• Cartoon and Animation Studies
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• s.45
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• pp.259-282
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• 2016

Documentaries are being recreated into a new genre and the Web Documentary is the typical case. Web Documentaries are the documentaries those comprise creators and users and they are the novel type of text that the interaction with users is absolute. In this research, two Web Documentaries and are analyzed for examining how Web utilizes its features as expressive media inducing users to experience reality. Web Documentaries have dual and spatial structure that allows user interaction and make users to face with various information and knowledge about reality by its encyclopedic characteristics. Also, Web Documentaries give the role of progressing documentary and expanding text to users and that is, they stimulate users' consciousness reminding that they are the ones who explore through reality. In this process, users of Web Documentaries get potentiality of critically examining the reality suggested by documentaries and grasping the meanings beneath it. These features make Web Documentaries special contrast to traditional documentaries not only with their way of pursuing the reality but also with their meanings. This makes the innovative position of Web Documentaries phenomenon clear, issuing the necessity of the discussion about Web Documentaries more strongly. Web Documentaries are not just new media technological phenomenon, and they have their significance as a fundamental challenge toward traditional documentaries.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.206-220
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• 2023

In the royal publishing process of the Joseon Dynasty, the main species of wood used for woodblock printing was recorded as Jajak-mok. Although the name Jajak-mok may suggest Jajak-namu(white birch), it is presumed to refer to a different type of wood than Jajak-namu based on its recorded habitat and usage in historical documents. The aim of this paper is to clarify that during the Joseon Dynasty, the term Jajak-mok referred to Geojesu-namu (Korean birch), while Jajak-namu was called Hwa-mok(樺木). Additionally, this paper explores how the term Jajakmok eventually became the name of white birch, Jajak-namu, used today. In the mid-18th century, Japan used the character 樺(hwa) to refer to Beot-namu(Sargent cherry). As Japanese encyclopedias entered Joseon, the term Hwa-mok began to refer to both Beot-namu and Jajak-namu, which is also called Bot-namu. Since the pronunciation of Boet-namu and Bot-namu are similar, the two trees were eventually unified under the name Boet-namu. In the 20th century, the official names of three trees were established. According to notifications issued by the Ministry of Agriculture and Commerce of the Korean Empire in 1910 and the Governor-General of Chosen in 1912, Hwa-mok(white birch) was renamed asJajak-namu. In 1968, Beot-namu(Sargent cherry) retained its original name, and Jajak-mok(Korean birch) was remained . In modern Chinese character dictionaries, the meaning of 樺(hwa) is listed as "1. Beot-namu(Sargent cherry), 2. Jajak-namu(white birch)." From this, we can infer the historical background in which the names of these three trees were mixed up.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.1-10
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• 2019

The purpose of this study is to examine the design ＆ construction methods of the traditional landscape space of the past and the repair and maintenance of cultural heritages to maintain it today. To this end, the method of narrative description, process extraction and construction related to traditional landscaping were compared to each other based on the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages'. The results are as follows; First, to analyze at the description methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages' and related processes in the field of traditional landscaping. 『Imwongyeongjeji』 「Seomyongji」 was an encyclopedia of the overall construction method of the living space, describing the location, effect, and advantages and disadvantages of each component and presenting quantitative figures to institutionalize the construction of traditional landscaping spaces. 'Standard Specification for Repairing Cultural Heritages' presented the entire process of repairing cultural heritages, and it is becoming a kind of guide for reference at the site. Among them, foundation construction, roof construction, landscape construction, and fence construction were drawn as items that could be applied to traditional landscaping areas. Second, the traditional landscape space construction method was divided into the processes of foundation construction, roof construction, landscaping construction, and fence construction. Foundation construction is a way of repeating the process of land-tramping. During the construction of the roof, the tile-roofed building was built on top of the rafters and roofed with tiles. And thatched roof was made to a number of rice straws bundles to cover the roof one after the other. Instead of tiles, the stone roof was made of thin and wide stones, and the wooden boards were used for the single roof and the bark roof were constructed with many layers of dried corrugations. Landscape construction mainly consists of the Paving technique through tramping rubble and the construction of terraced flower by planting stone, plants, and shrubs on the top. According to the building materials, the wall construction was derived from the earth-stacked earthen wall, stone walls using stone and clay, marble walls made of tile patterns, and the construction of a board wall using a wood board as a wall. Third, comparing the construction methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages', 『Imwongyeongjeji』 「Seomyongji」 focuses on standardizing the construction methods to create a new traditional space. There is a difference in the setting of the scope of the 『Imwongyeongjeji』 「Seomyongji」 and the construction because 'Standard Specification for Repairing Cultural Heritages' provides the overall construction procedure considering the diversity of the cultural heritages. In addition, the traditional landscape space used to be a residential space in the past, but today, the maintenance process of the already established facilities as designated cultural heritages has been carried out, and construction methods have been added to create viewing conditions. In terms of the succession of traditional knowledge, some similar methods were found in the repair of cultural assets today, and some cases were also confirmed in the reconstruction of traditional technologies such as application of some materials or mix, separation of added facilities and introduction of efficient construction methods.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.20-30
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• 2013

'Paulownia tree', one of a tree species which has been with human civilization, has been widely used as a garden plant. The purpose of this study is to investigate concrete species of 'paulownia tree,' which had been planted in Korean traditional garden, the position of plantation, and consider its usefulness therefrom. The results of the study can be summarized as follows. 1. As the result of considering old literatures as encyclopedia, agricultural book (農書), gardening book, etc., there's a difference in the description of 'paulownia tree' depending on the complier, as well, the classification of concrete species is quite ambiguous. Therefore, it judged a limit which is planted based on point of the compass is not apply to species of tress of paulownia tree. Merely, the point of suitability and evasion(宜忌) related to the plantation of 'paulownia tree' could be identified in "Jeungbosanrimgyeongje(增補山林經濟) and "Imwongyeongjeji(林園經濟志)", not "Sanrimgyeongje (山林經濟)". 2. It could be confirmed again through poetry and prose which describe old garden that the words such as 'O(梧)', 'Dong(桐)', 'Odong(梧桐)', etc. were used without significant division. However, it is supposed that the species 'Odong' which was actually adopted at the garden might be Catalpa as well including Korean Paulownia and Chinese parasol tree. 3. It is considered that the reference point of suitability and evasion(宜忌) regarding 'paulownia tree' plantation was not generally applied. That is, species of paulownia tree was not divided for planting according to direction, as well, they seemed to willingly plant paulownia trees nearby the house as well, e.g. front yard or nearby yard, etc. 4. The usefulness of paulownia tree as a garden plant of an old garden played a role of 'the messenger of fall,' emphasizing a sense of the season. 5. Paulownia tree has another usefulness as a tree which adds an Ephemeral landscape. Therefore, the ancient people considered 'paulownia tree' that goes with 'the moon' the best, and enjoyed the quaint beauty of those two are juxtaposed. Also, 'paulownia tree' was utilized as a tree which adds an atmosphere of a rainy day, such as enjoying the sound of rain dropping on the 'paulownia tree', etc. The limitation of this study is that the research was performed being restricted to the translation among lots of Chinese references. Later-on task of research is the necessity of a more in-depth study through the discover of new historical sources and the accumulation of translation outcome.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.