• 프린팅코리아
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• v.12 no.11
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• pp.104-107
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• 2013

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.451-460
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• 2013

Project to deal with cultural archetype as a material for creation to develop modern one has continued. But it would be meaningless if cultural archetype is simply reproduced into modern one with modern medium so that such contents cannot see through desire that the general public, that is, contemporary recipients want. This is because desire of people who lived in the past is not completely same as one of modern people. This study began to make convergence from Bulgasalee(不可殺伊) as a Korean cultural archetype to cultural contents fit to modern times. To develop creative character based on ground for existing Bulgasalee(不可殺伊), these were investigated - method and meaning of modern transformation for classics, economic value of the character, and examples to understand direction of future development. Bulgasalee(不可殺伊) as a Korean cultural archetype is Korean style monster where wish of contemporary people was reflected so that it has character of anti-war and hero. To eat iron and be related to fire is a unique character that only Bulgasalee(不可殺伊) has. Bulgasalee(不可殺伊) re-born in modern sense based on such characters is equipped with tool to treat iron as arms and to it, image of fireman is reflected. It is thought that this study not only suggested character for successful modern transformation of cultural archetype but also newly developed value that the character has.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.146-165
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• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.202-214
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• 2010

This paper presents plans to develop cultural archetype into a cultural industry. Though, various types of cultural products are being developed, they're not very popular to consumers and has very limited market. Reason for that is, most of these products are simple replicas of cultural assets or they are focused solely on restoring the traditions without considering trend. This study was focused on patterns found on the relics from mausoleum of king Mooryung of Baek-je. Main focus was the meaning of important patterns as generalized representation of traditional and emotional value. In addition, the study was done with the idea that developing the design of cultural products should be presented in modern style while carrying the traditional value and the story telling elements. The order of developing the design should be, first, forming process based on its original form and the elements, and developing a design motive based on the story the pattern is carrying. Then develop sample products with the motive.

• Proceedings of the KAIS Fall Conference
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• 2010.05a
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• pp.566-568
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• 2010

본 논문은 유적 원형 복원기법을 이용하여 문화재를 복원하여 표현하고, 아날로그 복원의 한계를 극복함으로서 문화재의 과학적 보존을 돕는 역할을 할 수 있으며, 이를 응용하고 활용하는 환경교육용 소프트웨어를 개발하였다.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.591-596
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• 2006

한국 신화는 우리 민족의 정신적, 역사적 원형이며 상상력의 원천이다. 그럼에도 불구하고 타문화권에 비해 신화의 발굴과 대중적 인식이 현저히 부족하다. 그러므로 한국 신화의 창조적 복원을 통해 게임 컨텐츠를 개발하고, 이를 OMSU 사업으로 확장시키며, 나아가서는 한국 신화를 대중화하고 세계화를 달성할 수 있다. 그 시도로써 콘솔용 액션 RPG 게임의 시나리오 창작과, 게임의 성공 핵심이 되는 그래픽 작업 중 캐릭터 디자인을 전개해 보려고 한다. 단순히 고증을 되살리려는 시도보다는 한국적 요소를 게임 캐릭터에 대입하여 한국적 이미지를 도입하는 데 의의가 있으므로 각 시대만의 독창적 요소를 조합하여 새로운 디자인을 시도하였다. 복식은 사료(史料)와 주변 국가의 회화 및 역사자료를 통합한 고증을 토대로 디자인하고, 이를 판타지풍의 게임에 맞게 새롭게 재조명하였다. 본 연구는 한국의 고대 신화와 설화를 원형으로 시나리오를 창작하고, 한국의 복식 요소를 가미한 판타지 게임 캐릭터 디자인을 포함한 문화 컨텐츠를 개발하는 데 목적이 있다. 시나리오는 주인공이 잠시 머무르는 사후의 세계에서 겪게 되는 여러 가지 여정과 적대역 캐릭터들과의 마찰로 기인되는 에피소드를 중심으로 이루어졌다.

• 프린팅코리아
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• s.51
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• pp.162-165
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• 2006

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.133-140
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• 2005

Culture Technology is the basic technology which produces cultural contents in a narrow sense. All nations do their best in order to create new contents which can form international and cultural sympathy. If a variety of contents are created by applying Korean proper cultural heritages, they will be creative and competitive internationally. Therefore, technology of original cultural restoration is an essential and crucial skill. In this paper, 'gilt bronze dragon-phoenix ring-pommeled sword', a cultural heritage of baekje age, will be restored to the original form digitally on the basis of three-dimensional shape-information processing technology and the scientifically analyzed data. First of all, data from three-dimensional scanning is revised using stuffing and smoothing methods after sampling, extracting characteristics, and align. Then, they are modeled in a curved surface with NURBS and B-Spline. Secondly, textures are edited by estimating the color of components and the quality of materials, and then they are mapped. Original form model which was made was revised and corrected by specialists' examinations. The digitally revised ring-pommeled sword was combined with information technology, and it can be used to revise damaged cultural heritages by constructing formal database of ring-pommeled sword with regard to age, area and type. It can be also used as educational contents in archaeology or preservation science and cultural contents such as movies, broadcasts, games, animations and so on.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.98-99
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• 2016