• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Journal of the Korean Society of Food Culture
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• v.6 no.3
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• pp.281-291
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• 1991

Kasugadaisha was built in the 9th century at Nara, Japan and it was the powerful Fujiwara's Shrine at that time. And also Wakamiyasai which has transmitted from generation to generation about for 1200 years at Kasugadaisha is typical sacrificial service of Nara Ages and it was built up with the historical background from Korean peninsula, especially Bekje. So it could be presumed to be important data to survey the sacrificial service in order to study on the ancient dietary culture of Korean and Japanese. 1) They used a live flower or paper flower in every sacrificial services. But in Korea, it has been used not only in the sacrificial services but also in happy events. And also it has been changed to use silk or developed rice cake instead of paper. 2) Steamed rice cake in Siru has been taken after boiled rice and unpolished rice. 3) Fried rice cake like doughnut was beginning of fried cake like Yak-kwa. 4) Four colors of red, yellow, green and white are symbolic at the high offering. There are a lot of cake, candy and some kind of biskuit four colors used in every events even now in Korea.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.

• Korean Journal of Cognitive Science
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• v.15 no.2
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• pp.1-15
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• 2004

The structure of sensibility from motion was developed for the purpose of understanding relationship between sensibilities and physical factors to apply it to dynamic visual display. Seventy adjectives were collected by assessing adequacy to express sensibilities from motion and reporting sensibilities recalled from dynamic displays with achromatic color. Various motion displays with a moving single dot were rated according to the degree of sensibility corresponding to each adjective, on the basis of the Semantic Differential (SD) method. The results of assessment were analyzed by means of the factor analysis to reduce 70 words into 19 fundamental sensibilities from motion. The Multidimensional Scaling (MDS) technique constructed the sensibility space in motion, in which 19 sensibilities were scattered with two dimensions, active-passive and bright-dark Motion types systemically varied in kinematic factors were placed on the two-dimensional space of motion sensibility, in order to analyze important variables affecting sensibility from motion. Patterns of placement indicate that speed and both of cycle and amplitude in trajectories tend to partially determine sensibility. Although color and motion affected sensibility according to the in dimensions, it seemed that combination of motion and color made each have dominant effect individually in a certain sensibility dimension, motion to active-passive and color to bright-dark.

• Journal of the korean academy of Pediatric Dentistry
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• v.29 no.2
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• pp.168-179
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• 2002

The purpose of this study was to find a method for improving the children's behavior during dental treatment in relation with dentist's attire. For this study 150 children, visiting a dental clinic, were asked to participate in a survey on the attire of the dentist. The results of the survey were as follows: 1. In the survey for the preference between gown and ordinary clothes according to sex(P<0.05), age(P<0.05), residence (P<0.05) and number of visits(P<0.05), there was more preference for gown(65.3%). 2. The preference for the type of gown and attire under the gown was a long gown and white shirt (30.7%), followed by a suit-like gown (18.7%) and white shirt, and long gown and polo shirt(17.3%). 3. The preference for the color of gown was white(34.7%), followed by pink (18.7%), green(18.0%), blue(15.3%) and yellow(13.3%). 4. The preference for the pattern on the gown was cartoon characters(49.3%), followed by hospital logo(28.7%) and no pattern(14.7%). 5. The preference for ordinary clothes of female dentists was polo shirt(37.3%), followed by striped shirt(28.7%), round T-shirt(18.7%), and everyday Korean traditional dress(15.3%). 6. The preference for ordinary clothes of male dentists was pattern necktie and no pattern Y-shirt(28.0%), followed by no pattern necktie and Y-shirt(21.3%) or pattern shirt with no necktie, and no pattern Y-shirt with no necktie(14.7%). 7. The preference on the protective equipment worn was mask and glove(28.7%), followed by no protective equipment(26.7%), mask, glove and protective glasses(22.7%) at)d only mask(22.0%). Based on the above results, it seems that parting with the traditional white gown and wearing multi-color and pattern attire will provide psychological stability and help improve children's behavior during treatment.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.8 no.4
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• pp.853-860
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• 2007

In this modern era, human beings lead their life in complex environment where there are lots of parameters such as temperature, light, smell, sound, visual stimulus etc. that play important role for quality life. These parameters affect physical and mental behavior of a human being immensely. To ensure quality life the demand for quality products is always associated with human emotion and sensibility. Due to human sensibility and emotion involvement with quality life, the design stages of any kind of product must include some certain features related with emotion and sensibility. The cues for optimizing artificial environment are the physiological responses of human in that environment. The conventional approach of environmental physiology is to measure the relationship between environmental physical parameters and human psychological parameters under artificial conditions. Using that approach we tried to design an artificial environment for our daily lives and activities associated with both physiological and psychological behavior. We developed the technique to present the mock environment and software to measure and evaluate sensibility physiologically or psychologically and a simulator to measure and evaluate sensibility that can be utilized for large scale industrial production and design of environment. Simulator to measure and analyze human sensibility (SMAS) was constructed, which was utilized to estimate human sensibility and to simulate living and office environment.

• The Journal of Korean Philosophical History
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• no.57
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• pp.127-150
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• 2018

Although Wangfu's Tian-Ren relations theory could not be free from the influence of the religious understanding of the Yinyangwuxing theory, which was prevalent in the times of two Hans, due to the limitations of the times, it refers to human status and capabilities here and there of the "Qianfulun" and traces of attempts to enhance humans' ability to preside and attempts to dilute the powers of Tian(heaven) and God can be found. In addition, the fact that the theory shifted the focus of the administration and politics of the state from Tian(heaven) to the people can be also said to be highly worthwhile. Of course, when seen from philosophical, political, social, and economic perspectives, Wangfu's primary concern can be said to have been the stabilization of people's livelihood. The influence and contribution of Wangfu's ?Qianfulun? as such on the aspects of political and philosophical thoughts in the society at the time can be said to be comparable to those of Wangchong. Although there are the limitations of the situations of the times faced by Wangfu that made him unable to surpass the standardized paradigm of the Tian-Ren response theory, when seen from other perspectives, the fact that he severely criticized the confused social conditions at that time unlike other intellectuals in the confused situations at the end of the East Han Dynasty period can be said to be worth affirmation. The fact that Wangfu, who tried to work on the basis, the stabilization of the people's livelihood, concentrated most of his energy on overcoming the situation of national internal and external troubles such as breaking down the bad customs of operating the national administration by religious notions such as natural calamity or superstition instead of trying to solve the problems of the times from the academic and ideological aspects as with Wangchong can be also said to be valuable in itself. In addition, Wangfu naturally became to take the lead in breaking down deeply superstitious notions such as the Yinyangwuxing theory and the Chanwei theory while he was conducting studies on how practical problems could be overcome facing the situations in the turbulent period.