• Journal of the Architectural Institute of Korea Planning & Design
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• 제36권1호
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• pp.93-104
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• 2020

The purpose of this research is to clarify the relationship between the location of markets and the spatial structure of historic center in Beijing of 18th century by network analysis method onto the historic map of Beijing 'Qianlong-Jincheng-Quantu(乾隆京城全圖)' produced in 1750. By categorizing the grade of each market, it is revealed that the location of markets in Beijing under Qing Dynasty was not only decided by the various factors as policy of the regime and traditional social usages but also by the spatial structure of urban space in historic part of the city. At the same time, the sociopolitical factors and the spatial structure of urban space might influence reciprocally in defining the physical state of urban space.

• Korean Journal of Heritage: History & Science
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• 제41권2호
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• pp.79-97
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• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Journal of Ginseng Culture
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• 제1권
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• pp.78-92
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• 2019

Among the Southeast Asian countries, Vietnam had the most cultural exchange with Korea. Through Confusion and Chinese character, which were the common measure for two countries, Korea and Vietnam could communicate and share a sentiment with each other. Two countries showed an enormous interest in each other, and hence they could keep good relationship without official diplomatic relations. During the early 19th century, Korean Ginseng had gained tremendous popularity in Vietnam. Vietnamese believed the stamina of Minh Mang, who had 142 sons and daughters, originated from ginseng. Minh Mang bestowed ginseng on old courtiers for their contribution, which made them more loyal to the king. This tradition was inherited to the future generations, and soldiers who fought with Thai, Cambodia and France also received ginseng for their contribution. In other words, ginseng was the very important key for enforcement of patriotism. Due to the tradition, Korean ginseng has been considered as the premium ginseng in Vietnam. It is presumed that ginseng flew into Vietnam through 4 routes; 1) as an imperial gift from Chinese emperor, 2) by the Vietnamese ambassadors who went to Beijing for a tribute, 3) through private trade and 4) from Ryukyu or Japan, which were the hub of international trade. From 15th to 18th century, ambassadors from Chosun and Vietnam actively interacted in Beijing. Through their interchange, Vietnamese royal family could learn about the value of ginseng. The fact that there were many Shilhak scholars among the ambassadors from Joseon, such as Seo Geojeong and Seo Hosu who had profound knowledge of ginseng proves the theory. It is also possible that reputation of ginseng was already established in Vietnam during Silla period. Ko Byung, an bureaucrat from Tang Dynasty who ruled Vietnam for 10 years in middle 9th century and a friend of Choi Chiwon, might have delivered the knowledge of ginseng to the upper class in Vietnam. This hypothesis, however, should be proven by literatures. Hence, further research about the trace of Korean ginseng in Vietnamese history and literary works still remains to be done.

• (The)Study of the Eastern Classic
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• 제62호
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• pp.37-65
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• 2016

This paper is to explain who are the authors of first-half 18th Century private prose YeonHangRok(燕行錄) written in Chinese Character and what are interest-oriented aspects of that books. As objects of study, 3 private prose YeonHangRok(燕行錄) written by No-Ron Jeon -Ju Lee's Family(老論 全州李氏) were chosen. Result of reading articles in their anthology, I found their consciousness about going to Beijing. : They aware of "The importance of YeonHang(燕行)" and when they run a mission, they take an attitude of 'observation and attention' to their experience. With that consciousness of YeonHang(燕行) in common, So-jae(疎齋), Il-am (一菴) and Hanpojae(寒圃齋) wrote their YeonHangRok(燕行錄) that mainly describe their direct experience. So-jae(疎齋) and Hanpojae(寒圃齋)'s categories of descriptions are specialized in 'Public Affairs' and 'mission', Il-am(一菴) has widened to the everyday cultures and people of Other cultures.

• Korean Association for Visual Culture
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• 제16권
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• pp.131-161
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• 2010

This thesis investigates the cultural meanings of the first optical instrument, Camera obscura, in the pre-modern age, while it explains the development as well as the use of the Camera obscura in Europe and Korea. For this purpose the thesis traces the significant phases of the historical developments of the Camera obscura from L. da Vinci, G. B. della Porta, D. Barbaro, A. Kircher to J. Zahn etc. The Camera obscura was not only the symbolic instrument of the modernism in the sense that human being wanted to observe the outer world by himself and to be freed from the viewpoint of the christianity, but also was the forerunner of the modern visual culture, because it first time reproduced the artificial image of the natural world. Since the second half of the 17th century the box-type reflex Camera obscura had been produced, it began to be used as aid to drawing for painters like J. Vermeer, A. Canaletto and J. Reynolds etc. throughout Europe. It tells the evidence of the close relation between art and technology in the pre-modern age. Around the end of the 18th century the Camera obscura was brought to Korea, the closed country of the Fareast, by the scholars of the so-called 'Realist school' (Silhak-pa) who went to Beijing to acquire knowledges on the Western science from the European priests. In 1780s Yak-yong JUNG, one of the representative scholars of the Realist school, experimented the Camera obscura, and then, it was used for sketches of higher aristocrats' portraits by the supreme portrait painter of that time, Myoung-ki LEE. Those were possible only under the reign of the culturally liberal and reformative King, Jung-jo (ruled 1776-1800), and after his retreatment the inquiry of the Camera obscura had been dimished. It is not a historical coincidence that the Camera obscura could be examined and used in the period of the Enlightment both in Europe and Korea.

• Journal of the Korea Society of Computer and Information
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• 제18권5호
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• pp.157-165
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• 2013

The mid-20th century witnessed a wide spread of Korean culture in Japan, China and Southeast Asia and China now has become the biggest trade partner and export market, as well as the No. 1 source of import and the biggest investment country of Korea. With the spreading of the Korean popular culture in China, brand loyalty to Korean products is improved. Taking the Chinese market as the basis, this research aims to make an analysis of the implications of 'Korean Wave', Korean advertisements and the image of Korea on brand loyalty to cosmetics made in Korea. To achieve the research aim, questionnaires were used in conducting the survey, mainly in Beijing. Excluding the invalid ones, altogether 180 questionnaires were collected, based on which an empirical analysis was carried out on the correlation between 'Korean Wave', effects of Korean advertisements, image of Korea, brand recognition, and brand loyalty to products made in Korea. The major analyzing tools are SPSS 20.0 and AMOS 20.0. The findings are as follows: 1. Korean films, dramas, and attachment for Korean movie stars (representative of 'Korean Wave') all have a positive influence on brand loyalty. Recognition of the country image of Korea, to some extent, also has positive implications on brand recognition. 2. Empirical analysis assists in the testing of the degree of recognition and attachment of cosmetics made in Korea, as well as brand loyalty to them.