of the survey include identifying satisfaction factors and problems with the Seoul Garden show, and establishing the direction of the Seoul Garden show. As for the factors of success, the number of writers was the highest, and the improvements were overall for each element of the Seoul Garden show, but mainly for industrial exhibitions, rest areas, and publicity. In addition, the Seoul Garden show should be held in the old park with the aim of spreading, popularizing, and living the garden culture, and many gardens should be created around the artist's garden. The Seoul Garden show is contributing to society in many ways, and there are some improvements, but considering the high willingness to revisit the Seoul Garden show, it can be said that the Seoul Garden show so far is valuable enough.

• Journal of Venture Innovation
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• v.5 no.1
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• pp.145-154
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• 2022

This study briefly compares the first-cycle certification of nursing hospitals with the second-cycle certification, reviews the changes and achievements of the second-cycle certification and the third-cycle certification, and examples of challenges and solutions in the process of preparing the third-cycle certification. In this study, it is suggested as follows. First, in order to see the practical effect of certification intended by the government, the exhibition is prepared in a short period of time before certification. Second, after the implementation of the nursing hospital certification system, research on the hospital performance of the medical institution certification system is insufficient in terms of quality and quantity. Therefore, in order to see the effect on the certification system, various research support is also required so that research on this can be actively conducted. Third, design certification standard guidelines from a long-term perspective so that the standard guidelines for certification do not change significantly, and certify not only the guidelines but also individual standards and forms that can be used by medical institutions. Fourth, in the four-cycle certification, accurate and realistic guidelines for infection control and quarantine ward operation support should be developed. The importance of managing infectious diseases will be highlighted in the future due to COVID-19. Fifth, medical institutions can improve the quality of medical care in nursing hospitals and have competitiveness if their daily activities, not short-term certification preparation, are carried out in accordance with certification standards, which affects performance. Sixth, when preparing for certification, nursing hospital officials have problems in organizing documents or processing administratively in the short term as in the past. This is also based on the certification criteria for the usual business process.

• Design & Manufacturing
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• v.17 no.3
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• pp.21-27
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• 2023

The mold industry in Japan, an advanced country in the mold industry, is also at a point of great change. The main causes are the Ukraine crisis and the collapse of the global supply chain (parts supply chain) caused by COVID-19. In addition, the prices of overseas products are rising sharply due to rapid exchange rate fluctuations (decrease in the value of the yen). Until now, Japan's monotsukuri industry has been actively pursuing overseas expansion, riding the trend of globalization. However, the trend began to rapidly reverse, and now the monotsukuri industry that had expanded overseas is showing a tendency to return to Japan. Another factor of change is the change in the automobile industry, which is the most demanded product in the mold industry. As the automobile industry evolves from gasoline cars to electric cars, the number of parts that make up a car will drastically decrease. This trend is expected to increase the demand for small-scale production of a variety of products in the mold industry, and furthermore, it is expected that short delivery times will be required in parts development. As in Korea, the production population working in the mold industry is rapidly decreasing in Japan as well. Even if you add up the total population working in manufacturing in Japan, it only accounts for about 15%. Even in Japan, it is judged that it will be difficult to sustain the monotsukuri industry with this small production population. Therefore, since improvement in production efficiency cannot be expected with the same manual dexterity as before, the mold industry is also demanding the development of mold technology at a different level than before to increase productivity. In this paper, I would like to introduce new Japanese mold technology collected through attending the Intermold exhibition. This is an example of applying a dedicated pin (Gastos) to a mold to prevent an increase in internal pressure during plastic injection molding, and a deep drawing press molding technology with an inherent hydraulic function.

• The Journal of Art Theory & Practice
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• no.9
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• pp.93-121
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• 2010

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of the Korean Society of Costume
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• v.26
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• pp.175-206
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• 1995

The costume culture of China is as old and varied as her long history. As China is a multiracial nation and consists of fifty-six min-ority races including Han race, there are not only fifty-six different costumes in China but each races' costume habit is very different. Therefore, Chinese penninsula can be considered an enor-mous exhibition center of the costumes. This study undertook on the assumption that the costumes' mainstream of Korea and east-northern Asia as well as that of China could be examined by investigating the minority races' costumes in the east-and west-northern areas of China. The process of evolution of the costume of a particular people, country or area is subject not only to constraints related to geography such as climate, topography or local products but is also affected by numorous environmental influences including cultural, economic, social and even pol-itical ones in terms of the selection of material, styling, color and standard of tailoring. In other words, things like philosophy of life, religious be-lief, aesthetic outlook, moral code, class system, degree of affluence, and cultural exchange will all be reflected directly or indirectly by features of a people's or country's style costume. Of course, there are several factors affecting to the style of costume of the minority people in China. However, the only three factors-geo-graphical and environmental, production method, and religious belef-will be touched in this study. First of all, the geograghical and eenviron-mental factor would be the decisive one because the costume should be designed to overcome the constraints of climate and geographical environ-ments. Accordingly, each race has an unique style of costume. The costume of the minority races in the northern parts are loose and wide, and made of warm furs. For instance, Mongolian robe has the quality of anti-wind, anti-cold and warmness, and the width of a sleeve is narrow and long. Secondly, the costume style can be said to be limited by the production pattern, when the geo-graphical environment was affected to decide the costume style, the production pattern was together affected to it . In case of Mongolian robe, they should satisfy the dual condition as the practical function. One is the condition that they should be fitted to the climate, and the other is the condition that they should be suit-able to the nomadic life. Mongolian robes are suitable to the nomadic peoples because they are designed for not only overcoming the cold wind and weather but being used as the bedquit at night. The costumes of Hoche people was made of the skin of the fish and wild animals because of their main means of living being fishing and hunting. Accordingly, their costumes are dur-able, warm and water-proof. Finally, the style of the costume is affected by the religious belief. In other words, the pattern in fashion is closely related with the religious be-lief or ancestor worship and nature worship. Ac-cordingly, the symbols of these worship are often emerged in the decoration of the costume. The design of costume of the people in the northern areas of China is very simple. It is related with their monotheism. On the other hand, the costumes of twen쇼 minority races in the east-northern parts of China can be devided into three racial groups such as the long robes of Man people and Mongols, Tunics of the peoples in the west-northern areas, and the pants and jackets of Hoche people. The minorority races all has not only the unique costume habit but their costumes are also related with their living style and production means.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.80-100
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• 2024

This paper investigated the major history and reality of iconological composition for Jagyeongjeon Hall's flowered wall in Gyeongbokgung Palace, which was controversial in terms of preservation and management of cultural heritage. While analyzing the moment and cause of the flowered wall's renovation as it is now, modified or disappeared patterns were identified, and meaningfully misinterpreted congratulatory phrases were reviewed. The research results can be used as meaningful basic data when discussions are made for the restoration of the wall in the future. Jagyeongjeon Hall's flowered wall has reached the present day with large and small changes, but the inflection point that had a significant impact was the Joseon Expo (朝鮮博覽會) held at Gyeongbokgung Palace in 1929. This is because the wall that remained in the Jagyeongjeon Hall area was demolished to build an exhibition hall while preparing for the expo, and it was restored after the end of the event. It is highly likely that the modification or disappearance of the patterns constituting Jagyeongjeon Hall's flowered wall was also due to the restoration process carried out after the expo. There is a view that was transformed into its current state in the process of repair work carried out after the Korean War, but it is difficult to find any meaningful circumstances and evidence. Currently, character patterns known as 'Seongnidori(聖人道理)' are arranged on the inner wall of the section from Gyeongdomun Gate(擎桃門) to Yeogangmun Gate(如岡門), but considering the design form and example, it can be read as 'Seongjasinson(聖子神孫)'. The inner wall of the section from Yeogangmun Gate to Yeonsumun Gate(燕壽門) was originally made in the form of a flowered wall, and the phrases presumed to be 'Gyegyeseungseung(繼繼繩繩)' and 'Cheonse(千世)' were arranged. In the case of the section from Yeonsumun Gate to Hamgyumun Gate(含奎門), the inner wall where the pattern has disappeared is originally composed of geometric and character patterns, and there were also phrases specified as 'Cheonsu(千壽)' and 'Mansemansu(萬世萬壽)'. On the outer wall of the section from Yeonsumun Gate to Hamgyumun Gate, there is a possibility that the phrase known as 'Nakgangmanse(樂彊萬歲)' can be read as 'Cheonsemanse(千歲萬歲)'. In addition, the current outer wall was composed of one drawing board, but in the past, two drawing boards were composed separately.