• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.355-362
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• 2023

Characters in visual media have different symbolic meanings depending on their orientations or roles. 『山海經』 is a fantasy novel written around the 3rd or 4th century BC., and the characters in the classical Chinese novel have various meanings and symbols, such as disasters, wealth, diseases, etc., according to their types. The symbolism of animals that the Chinese think of, the symbolism of characters in fantasy novels, and the morphological analysis are necessary elements in the development of characters and the film industry in China. This study analyzed the images of characters as follows, focusing on classical Chinese fantasy novels 『山海经』, 『山海经圖象全體』, and 『山海經圖』 and the fantasy novels of the Qing Dynasty 『山海经存』 and 『山海经圖錄』. First, the shapes of characters are slightly different in illustration images. Second, Among 453 characters in 山海經, there are a total of 8 characters related to flood damage, such as floods, rainy season, etc.: 'Jangwoo', 'Hapyu', 'Hwasa', 'Yeongryeong', 'Buje', 'Seungwoo', 'Manman', and 'Naeo' Third, it can be seen that the characters are creative ones that are combined with objects and animals and plants, apart from the symbolic meanings of real animals and characters in 山海經. It is believed that the continuous analysis of the characters in 山海經 will enable them to be widely used in the film industry.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.34 no.1
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• pp.22-29
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• 2024

Artworks inspired by birds have consistently enjoyed popularity, both in the past and present. Designs featuring birds from mythology have particularly garnered significant admiration. Therefore, this study aims to develop into the jewelry design with bird motifs from "Sanhaegyeong", a representative work of Chinese mythology. The research analyzes the characteristics of birds depicted in "Sanhaegyeong" and investigates design cases inspired by these birds. Birds in "Sanhaegyeong" are broadly categorized into divine birds and monstrous birds. Divine birds are predominantly represented with diverse color combinations and unified tones, while monstrous birds are primarily expressed in contrasting colors such as red, green, and white. The study further scrutinizes the forms, colors, and symbolism of jewelry inspired by birds in "Sanhaegyeong". These works predominantly utilize various colors, green, and red. By integrating shapes and patterns relevant to the era associated with the origin of "Sanhaegyeong", designers applied them in the designs, taking into consideration the contextual background and the relevance of design forms. It is anticipated that these research findings will be valuable to designers intrigued by mythical bird designs.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.328-331
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• 2010

The ratio of roles, involving characters created by 2D or 3D Graphic Technology, has risen within games, recent animations, movies and the educational sector. However, the "monster character" appears mainly in "Shanghai Ching" and Greek and Roman mythology. To receive worldwide accolade, it is time that we should use our games, movies and animations to present the history and spirit of Korea. I researched Korean myths so as to understand the characteristics a "Korean monster" would need to portray. This also allowed me to visualise the monster and realize the necessary manufacturing processes involved.

• Journal of the Korean Geographical Society
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• v.45 no.3
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• pp.414-429
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• 2010

With regard to Ieodo, South Korea and China argue that Ieodo belongs to their territory respectively, considering its history. However, both parties haven't suggested concrete evidence to support their argument. Even if they suggest corroborative facts, they are distorted or exaggerated like myth. Therefore, it is important by what side primitive title and effective control are exercised in settling the problem of Ieodo. The issue was to suggest coherence logic by finding concrete geographical facts in the East China Seat the time of applying a method of boundary decision followed by the marine act, namely principle of median line and principle of equidistance. China has argued that China should occupy most of continental shelf in the East China Sea on the basis of silt, a deposit of the continent. However, the base of the East China Sea is a part of Eurasian Plate. In addition, a geographical contribution to formation of the continent shelf by the Korean Peninsula is equal to the Chinese Continent. Ieodo is 'Island of mythos' in China, but is 'Island of legend' suggested by concrete facts in South Korea. Therefore, its cultural titile and primitive title are belonged to South Korea, before its historical title.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.236-249
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• 2018

The purpose of this study is to examine the effects of educational activities based on oriental mythology on young children's creativity and personality. A total of 14 sessions were applied to 36 children (18 experimental group and 18 control group). For this study, myths in Shan-hai jing, The Classic of Mountains and Seas), which is the origin of oriental mythology, were used as basic data of class activities and developed to experimental groups. The collected data were analyzed using SPSS 21.0 statistical program and covariance analysis (ANCOVA) was conducted with covariance score of the group after the activity. The results of this study were as follows: First, integrated educational activities using oriental mythology had a positive effect on all children's creativity and all sub-factors. Second, integrated educational activities using Oriental mythology have a positive effect on children's personality. The expansion and transformation of educational texts to oriental mythology is not only helpful for young children's creativity and personality development, but also enables them to experience cultural balance through their new understanding of the Orient.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.45-73
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• 2022

The phenomenon of veneration for Queen Mother of the West [西王母 Chn: Xiwangmu Kr: Seowangmo] is a 'cultural flow' that has garnered great interest not only in China but also in Korea for many years. To properly understand the cultural trend regarding the Queen Mother of the West, it is essential to view the related mythology as it corresponds to East Asian women as well as the transformation of society's view of women. In addition to the outcomes that result from the establishment of a patriarchal society, the relationship between goddesses and gods gradually becomes a relationship of discrimination based upon differences. Accordingly, as women change into objects that are given meaning rather than subjects that give meaning, the de-sacredization of the goddess occurs. This paper focused on the changes in the perception of the Queen Mother of the West from the view of Yin-Yang theory. This approach shows a transition process of transforming wherein she has morphed into an assistant or spouse of a god as part of a trend that deemphasizes the divinity of her as a stand-alone goddess. Yin-Yang theory is the key to understanding culture, history, and art as well as Chinese philosophy. This key can be further applied to the theme of women in mythology. What is particularly noteworthy about the process by which the Queen Mother of the West was defined as a goddess is that she was original described as half-human and half-beast and yet by the time her depictions became fully human and fully woman, she was described instead as an absolute beauty endowed with great artistic talent. In this paper, it will be revealed that the perception of the Queen Mother of the West, as an absolute beauty and artistic talent, is embedded with the male societal desire for an image of the feminine as understood via Yin-Yang theory. Queen Mother of the West as she was depicted in the Classic of Mountains and Seas (山海經 Chn: Shanhaijing Kr: Sanhaegyeong) had a half-human half-beast form that instilled people with fear of disasters and punishments from heaven. However, in the Han Dynasty, her religious significance became that of an object to ward off evil and attain blessings. By the time of the novel, Tales of the Strange (志怪小說 Chn: Zhiguaixiaoshuo Kr: Jigoesoseol), from the Wei, Jin, Southern and Northern Dynasties, she was transformed into a goddess in the image of beautiful woman in charge longevity and immortality. From the perspective of Yin-Yang theory, the changes in the perception of Queen Mother of the West was found to contain the following meaning: as an extension of the establishment of a patriarchal system and subordinate laws, her new form was made to be pleasing to the male gaze and Yin-Yang theory was brought in to support those changes later.