• Journal of Digital Convergence
• /
• v.18 no.12
• /
• pp.489-495
• /
• 2020

Works engraving enlightenment and ethnic identity by giving meaning and lesson to past events and great people against the past can be one of the good ideal art film contents. The animation reproduces the existing cultural archetypes, situation and history, when the 'Book of Kells' was produced, and the myths of the Kelts tribes. This thesis analyzes the history the kelts, traditional patterns and formative symbolism shown in , and studies the cultural preservation method unique to animation contents. In conclusion, the movie not only suggests a methodology that animation content is an effective way to preserve the culture and history of the native people, but also pursues the eternal, enlightening and teaching people for history.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.223-255
• /
• 2009

This paper deals with the tradition and identity of physical expression(${\bar{a}}{\dot{n}}gika$ abhinaya) system in Indian traditional theatre and dance. The ${\bar{a}}{\dot{n}}gika$ abhinaya of Indian dance and theatre has been stylized through long terms and thereby defines their identity and peculiarity by its highly stylized expression techniques while following dramatic way($n{\bar{a}}tya$-dharmi). The ${\bar{a}}{\dot{n}}gika$ abhinaya is said to had been derived from the ritualistic practice of ancient Vedic period(B.C. 15th-B.C. 5th c.), which is most clearly exemplified in hand gesture(hasta mudra). In $N{\bar{a}}tya$ ${\acute{S}}astra$, ${\bar{a}}{\dot{n}}gika$ abhinaya is explained in detail. It is classified broadly into facial expression(mukhaja abhinaya), gesture expression(śārīra abhinaya), movement expression($cest{\bar{a}}krita$ abhinaya). Further, $N{\bar{a}}tya$ ${\acute{S}}astra$ divides their various usages by parts which include head, glance, eyes, nose, eyelid, cheek, lower lip, chin, mouth, hand, chest, waist, belly, hip. thigh, claf, foot. Besides, it explains diverse ways of foot movement($c{\bar{a}}ri$), standing poses(sthana), gait(gati) and their combined movements(mandala). Many forms of Indian traditional theatre and dance basically follows the rule of ${\bar{a}}{\dot{n}}gika$ abhinaya proposed in $N{\bar{a}}tya$ ${\acute{S}}astra$, which identifies their unique characteristics.

• Acta Via Serica
• /
• v.8 no.1
• /
• pp.1-30
• /
• 2023

Traditional Kurdish weavings are among the world's most ancient living textile traditions. One of the largest regional ethnic and linguistic groups, Kurds have inhabited a significant part of Western Asia for millennia. Historically, Kurdish territories were crisscrossed by old and important trade routes, including the Silk Roads. This led to the formation of some of the most significant Kurdish artistic and cultural traditions, including textiles, which influenced and were influenced by those of other non-Kurdish ethnic groups from Caucasia to Central Asia and beyond. One example of Kurdish carpet traditions born in the eighteenth century at the cross-sections of Safavid (1501-1736) urban carpets workshops and centuries-old indigenous Kurdish tribal/rural weaves is senneh gelim or sojaee. A finely flatwoven carpet that was exchanged regionally and internationally as a diplomatic gift and a highly prized commodity. Although in decline, senneh gelims continue to be made by Kurdish women weavers in their original birthplace Sanandaj, the provincial capital of Iranian Kurdistan to date. This study adopts an inter-disciplinary approach to present an image of senneh gelim and women gelim weavers, tracing the developmental trajectories of the craft from the eighteenth century to the present time by drawing on extant art-historical and social scientific studies along with primary ethnographic data collected in Iranian Kurdistan (2018-2019). It investigates the craft tradition's historical origin, various aspects such as techniques, materials, aesthetics, functions, and meanings, and how these transformed over time. Additionally, the paper looks at the social contexts of production, focusing on women carpet weavers and how their socioeconomic and cultural situation has formed senneh carpet production in the past and present and the implications for long-term preservation.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.25 no.1
• /
• pp.153-168
• /
• 2023

Non-representation creates difference and change that can be used as a creative design method that satisfies contradictory requirements for similarity and differentiation. This study drew upon the characteristics of the concept of non-representation expressed in contemporary art and architecture, in which Gilles Deleuze's philosophical thinking was reflected, and analyzed the non-representation depicted in contemporary fashion. The non-representation expressed in contemporary art and architecture is as follows. Non-representation of delaying becoming focuses on reverting to preexisting objects and redefining traditional meaning, thereby delaying the representation of latent meaning. Non-representation of non-becoming removes existing values and typical forms and expresses amorphousness. Non-representation of becoming by repetition or reiteration realizes the difference caused by the passage of time by repeating or overlapping shapes. Non-representation of becoming expresses the transformation of space by flowing through time rather than by actual movement. Non-representation in contemporary fashion shows the following expression characteristics. First, the non-representation of deferring becoming deconstructs the traditional values and forms of clothing and expresses designs by displacement or juxtaposition. Second, the non-representation of non-becoming is expressed concepts unrelated to the body and focus upon amorphous objects that do not become concretized forms. Third, generative non-representation by repetition and overlap expresses the possibility of change by overlapping clothing items or details expressed by repeating segmented objects. Fourth, generative non-representation by movement reproduces the meaning of space and time by moving the shape of the clothing or visually changing the surface of the material of clothing. As a result of the study, the non-representation shown in contemporary fashion aims for versatility to conform to social changes. This study provides new insight into the fashion design method by increasing the understanding of the cocnept of non-representation and showing its potential.

• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.61-86
• /
• 2009

Jainpalkwangdae(慈仁八廣大) of Kyungsan area in Kyungbuk province was restored through over 50 years gap. This play basically has the structure of conflict - reconcillation, which is differentiated from a masque and a tightrope walking. The characters of this play are a nobleman, Malttuki (a servant), a legal wife and a second wife. Their personality is deviant from a existing Korean masque. This weird and artificial appearance may be a problem in the process of restoration. Otherwise, it might be a very different transmission type of masque. Therefore, we need to investigate why Jainpalkwangdae is different from a traditional masque.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.148-158
• /
• 2014

This study aims to analyze the Spatial Imagery(Yijing) of the Weeping Bamboo Lodge(Xiaoxiangguan) which is from Chinese Qing dynasty novel "Dream of Red Mansions". The conclusions are as follows. First, the fantasy garden what is described in the novel "Dream of Red Mansions" can be recreated in reality. Second, through the analysis of the spatial imagery, the plants of the Weeping Bamboo Lodge contains a lot of meaning, and mainly through the plants to express meaning. Third, the main garden concept of the Weeping Bamboo Lodge is "Inspired by Nature", the representative space constitution principle is "the art of circuitous" and "view borrowing". Fourth, the concept of traditional garden in the novel "Dream of Red Mansions" and the landscape architecture theory book "Yuan Ye(Art of garden building)" is essentially in agreement. The generation process of garden spatial imagery was showed in this study, and on the basis of this, the garden spatial imagery of the Weeping Bamboo Lodge was analyzed. It is provided the useful information for the future research, and the novel "Dream of Red Mansions" as a important book was determined in the research of traditional garden.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.347-377
• /
• 2009

This paper examines the tradition discourses in Korean modern drama of the late 19th and the early 20th. It focuses particularly on how key intellectuals differentiated the definition and interpreted 'Theater-Improvement' while they insisted on improving traditional performance. Tradition discourse focused on how to improve its contents of performances. There were three categories in discussion. First, Confucian intelligent insisted that traditional performance should be discarded, because it led to customs disorder among the public. Second, patriotic and progressive intellectuals led by Sin Chae-Ho(신채호) and Bak Yen-Sik(박은식), preferred the reformed content of traditional Korean performance dealing with historical heroes. in order to stimulate patriotism in the Korean. Third, Lee In-Jik(이인직) who had worked at a popular newspaper company in Japan tried to make 'New Theater' criticizing decayed officials and the stupid nation. He did not concern about the colonialism of Japan. In the late 19th and the early 20th in Korean modern drama history, tradition discourses faced different directions, dependent on their political positions, familiar foreign cultures, and their view on traditional cultures.

• Journal of the Korean Society of Floral Art and Design
• /
• no.45
• /
• pp.13-29
• /
• 2021

Under the recognition that the technological system of traditional flower design in Korea has been passed down from the past to the present, we extracted the type of design form from the flower decoration of the Joseon Dynasty, analyzed the expression technique, and examined the relationship with the modern traditional flower decoration in this study. As a result, most of the flower design works of the Joseon Dynasty mainly expressed one focal point at the central starting point. One central branch line was mainly used, and cut leaves were mainly used as the base material. Similar to the Joseon Dynasty, one central starting point and a base made of leaves are mainly used In modern flower design. In the frequency of use by expression technique, the stem exposure technique was used the most, and cut flowers and cut stems were used at a similar frequency in all techniques. As plant materials, cut flowers and cut stems were mainly used. In addition, non-plant materials such as feathers, fans, and brushes were also used for decoration. In conclusion, it can be seen that traditional flower decorations in Korea were systematically established in the Joseon Dynasty in terms of expression techniques and high-level flower design works were made. In the future, it will be necessary to study the history of our flower designs in more diverse ways and to develop modern flower designs while preserving historical traditions.

• Korea Science and Art Forum
• /
• v.19
• /
• pp.515-525
• /
• 2015

Along with a rapid increase in the number of 1-person households where the concept of 1-person consumption and 1-person economy is emphasized, the proportion of 1-person household in Korea occupies a 25.3% at present, and the number is expected to grow continuously. And this rapid increase will bring about a host of problems such as housing shortage in the metropolitan area, egoism, loneliness felt by individuals, and other social problems such as crime. As an alternate movement to this phenomenon, concern on and interest in community, community culture, and sharing of space are on the rise, together with concern on and preference for sharehouse culture. In news media as well, articles on life shared with members of a sharehouse often appear. This sharehouse, which is widely spread and well received in Japan, not only reduces economic burden but also creates their own community and promotes their own culture. In this sense, it is a new way of life that represents benefits of sharing, well beyond just economic interests. Accordingly, In this research, an attempt was made tp examine the circumstances in the use of space based on existing studies on sharehouse characteristics in order to shed new lights on the meaning that non-characteristic space concept of the traditional residential space has as the concept of sharehouse space by considering it in connection with the non-characteristic space concept of the Korean traditional residential space where diverse circumstances occur centered on communal life and which were accepted by all naturally.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.863-901
• /
• 2019

This paper deals with the process of developing a traditional culture content based on the historical spread of Jajimu, an ethnic dance of ancient Tashkent(Chach), to Tang China and then to Goryeo in Korean peninsula. Jajimu as a solo dance form was a very enegetic dance form that reflects the dynamic nature of namadic life, and it enjoyed high popularity in Tang China due to its exotic style after the 8th century A.D. Later, it gave a birth to a derivative duet dance form called Ssangjaji or Guljaji, an highly sophisticated elegant court dance item that reflects the aesthetic taste of Tang China. Further, the Ssangjaji was flowed into Georyeo around in the 11th century or earlier, and was transformed into a Korean court dance while renaming it as Yeonhwadae that means 'lotus pedestal'. I tried the production of a special performance which displys those three dance forms on same stage to demonstrate the historical connection of ancient Asian dance. It was not easy to restore the music, dance and costume of Jajimu and Ssangjaji because of limited historical materials whereas those of Korean Yeonhwadae have been well preserved and transmitted owing to old dance and music notation system. A large amount of audio, visual materials were collected and analysed to overcome those limits, and its result was utilized efficiently for the production. The final performance was the culmination of long preparation process for 11 months in 2015. In spite of some limits, this project has a historical meaning in the point that it was the first trial of same kind in the world.