• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.155-160
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• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.127-143
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• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.32-47
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• 2018

The purpose of this study is to examine the vegetation maintenance project that was conducted as a part of the Official Development Assistance (ODA) project for the historic site of Angkor, to analyze the aspects and characteristics of the project, and to derive implications for the establishment of future policies and strategies. First, the key words used in the vegetation maintenance project at the historic site of Angkor do not only refer to the concept of plants (and more specifically to 'trees') but also to the concept of heritage. In other words, the concept of heritage is not limited to architectural structures but is also intended to mean the vegetation and surroundings that form the historic site. Second, the expansion of the value of vegetation has contributed to the establishment of the basic principles of conservation based on the 'coexistence' between architectural structures and vegetation; here, vegetation has come to be recognized as an 'essential' element in the conservation of historic sites. Third, the range of vegetation maintenance has expanded from each tree to the surroundings of the temples, and vegetation maintenance came to adopt 'integrative' and 'active' directions to improve not only the growth environment of the vegetation but also the viewing environment experienced by visitors. This change means that it is necessary for the historic site maintenance project to comprehensively deal with the temples and their surrounding areas. Fourth, for the effective performance of the ODA project, the role of the International Coordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC-Angkor), under the influence of UNESCO, was expanded from an examination of the problems with the existing projects to a search for solutions to technical consultation and supervision. This implies that, in order to perform the ODA project in a way that is appropriate to the local conditions, it is important to reach gradual and phased agreements with ICC-Angkor.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.113-124
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• 2012

The Confucian culture of the Chosun Dynasty has a great effect on the construction of ByeolSeo gardens. Among them, especially the gardens built in Gyeongsang Province areas, where a great number of Confucian scholars were produced in the beautiful natural environment, have maintained various heritage of Confucian culture established by the scholars. Along with the Nakdong River, we can find so many cultural assets of buildings such as head houses, ByeolSeo gardens, including the literary remains such as administrative certificates, poetry and prose, and records of pavilions, which show the trace of the scholars who followed the instructions of the doctrines of Chu-tzu. The Geumseonjeog located in Punggi County, Gyeongsangbuk Province, which was the ByeolSeo gardens possessed by Geumgye Whang Jun-ryang(1517-1563), who was the governor of the area and one of the representative students of Toigye Lee Whang. The building is located nearby the Geumseon Valley with beautiful natural scenery under Sobaek Mountain. Especially the pine forest around the valley boasts a unique natural setting. This study is aimed to analyze the value of natural scenic spot of the Geumseonjeong through the surveys on surroundings, topography, vegetation and water system. including the value of humanistic elements focused on the writings such as 'Geumgyejip' written by Whang Jun-ryang and Lee Whang, another 'Geumgyejip' written by Ryu un-ryong, and 'Geumgyejeongsajungsugi' written by Hong Gyeong-ryeom. And also, the scenic spot value of the signboards such as the 'Geumgyejeongsajungsugi' written by Ryu un-ryong, 'Geumgyejeong' by Lee Han-il, 'Geumgyejeong' written by Jo Un-hyeong and 'Geumgyejeongsa, written by Lee Jung-gi, was analyzed. And the historical and cultural value was analyzed through the semantic interpretation of the series of poetry and pose and the old map established in 1872. In respect of the scenery, the surroundings of the Geumseon Valley boast the outstanding settings as the clean mountain stream in front of the Geumseonjeong makes a beautiful harmony with the pine forest. The pine forest surrounding the Geumseon Valley has played a secret role in the history of the village. Considering the fact that the pine forest was expressed in the map of Punggi County produced in 1872, it may be assumed that the forest was regarded to have historical and scenic value in those times. Considering the fact that the words like 'Beautiful' and 'Scenic spot' were used in the writings like 'Geumgyejip' and there were meeting places around the valley, we can recognize the value of the place as a scenic spot. The beautiful natural scenery surrounding the ByeolSeo gardens, and the increase in humanistic value of the poetry and prose, including the administrative certificates, has recently brought about the cases in which some scenic spots of the ByeolSeo gardens were designated as cultural assets. According to the value as a scenic spot and semantic interpretation of the Geumseonjeong, the pavilion appeared to have a great scenic spot value as a ByeolSeo gardens, so that this study was designed to prepare criteria with which the pavilion may be designated as a scenic spot of ByeolSeo gardens.

• Journal of Korean Society of Archives and Records Management
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• v.1 no.1
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• pp.201-230
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• 2001

Conserving the recored cultural inheritance is actually the duty of all of us. Above all, the management and conservation of archives and documents is up to archivists who have technical knowledge about archival science. Archivists have to not only conserve archives and documents but also carry out classifying and appraising them in order to define them as current historic ones. The fundamental education about archival science is made up of history and law. Because Archive is the organisation which manage archives and documents produced by legal and administrative actions. Although there are still arguments about technical knowledge and degree archivists have to acquire, most of them prefer the studies related with history and emphasize legal studies to be the general boundary of archivits' ideology and trust. The training course about conservation of archives is conducted in about 9 National Archives of Torino, Milano, Venezia, Genova, Bologna, Parma, Roma, Napoli, Palermo. The training course in 19th was mostly based on the lectures of Phaleography, Diplomatics. There were not the education about archival science yet. Toward the end of 19th and 20th, people stressed the most basic subject in the training course of National Archive was not Phaleography and Diplomatics but archival science. The goal of archival science is to study the institution and organisation transferring archives and documents to Archive. And also it help archivists not wander about with ignorance of organisational and original procedures and divisions but know exactly theirs works. Like this, the studies on institution and organisation have got in the saddle as a branch of archival science since a few ten years. While archival science didn't evoke sympathy among people and experienced the tedious and difficult path in italy and other countries, Archive was managed by experts of other branches. As a result, there were a lot of faults in Archival Science. Specializing training course for Italian archivists came into being under the backdrop of Social Science Institute of Roma National University in 1925. The archival course of universities accomplished by the studies of history, law and economy. And such as Eugenio Casanova and Giorgio Cencetti were devoted archival science was abled to settle down in national archive. The training course for experts of 'archival science, 'Phaleography and Diplomatics' in National Archive of Bologna(Archivio di Stato di Bologna) is one of courses conducted in 17 National Archives in italy. This course is gratuitous and made up of 8 subjects(Archivistica, Paleografia, Diplomatica, Storia dell' Archivio, Notariato e documenti privati, istituzione medievale, istituzione moderna, istituzione contemporanea) students have to complete for two years. Students can receive the degree through passing twice written exam and once oral test. After department of Culture and education finally puts the marks of students, the chief Nationa Archive of Bologna confer the degree of 'archival science Phaleography and Diplomatics' on students passing the exams. This degree authenticates trainees' qualification which enables him to work at the archive in province, district and administrative capital city and archive of comunity and so on. Italian training course naturally leads archivists to keep in contact with valuable cultural inheritance through training in Archive. And it shows the intention to strengthen the affinity with each documents in the spot of archival management before training archivists. Also this is appraised as one of positive policies to conserve the local cultual inheritante in connection with the original qualitity of national archive with testify the history of each region. Traning course for archivist in Italy shows us the way how we have to prepare and proceed it. First, from producing documents to conserving than forever there has introduced 'original order that is to say a general rule to respect the first order given at the time producing documents'. Management of administrative documents is related consistently with one of historical documents. Second, the traning course for archivist is managing around 17 national archives. because italian national archive lay stress not or rducation of theory bus on train for archivest working in the first time of archival science. Third, diplomatics and phaleography for studies about historical document support archives. Forth, the studies on history id proceeding by cooperation between archivist and historian around archive. How our duties is non continuinf disputer who has to conserve and manage document and archives, but traing experts who having ability, vision and flexible thought, responsibility about archivals.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.