• Title/Summary/Keyword: folk art

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The Symbolic Meaning of the 'Tiger' in Minhwa and its 'Social Contexts' in Joseon Period (조선시대 호랑이 민화의 동물 상징 및 그 사회적 맥락)

  • Eom So-Yeon
    • Journal of Science of Art and Design
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    • v.6
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    • pp.33-59
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    • 2004
  • The purpose of this study is to analyze the symbolic meaning of the Tiger in Korean Folk Paintings, Minhwa, (hereafter, Minhwa) connected to its social contexts in Joseon period. Thinking of the Tiger Minhwa as a 'visual language' and regard the Tiger as a 'visual signifier' as well as the united-signifiers such as a Korean magpie, pine tree and so on in Minhwa. This research is to analyze these signifieds, 'Signified', what we say in this paper, have composed its symbolic meaning related to the social 'ideological complexes' and collective consciousness during Joseon period. In a word, the characteristic of the Tiger signifier has changed and spread out from the ideal trend to a worldly one. Since the late Joseon period, the change of the social contexts was, because of the civil classes who recognized the limitation of the Sung Confucianism(the doctrines of $Chi-Tz\={u}$), the predominated ideology of that time. To get rid of their uneasiness, they brought the Shamanism, Taoism and Buddhism at the front which were usually the lower class ideology or belief and tried to construct the collective consciousness and safety of their real lives. Therefore, the trend of this 'common conceptualization' show us the positiveness and flexibility to the Tiger signifier through the variation, appropriation and producing signifier. Moreover, even to the same Tiger, there were various meanings and most of them were concentrated in the meanings as follows ; Beoksa(in Korean term is to drive away evil spirits) and Gilsang, which is the good omen of a luck. All these were based on the value of 'this world'. In conclusion, through this research, the concept of the Tiger as a apotheosis has lowered its statutes and being secularized.

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Practical Use of New Media in Making Cultural Content of The Cultural Archetype (뉴미디어를 활용한 전통 문화 원형의 문화콘텐츠화에 관한 연구 - 문화원형을 소재로 한 미디어아트 작품 사례를 중심으로)

  • Lim, Kyung-Ho;Kim, Min-Kyung;Choi, Moon-Sun;Yoon, Joon-Sung
    • 한국HCI학회:학술대회논문집
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    • 2008.02b
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    • pp.640-644
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    • 2008
  • In this paper, firstly, I take the concept of korean traditional cultural archetype and cultural content, and discuss about methodology that the cultural archetype can be cultural content. As the methodology of making cultural content of cultural archetype, analyzing media art which used material of the painting and korea traditional dance in the Chosun Dynasty, the photograph in the era from the end of the Chosun Dynasty to modern age, and a folk play, etc. And then I would like to suggest that the method of making cultural content of the cultural archetype using new media.

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Studies on the Costume of Gamrotenghwa in Choson Dynasty (조선시대 감로탱화 풍속장면의 복식 연구)

  • Yang, Suk-Hyang;Lee, Tae-Ho;Lee, Kyeung-Hwa
    • Fashion & Textile Research Journal
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    • v.5 no.5
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    • pp.481-494
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    • 2003
  • The Gamrotenghwa of the Choson Dynasty is a unique genre of buddhist painting in that the destiny of the dead souls and the guidance to nirvana are expressed in reality. More than 50 of the Gamrotenghwa are known to be present, and the lower part of the paintings includes a wide assortment of folk customary scenes reflecting the social life style of the time when the painting was drawn, such as difficulties in life. public life, punishment and war. Changes in the costume of the people shown on the customary scenes of the Gamrotenghwa according to the time based changes in painting style were investigated in this study. The results are summarized in three points. First, the costumes of bureaucrats showed a tendency of preservation without any major changes in the painting. On the other hand, costumes of public and entertainer in the scenes were very close to those worn by the people at that time. The realistic description of public life in the painting may establish the value of the Gamrotenghwa as the historical documents. Second, the costume of the people in the painting showed a dual structure as the social positions; bureaucrats wore various official hats, large coats and belts to expose their social prestige. while the general public wore simple and convenient clothing which is divided into shirt and pants. The dual structure of the costume in the painting is in well accordance with that of the later period of Choson dynasty, suggesting that the customary scenes in the painting represent the social life style of the period. Finally, the customary scenes in the Gamrotenghwa are very variegated. which shows a variety of beauty of wearing even though they look coarse in a sense. The diversity of wearing beauty in the picture may contribute to the recreation of the beauty of shape in the new design of Hanbok.

Study on Self-Reflexivity of Changgeuk Seopyenje (창극 <서편제>의 자기반영성 연구)

  • LEE, JINJOO
    • (The) Research of the performance art and culture
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    • no.32
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    • pp.333-370
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    • 2016
  • This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

The Study on Conflict expression of DongraeYaroo (동래야류의 갈등표현 방식 연구)

  • Sim, SangGyo
    • (The) Research of the performance art and culture
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    • no.33
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    • pp.33-58
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    • 2016
  • This thesis studied about the expression of the conflict in DongraeYaroo. Study perspective was time and passion. Time refers to a change in the time to move to the current from the past. As in the study was the change in the phase and values of the characters occurred. Passion is an act which is scheduled departing from the spirit moves the body. And the emotions move the human heart. And it was associated with the inner values that determine the ethical life. DongraeYaroo should ever criticize feudal era and values through the conflict with the changes in time. Through conflict with the realism tendencies and passions were melodramatic tendencies. DongraeYaroo is a folk masques of realism and melodramatic nature complex. DongraeYaroo has a part that is causing the conflict with the contents of the passion associated with the character's sexual desire is elsewhere. There are also distorted passions and inde normal expression of tragic passion passions that lead to death.

Organization and Principles of Cheonsubara Dance in Yeongnam (영남지역 천수바라무의 구성과 운영원리)

  • Park, Ji-woon
    • (The) Research of the performance art and culture
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    • no.43
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    • pp.381-403
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    • 2021
  • Cheonsubara Dance is one of the most important ceremonies in Buddhist rituals. This paper is a study on principles of Cheonsubara Dance in Yeongnam. This also distinguishes the Cheonsubara Dance performed for about 7 minutes with no patterns according to 'The Great Dharani of Spiritually Sublime Phrases' by dance words, and analizes its combinations and principles. Cheonsubara Dance in Yeongnam consists of 7 dance words(Greeting, Carrying, Carrying with 180° rotation, Bara-Garugi, Bara-Garugi with both hands, rotate once, Bara-chigi), and put together according to the number of letters from 'The Great Dharani of Spiritually Sublime Phrases'. Usually, the principles can be seen through 4 types of changes from the dance: 1) When letters of 'The Great Dharani of Spiritually Sublime Phrases' appear consecutively with the same number of characters, 2) When a two-letter word turns into a three-letter word, 3) When the opposite of 2) occurs, 4) When 2~3 letter words change in a row.

Study on the Application of Patterns of Xuzhou Paper-cut in Cultural and Creative Product Design (쉬저우(徐州) 지엔즈(剪紙) 문양(紋樣)의 문화 창작물 제품 디자인 적용에 관한 연구)

  • Hao Pei Pei;Lee Jin Wook
    • Smart Media Journal
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    • v.12 no.11
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    • pp.211-221
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    • 2023
  • In the context of integration of culture and tourism, the effective application of folk art in cultural creative products is of great significance to the development of local cultural industry. Xuzhou paper-cutting is the only world-class intangible cultural heritage project in the northern Jiangsu region of China. Its high humanistic value and artistic characteristics are widely used in modern art design. The application of cultural and creative products relative to paper-cutting in Xuzhou mainly focuses on two-dimensional decorative and ornamental products, which is short of diversity in form and not practical. In addition, it doesn't meet the aesthetic needs of living of modern people, This article studies paper-cut works by Wang Guiying and proposes principles for the design of cultural and creative products relative to paper-cutting by analyzing the typical "goose" pattern in Wang's paper cutting handcrafts. By exploring the application value of Xuzhou paper-cutting in cultural and creative product design and demonstrating the feasibility of the design principles via visiting experts, this article hopes to provide some reference for the modern inheritance and innovative development of paper-cutting culture.

Development of 3D digital fashion design using traditional Chinese paper-cutting characteristics (중국 전통 전지(剪纸) 공예 특성을 활용한 3D 디지털 패션 디자인)

  • Linlin Lu;Younhee Lee
    • The Research Journal of the Costume Culture
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    • v.32 no.3
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    • pp.345-363
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    • 2024
  • This study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology-relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect-can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

Study on Folk Caring in Korea for Cultural Nursing (문화간호를 위한 한국인의 민간 돌봄에 대한 연구 : 출생을 중심으로)

  • 고성희;조명옥;최영희;강신표
    • Journal of Korean Academy of Nursing
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    • v.20 no.3
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    • pp.430-458
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    • 1990
  • Care is a central concept of nursing. Nursing would not exist without caring. Care and quality of life are closely related. Human behavior is a manifestation of culture. We can say that caring and nursing care are expression of culture. The nurse must understand the relationship of culture with care for ensure quality nursing care. But knowledge of cultural factors in nursing is not well developed. Time and in - depth study are needed to find meaningful relationships between culture and care. Nurses recognized the importance of culturally appropriate nursing There are two care systems in culturally based nursing. The folk care system and the professional nursing care system. The folk care system existed long before the professional nursing care system was introduced into this culture. If the discrepancy between these two care systems is great, the client may receive inappropriate nursing care. Culture and subcaltures are diverse and dynamic in nature. Nurses need to know the caring behaviors, patterns, and their meaning in their own culture. In Korea we have taken some first step to study cultural nursing phenomena. It is not our intent necessarily to return to the past and develop a nationalistic of nursing, but to identify the core of traditional caring and relate that to professional nursing care. Our Assumptions are as follows : 1) Care is essential for human growth, well being and survial. 2) 7here are diverse and universal forma, expressions, patterns, and processes of human care that exist transcul - turally. 3) The behaviors and functions of caring differ according to the social structure of each culture. 4) Cultures have folk and professional care values, beliefs, and practices. To promote the quality of nursing care we must understand the folk care value, beliefs, and practices. We undertook this study to understand caring in our traditional culture. The Goals of this study were as follows : 1) To identify patterns in caring behavior, 2) To identify the structural components of caring, and 3) To understand the meaning and some principles of caring. We faised several questions in this study. Who is the care-giver? Who is the care-receipient? Was the woman the major care -giver at any time? What are the patterns in caring behavior? What art the priciples underlying the caring process? We used an interdisciplinary team approach, composed of representatives from nursing and anthropology, to contribute in -depth understanding of caring through a socicaltural perspeetive. A Field study was conducted in Ro-Bong, a small agricultural kinship village. The subjects were nine women and one man aged be or more years of age. Data were collected from january 15 to 21, 1990 through opem-ended in-depth interviews and observations. The interview focused on caring behaviors sorrounding birth, aging, death and child rearing. We analysed these data for meaning, pattern and priciples of caring. In this report we describe caring behaviors surrounding childbirth. The care-givers were primarily mothers- in -low, other women in the family older than the mother - to- be, older neighbor woman, husbands, and mothers of the mother-to- be. The care receivers were the mother-to-be the baby, and the immediate family as a component of kinship. Emerging caring behavior included praying, helping proscribing, giving moral advice(Deug - Dam), showing concern, instructing, protecting, making preparations, showing consideration, touching, trusting, encouraging, giving emotional comfort, being with, worrying about, being patient, preventing problems, showing by an example, looking after bringing up, taking care of postnatal health, streng thening the health condition, entering into another's feelings(empathizing), and sharing food, joy and sorrow The emerging caring component were affection, touching, nurtuing, teaching, praying, comforting, encouraging, sharing. empathizing, self - discipline, protecting, preparing, helping and compassion. Emerging principles of. caring were solidarity, heir- archzeal relationships, sex - role distinction. Caring during birth expresses the valve of life and reflects the valued traditional beliefs that human birth is given by god and a unique unifying family event reaching back to include the ancestors and foreward to later generations. In addition, We found positive and rational foundations for traditionl caring behaviors surrounding birth, these should not be stigmatized as inational or superstitious. The nurse appropriately adopts the rational and positive nature of traditional caring behaviors to promote the quality of nursing care.

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A Study on Folkcraft Processing Art and Designing Development-Especially Centerin garound Plant-Stalk Works (한국민속공예제품 가공기술 및 디자인 개발에 관한 제고방식-초경공예제품을 중심으로)

  • 남상교
    • Archives of design research
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    • v.2 no.1
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    • pp.13-41
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    • 1989
  • The raw materials for plant-stalk-folkcrafts are cultivated in the whole country. Most Korean farmers, to increase their income, have produced mats and containers with various plants as a side line from very long ago. At first, they began from the instruments of life and then made folkart and at last get to manu\ulcornerfacturing of industrial folk craft. The folkcrafts, made of plant-stalk, which could nor conform to changing society, are partly declined and partly handed down as the traditions. The social change today, however, makes living conditions more speedy and multisided, accordingly the characteristics of demand also become in\ulcornerdividual and various. While the demend is various like this, suppliers cannot answer demendants' requirements, and consequently, the demand and profit cannot be increased. According to this, the purpose of this study is set up to give an answer to the situation that is at the traditional standstill, through an examination of the motives. I. The crafts of plant-stalk are made only in an organized relationship between agriculture, industry and art as it is compounded art of gathering raw material, manufacturing, producing, improv\ulcornering design and production conditions. It may be possible that a farmer gathers material and weaves it manually but in others, it is im\ulcornerpossible to refine, bleach and dye because the process requires a professional industrial treatment. It is impossible to make art works to a farmer as every farner does not always have aesthetic sense. Though a farmer or producer has these all abilities, it is not desirable to him from economical view. 2. The development or improvement is essential in many sides but the most important thing seems to he in design. According to reports, it is, howevt!r, fact that the crafts improved in design of existing works have more expanded the sales than newly developed works. Therefore, ir appears advisable to improve designs of existing things positively as they have merit of occupying a position already, but on the other hand, new crafts have to be also developed and the producer should grasp the proper time. 3. Building up an industrial complex to improve design with collecting the producing districts for this works scattered allover the country is very desirable for speedy communication, intensive educa\ulcorner tion or training, and effective guidance. 4. In producing for export abroad, before everything, must know the life environment, custom! and manners, main thought of the country, and then produce according to these. S. The crafts of plant-stalk are the fIrst industry in present but in the futher it should change intc second or third industry. 6. A synethetic organization for supporting side line should be established for effectiveness, and experts have to be secured and also the educational-industrial complex and activation of study should be preceded.

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