• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.1
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• pp.111-119
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• 1994

Until now, Many studies on the traditional landscape architecture were approached to the interpretation of meanings and symbolism in terms of the traditional ideology and the view of nature. The purpose of this study was to research the principle of form included in the space planning by the analysis of the drawing figure. The principes of figure were presented in the space planning as the field of art. In the pavillion and square pond, drawing figure, based on the principle of simple proportions, shall be assured the value of being as a role of functions for planning first of all. Such principles of the functional aspect are in hormony and balance by proportion and thus a visual and structural aesthetic will be abled to refer.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.237-240
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• 2005

The types of China Ancientry Architecture are rich and colorful. Among all these architectures, the Traditional Residence Architecture have the closest relationship with the mass's life. Traditional Residence Architecture reflected the connotation of the culture, philosophy ideology, especially the relationship between dwelling house and the nature, which can't be ignored by our modern people as well as the modern design. Beijing Sahap-won residence architecture is one of the apotheosis of China Traditional Residence Architecture, it'svery suitable for family's habitation. There's brilliance layout in space; around symmetry and radioactivity in plane, discretion grade in line, independence and continuity in inner spatial, with high privacy and benignity, Before the development and explore of modern APT Architecture design, we should fully understand the feature of Ancientry Residence House, inherit and carry forward its culture. The proposed design is started from the consolidation of the traditional feature of Beijing Sahap-won and the modern residence architecture, therefore to satisfy the modern people's fierce pursuing to the traditional culture.

• Korean Institute of Interior Design Journal
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• no.28
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• pp.25-32
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• 2001

The purpose of this study is to investigate the types and meanings of the motives shown in the traditional houses. Research methods to achieve this purpose are review of literature, field survey, and contents analysis. Traditional houses were divided into 3 parts such as architectural elements, interior elements and decoration elements, and total of 163 motives were collected out of it. As a result, it was founded that roof of the architectural element, and doors and windows of the interior elements are shown the most of the motives. Motives were divided into two types, realistic motives and imaginative motives, and both types are shown evenly. Meanings of the motives are classified into 'protection', 'good-luck', 'long-life', 'ideology', and 'decoration', and the motives of meaning of good-luck showed the most variety.

• Human Ecology Research
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• v.52 no.6
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• pp.551-560
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• 2014

In this study, we have focused on various types of costumes for traditional Ganggangsullae and daily dance Ganggangsullae. To analyze their costumes, spot photographs of Ganggangsullae contests from 2011 and 2013 were collected from the Department of Culture and Tourism, Jindo County Office and the Jeonnam Information & Culture Industry Promotion Agency. Costumes were analyzed by categorising them as type, shape and color. Traditional Ganggangsullae costumes are two types: traditional hanbok and saenghwal hanbok. Traditional hanbok design dates back to the late Joseon dynasty and saenghwal hanbok design to the middle Joseon Dynasty. They reflects confucianism, a male-dominated society, totemism, shamanism and Yin-Yang and the five elements theory in agrarian society and community life. Daily dance Ganggangsullae has various types of costumes such as the fusion hanbok, saenghwal hanbok, cheering uniform and casual wear. They show modern color schemes. There is not any magical meaning from Yin-Yang and the five elements theory. Instead, they have individualism, liberty, equality and welfare in information-oriented society. So its costumes are easy and comfortable clothes. But traditional hanbok, fusion hanbok and saenghwal hanbok are inspired from Korean identiry. Even though traditional Ganggangsullae and daily dance Ganggangsullae have different costumes and ideology, they have a common denominator 'playfulness.' It will function as a key for Ganggangsullae to be performed continuously over the period.

• Journal of the Korean housing association
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• v.20 no.5
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• pp.93-102
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• 2009

Housing is a cultural tool which enables one to see through a certain generation, and the types of housing in a specific cultural area are both physical and spiritual results formed by life activities. Therefore, housing, the center area for the human life, is a bowl, putting various meanings of life into the complicated environment. Its formal and spacial variety is a result of interaction in human life. This study analyzes fundamental problems and characteristics of asian traditional housing by comparing those in city of Seoul and Shang-hai. From the results of this study, many differences have been found in traditional housing in Seoul and Shanghai despite of high similarity m culture and ideology. This results from a same Confucian culture that accepts the feng shui theory which has evolved through different environments. Therefore, this study aims to understand housing cultures in two cities by analysing the attributes of housing data from selected traditional housing types in Seoul and Shanghai. Also, issues of fundamental characteristics of the two cities through the development of residential environment are studied to provide important data for the future development of housing environment of both cities.

• International Journal of Costume and Fashion
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• v.8 no.1
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• pp.1-17
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• 2008

This research analyzes the patterns in modernization of costume that reflects the attitude of accepting the Western culture and the differences in perception, during modernization period (1850-early 1910) in Japan. The Japanese attitude toward the Western costume can be roughly classified into three periods: impetuous acceptance in the early Restoration of Imperial Regime(1867-1883), aggressive acceptance in Rokumeikan period(1883-1887), and the coexistence of traditional and modern costumes after Meiji 20(1887-1910). A Western costume symbolizes wealth and power until Rokumeikan period, however, as it becomes more common, it is considered as an ordinary dress rather than a ceremonial dress. The exact opposite phenomenon occurs to traditional costume. Although Japanese modernization is initially forced by western ideology of power, positive reactions to western culture and changes in perception toward China leads to more active importation of western culture. This reflects the governmental effort such as the Foreigners Employment Policy in the early Meiji period, and the public also became receptive toward change. However, acceptance of the Western culture is only limited to academic and technological areas, while the traditional Japanese ethos(the Emperor system, Shintoism, patriarchism) is obstinately protected. Therefore, it can be inferred that such extreme polarization of modernization and traditional inheritance enabled both perspectives to retain their own characteristics.

• Korean journal of communication and information
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• v.28
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• pp.43-76
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• 2005

This study focused on the wedding ceremony. It was considered as important social text containing cultural codes of Korean society related gender system. Using the concepts of 'Myths', introduced by Barthes, this study analysed every procedure of wedding ceremony prevailed contemporary Korea. Romantic Love, creation of the ideology system of Western bourgeois and peculiar Confucian ideas about gender structure in Korean patriarchy system are both important frames determined wedding culture in Korea society. Thus this study divided wedding ceremony into displaying sphere and non-displaying sphere. Then, displaying sphere was framed by myth of romantic love, but non-displaying sphere was framed by traditional Confucian ideas. And, the transformation of contemporary wedding ceremony has the nature of kitsch, related the radical change of Korean class structure, also it worked as myth reveled up the unequality of present gender system.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.165-181
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• 2016

This study looks into the Korean traditional costume formation and the thoughts of the Korean people that form the foundation of that Korean traditional costume formation. And the goal of this study is in linking the thoughts and formative characteristics reflected in the Korean traditional costume formation to the fractal geometry, in an attempt to reveal correlation between Korean traditional costume formation which have existed for thousands of years to contemporary science of the West. The fractal theory that appeared as the new paradigm of contemporary science displayed similarities with the traditional ideologies of Korea, and the fact that formation principles of fractal appear in the formation of Korean costume, formed based on the Korean ideologies, show magnanimous capacity of the traditional Korean culture. When we look at the concept of fractal, the word fractal refers to the structure in which the shape repeats, where small structure is similar to the whole structure in form in endlessly repeating structure. In other words, 'fractal' means a structure that geometrically untangles the concept of 'self-similarity' which possesses the same shape in parts and in whole, and its major characteristics include 'self-similarity', 'circularity' and 'repeatability'. Korean costumes were formed based on the Han-thoughts, with a structure that possesses parts within the whole and the whole within parts, in accordance with the self-similarity theory of 'fractal'. This study compared studied fractal phenomenon which appear in formation characteristics of Korean traditional costume, which were formed based on the Korean traditional ideology, in other words, Korean costume formation and formation principles of fractal geometry were compared studied.

• Journal of the Economic Geographical Society of Korea
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• v.12 no.4
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• pp.597-612
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• 2009

This paper is an anthropological study on the regional revitalization movement by the traditional ceramic industry in Mashiko-cho, Japan. It especially deals with the issues like history of revitalization based on ceramics, idealogical features and roles of core activist group, and adaptive strategies of local society to the ever-changing circumstances. The ceramic industry of Mashiko-cho had developed vigorously in 19C, and had passed many critical points in 20C. In 1960s, the ceramic industry of Mashiko-cho developed stably through introducing of Mingei(民藝) ideology and artists. This is evaluated as a 'bottom-up' regional revitalization movement and a active utilization of traditional cultural resources. In Mashiko-cho, the ideological leadership of cultural artist groups have been central roles in the regional revitalization movement. The representative cases are transformation of production of ordinary ceramics to production of Mingei ceramics from the middle of 1950s, official organization of core activist group and establishment of direct sale system by the producers in the middle of 1960s, and full-scale cooperation of private sector and public sector from the beginning of 1980s. Nonetheless the regional revitalization movement by the traditional ceramic industry in Mashikocho have come out well up to now, it should make new tradition which is well-matched to the ever-changing circumstances as seeing various and complex differentiation on the inside of local society.

• Journal of Korean Society of Rural Planning
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• v.13 no.2
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• pp.39-49
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• 2007

The objective of this paper is to investigate the development of Silhak as a Korean epistemology, to investigate the implications of Silhak in Korean society, and to discover further environmental implications. The main discussion of this paper concerns with the epistemology of environmental philosophy. Epistemology is based on the justification of certain knowledge and social philosophy. Epistemology, from the Greek words episteme (knowledge) and logos (word/ speech) is the branch of philosophy concerned with theories of the sources, nature, and limits of knowledge. Since the seventeenth century, epistemology has been one of the fundamental themes of philosophers, who were necessarily obliged to coordinate the theory of knowledge with the development of scientific thought. It is a general belief that Western ideology is substantially embedded in Eastern ideology due to physical and metaphysical colonial involvement. We argue that ecological crisis may be resulted from western epistemological mechanical view, thus we suggests a Korean epistemology as an alternative. In this paper, we seek possibility of epistemological alternative of nature in the Korean traditional epistemology incorporating the epistemology of Sung confucianism and The Silhak.