• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.66-83
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• 2018

This article focuses how the materials of hatstrings of the 19th to 20th century gat, the Korean top hat for men among the collections of National Folk Museum of Korea, was transformed after port opening treaties with overseas since 1876. As a result of analyzing the materials of the hatstrings, amber, tortoiseshell, wood and bamboo as the traditional materials were used, and ivory, glass (soda glass, lead glass, alkali mixed glass) and plastics (cellulose nitrate, phenol-formaldehyde, polystyrene, acryl) were newly used for the hatstrings. Bamboo, wood and amber were the most frequently used materials. Bamboo was mainly used for the pipe of hatstring and were combined with beads and central decorations of other materials. This shows the trend of bamboo hatstring according to the simplification of the clothing and the culture by Regent Heungseon Daewongun. Ambers were used in the central decorations and beads and the origin of ambers was baltic amber just like the amber relics found in Korea. Compositions of glass were soda glass and alkali mixed glass which were excavated or handed down in Korea from ancient times to Joseon dynasty. But in the case of lead glass, Na2O was detected and it is considered to be a new type lead glass for crafts which came from overseas after port opening since 1876 because it showed the characteristic that it deviates from the lead glass component found in Korea. Plastics such as cellulose nitrate and phenol-formaldehyde were used as new synthetic materials to replace traditional materials such as tortoiseshell, amber, and coral as in the West. Cracks, crazing, crumbly and yellowing of cellulose nitrate of hatstrings were observed by deterioration. The survey of the materials of the 19th to 20th century hatstrings among the collections of National Folk Museum of Korea showed that the introduction of new materials such as glass and plastics were used to replace natural materials such as tortoiseshell and amber along with the use of traditional materials after port opening since 1876.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.49-57
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• 2020

Traditional landscape is a cultural asset left by Seonhyeon to modern society, and it can not only understand the landscape culture of ancient tradition but also provides / provided a new creative material for modern landscape designs / designed. However, it is well known that Korea and China have a relationship between the development and exchange of landscaping in a global background, the succession of traditional landscape architecture culture in a global background covers many dimensions, including protection, development and innovation, and that "traditional and modern" and "regionally and internationality" should be harmonized with each other. This study uses traditional Korean and Chinese landscaping buildings as research subjects to extract and organize related data through various channels, including basic literature research that understands the history and culture of the two countries. I interpreted the cultural backgrounds of the two countries by dividing them into religious ideas, traditional culture, and natural views, and highlighted the history of development and the relationship between the two countries. Based on this, it analyzed the differences created by traditional landscaping between Korea and China, and also specifically analyzed the "creation of righteous army" and "the law of righteous army." In particular, this study sought to inherit and innovate traditional landscape culture for the internationalization of "One Belt, One Road" based on the characteristics of Korea and China's landscape through a comparative analysis of the construction elements and methods of Yihwawon of the Ming and Qing periods and Gyeongbokgung Palace of the Joseon Dynasty on the theoretical background of landscaping and the significance of landscaping. The direction for the development and exchange with landscaping between the two countries was presented in line with the development trend of Korea-China landscaping in the global environment. In the future, the development of landscaping between the two countries is expected to be key to international cooperation in traditional culture, creative combination of local characteristics, creation of a harmonious landscape architecture environment, and co-prosperity of various cultures.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.3
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• pp.63-74
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• 2008

With the awareness that Sinyeongwol Sipgyeong(ten scenic spots in Yeongwol) were designed too hastily and only for PR purposes after the change in the tourism environment, this paper indicates that most tourism and culture sources in Yeongwol are related to King Danjong, the sixth king of the Joseon Dynasty. This study proposes a 'Storytelling Plan' for the landscape content called 'Cultural Landscapes - Yeongwol Palgyeong(eight scenic spots in Yeongwol)' after reviewing types and content of Yeongwol Palgyeong through the halo effect of the well-known sad history of King Danjong and the cultural value of Yeongwol. The significance of the unity of the historic site and neighboring landscape is focused on by investigating the anaphoric relations between cultural landscape texts('Yeongwol Palgyeong') and historic content(the sad history of King Danjong). For this, the cultural lnddscape of Yeongwol has been framed and layered to make spatial texts. To emphasize the 'Telling' as well as the 'Story,' interesting episodes have been reviewed to discover a motive. To diversify the 'Telling' methods, absorptive landscape factors have been classified as 'Place,' 'Object' and 'Visual Point.' In addition the storytelling of Yeongwol Palgyeong was examined in consideration of the story and background of 'Yeongwol Palgyeong - Sad Story of King Danjong' and the interaction of a variety of cultural content by suggesting micro-content such as infotainment and edutainment as absorptive landscape factors. In order to make the storytelling plan available in practice as an alternative plan for Yeongwol Tourism, a visual point should be properly set to make the landscape look sufficiently dynamic. In addition, real landscape routes and narration scenarios should be prepared as well. Professional landscape interpreters who are well informed of the natural features of Yeongwol and the history of King Danjong should be brought into the project, and Internet and digital technology-based strategies should be developed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.57-67
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• 2017

Based on the study on place name, meaning analysis of buddhist temple Palgyeng, and classifications of instructions and characteristics of writings on rocks, the main results of the study showed the following. Cheongamsa is located in the upstream of Muheulgugok Valley which was run by Hangang Jeong Gu(寒岡 鄭逑), a typical young man in the middle of the Joseon Dynasty, and overlaps with chief monk Byukam Lee Dukjin's(1896~?) object of Cheongamsa Palgyeng during Japanese colonial era. Including the mountain embracing Cheongamsa called Bullyeong-san, various characteristics of writings on rocks such as use of combination of place names including Sudosan, Seonlyeongsan, and Sinseondae, as well as Cheongamsa Temple, Bullyeongdongchun(佛靈洞天), Namuabitabul, Hogye(虎溪), Yeosan Waterfall(廬山瀑布), and Sejinam(洗 塵巖) show co-existence of Confucianism and Taoism mixed together in the temple. Especially for Cheongamsa Valley Hogye and Samsocheon(三笑泉) which is in the precincts of the temple, are realized as the symbol of the scenery of the three religion consilience of Confucianism, Buddhism, and Taoism through announcement using Hogyesamso(虎溪三笑) which originated from Yeosan Donglimsa, Jiangxi, China. Also, there are Yeosan Waterfall with a noble sense of place by negotiating with god, writing on rocks imprinted, and Yeosangyo(廬山橋) in Cheongamsa. As such, cultures of the three religion remain in various layers with the spirit of Hogyosamso symbolizing the consilience and coexistence of the three religion in Cheongamsa without the exclusiveness of Buddhism. Besides, the third precept of Yukhwagyeongbub, known to be practiced in Buddhist temples, which says "Do not only express self-assertion and ignore others" according to the dogma of working together in harmony, is in accordance with the spirits of Hogyesamso. As shown, Gimcheon Cheongamsa which is adorned with cultural landscapes of Hogyesamso, Gugokdongcheon(九曲洞天), and Palgyeng(八景), is not only good enough for the way of Buddhism and Confucianism but also for a place for the three religion consilience embracing the three religion.

• 대한공업교육학회지
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• v.38 no.1
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• pp.259-274
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• 2013

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture? In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made u sing a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• The Journal of Korean Philosophical History
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• no.39
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• pp.29-52
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• 2013

Philosophy of respect righteousness advocated by Nammyung points to what first needs to be done to drive social changes. It is consistent with the Confucianism, which views the world from within oneself. After all, developing a proper view of the society starts from looking at oneself in the right perspective. The view that personal cultivation can develop into cultivation and eventually reform of the entire society is also present in Confucius' belief that one can only be at peace after disciplining oneself and observe good manners only after perseverance. Also, one can lead the world in peace only after disciplining one's body and mind. In other words, it suggests that individuals and the community where they belong to are not independent from one another. Rather, individuals gather to create a society and righteous individuals are the basis for righteous society. These principles of social system in Confucianism can be understood as a mutual or layered division and integration. The society is not conflicted with individuals or the nation but rather perceived as moral communities to co-exist. Hence, power of execution observed in the philosophy of respect and righteousness by Nammyung is identical to power of execution applied to the society. The power of execution shows up as 'the execution of righteousness' in Nammyung's philosophy of respect and righteousness. It is also demonstrated in the acts by Nammyung's disciples when the nation was at crisis. This is what differentiates Nammyung's new-Confucianism in Joseon Dynasty from Toegye or Yulgok as he tried to deliver 'the execution of righteousness.' It does not mean that neo-Confucian scholars did not emphasize the importance of execution, but Nammyung, in particular, warned how deceitful ideological or inner-directed thinking can be since they fail to come up with concrete solutions to social issues. In summary, Nammyung's moral discipline and training based on respect and righteousness cannot be evaluated in a state of vacuum separate from social and historical aspects but under the context of enlightening virtue and social execution. This can draw the conclusion that Nammyung's execution of respect and righteousness is in the starting point of the realistic 'theory of social reform' for creating a better world.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.1-13
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• 2011

The purpose of this study is to consider practical examples of the method of utilizing plant material 'lotus' used by the ancients, and the value and meaning they wanted to get from it. The method of this study to do this is descriptive study to consider and interpret poem and painting reflecting impression and concept world of lotus. Summary of this study is as follows. First, ornamental value of lotus could be divided in effect of group plant and detail value held by the flower, the leaves and the stem. Especially, group plant lotus in large site provides unique landscape differentiated form other flowering plants. As well, another feature of lotus is its high ornamental value spread in detail elements including the flower, the leaves, the stem and the lotus seed. Second, fragrance expressed 'Hyang-won-ik-cheong(香遠益淸)' is an important charm of lotus. Lotus was utilized as olfactory element providing fragrance. The ancients considered lotus fragrance not only for enjoy but as symbolic object comparing noble man's dignity so that they expressed it in poem and painting. Third, lotus was utilized as acoustical element. That is, the sound of raindrops harmonizing the surface of water and wide lotus leaves was called 'hearing lotus fond and rain', enjoying it as classic grace. Fourth, summer play lotus sightseeing was called mind wash up meaning 'washing the mind polluted by the mundane world'. Such poetic taste was widely enjoyed by various classes from general public to royal family. Besides, poetic taste related with lotus is the method of drinking alcohol using the feature of big lotus leave and vacant stem, called 'Beog-tong-ju(碧筒酒)'. And in the Joseon dynasty period, when the distinction between the man and the woman influenced by Confucian, lotus seed and 'lotus collecting song' was important sign to express romance between man and woman. Lotus has been enamored by wide classes transcending cultural background as thought and religion since ancient times. Due to such reasons, various symbolic meaning of lotus and planting examples related to religious facilities as temples could not be considered in various manner is limitation of this study, and which is research project for the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.110-118
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• 2015

Borimsa Temple in Jangheung, one of the Goosanseonmoon of Shilla Dynasty, calls for a study in the field of landscape architecture because it has very significant elements in cultural and ecological landscaping aspects. This study examined the changes in landscaping elements of Borimsa Temple since the 17th century in order to newly recognize cultural landscaping value of space composition elements for traditional temple and to verify landscape architectural position. For research method, literatures such as Sajeonggi (事蹟記), Joongchanggi, a surveyed map by Fujishima Gaijiro in 1928 and Joseon Gojeogdobo (朝鮮古蹟圖譜) and modern documents including Borimsa Temple Precision Ground Survey Report and photographic records of National Archives of Korea and provincial governments were examined together with a field survey in order to trace changes in landscape elements such as buildings within the temple site, pond and temple forest. The results are as the following: First, for geographical locations of Borimsa Temple, it is located in an auspicious location and Shipyuknahansang and Cheonbul were placed in a supplementary purpose according to the contents of Bojoseonsatapbi. Compared to Namhwaseonsa Temple in China, it has a similar environmental composition but the fact that buildings were placed on platforms is a distinctive difference. Second, architectural landscape of Borimsa Temple went through the Japanese colonial era and Korean War and still going through changes today. Thus, there shall be some appropriate measures such as to establish an archive of past landscape data. Third, the contents of Borimsa Temple Sajeonggi suggests that the pond of Borimsa Temple had been in a indeterminate form with stones on the outer edge. Its name could have been Yongcheon (湧泉) according to the contents of Joongchanggi. Also, the current landscape, in comparison with past photographs, is a result of changes from surface raise occurred by ground reinforcement within the temple site. Fourth, Jangsaengpyoju (長生標柱) mentioned in Bojoseonsatapbi and Borimsa Temple Sajeonggi was thought to be the dried juniper tree in front of Daewoongbojeon, which can be found in past photographic documents but, it is now assumed to be Seokbihyeong (石碑形) considering the Gukjangsaeng and Hwangjangsaeng of Dogapsa Temple of the similar time period. Moreover, Hongsalmoon mentioned in Joongchanggi was established by King's order after the Manchu war of 1636 in praising of Buddhist monks those who had volunteered to fight for the country. Fifth, it is apparent in Borimsa Temple Joongchanggi that geomancy was a consideration in landscaping process of Borimsa Temple, and the record indicates that pine trees, bo trees and persimmon trees were planted. Sixth, tea tree forest was verified of its historical root that is Seongchailyeo from Unified Shilla through passing down of Jeong Yak-yong's Goojeunggoopo method and relevant documents of Seon Master Choui and Yi Yu-won. Seventh, nutmeg tree forest suggests that nutmegs were used in national ceremonies and for medical uses. The nutmeg tree forest was also verified of its role as Naehwasoorimdae (a forest built to prevent fire from spreading) through aerial photographs and placement of a forest reserve.

• Trans-
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• v.9
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• pp.17-36
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• 2020

This study is aimed at discussing the possibility of content production, utilization and expansion, focusing on the exhibition case of Danwon Art Museum run by Ansan Cultural Foundation. In 1991, the Ministry of Culture, Sports and Tourism named Ansan as the City of Danwon since it is believed to be the hometown of Danwon Kim Hong-do (1745~?), a painter of the late Joseon Dynasty and a well-known master of genre painting. As a result, Ansan is making various efforts to utilize Danwon Kim Hong-do for its unique resource through internal and external business such as the creation of Danwon Sculpture Park, the operation of Danwon Art Museum, and the planning of Danwon Kim Hong-do Festival. However, the biggest problem with Ansan is that there are not many collections of Kim Hong-do. Ansan has owned a total of six works as of May this year: a deer and a boy, flowers and a bird, A view of clouds on the water, Daegwallyeong, Yeodongbin, A way to Singwangsa. Accordingly, Danwon Contents Center has set up a vision to systematically collect, preserve, and display various visual and artistic materials related to Kim Hong-do, offering high-quality information based on digital data. In other words, it is a complex cultural information agency of One-Source Multi-Use, which combines the functions of libraries, archives and art galleries so that visitors' desire is satisfied. It reflects the contemporary trend of overcoming the limitations of the ancient paintings and satisfying the role and function of the art museum. From the opening of the Danwon Contents Hall, the original work of Kim Hong-do has been interpreted and produced as media contents or recreated as a new form of art by modern artists. Exhibition using technologies such as touch screen and 'deep zoom' helps visitors to heighten their experience of the archives and get inside the world of the genius painter.