• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.6
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• pp.46-60
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• 2023

This study examines the appropriateness of indicators and methodologies through the evaluation of cultural services in border areas and uses them as basic data for the ecosystem service-based management of border areas, which are key domestic ecological assets. Accordingly, in this study, seven border cities and counties were evaluated and compared based on the evaluation indicators and methods presented by the National Institute of Ecology. As a result of the cultural service evaluation, it was found that Paju City was superior in leisure and tourism, Inje-gun was best in scenic beauty and heritage, and Yanggu-gun was strongest in education, and Inje-gun in heritage. Accordingly, through this study, future tasks for comprehensive cultural service evaluation were presented as follows. First, in order to evaluate ecosystem services at the national and regional levels, it is necessary to establish an indicator system for cultural service evaluation and monitoring. Second, when building a cultural service evaluation index system, it is necessary to review upper and lower conceptual units and the consistency between indicators according to the scale of the evaluation region. Third, a specific review of DB utilization for cultural service evaluation should be conducted depending on the type of ecosystem. Lastly, given the significant lack of domestic cultural service research, additional basic research must be conducted to evaluate cultural services including non-material and qualitative perceptions. In order to evaluate cultural services in the future, additional basic research is needed for each ecosystem type, and a process of finding appropriate evaluation indicators and methods through research is necessary.

• Cross-Cultural Studies
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• v.40
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• pp.239-264
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• 2015

In the early 20th century, Japan built theaters to take possession of colonial culture while establishing the Imperial University, libraries, and museums to accumulate and spread the knowledge of "imperial" Japan. Many different genres made a hit in theaters including theatrical troupes, theatrical companies, and motion pictures. One of the various features of expositions was "spectacles" or unusual events. They were integrated with a national festival in celebration of "5th anniversary of political commencement." In 1915, the longest hit series in Keijo (Seoul) was the dance performance by professional Japanese beauties and entertainers, whose songs delivered the legitimacy of governance. This study focused on the performance in the space of "cultural" spread called theaters, thus examining the "imperial" cultural waves they were in charge of. The study also focused on the tensional relations of Hierarchie along those cultural borders. The performance at the theater Engeikan(演芸館) in 1915 was especially an epoch-making event in the Japanese theatrical community of Keijo (Seoul): first, it marked the emergence of large-scale performance hall called Engeikan(演芸館); secondly, the performance kept its ongoing, stable streak for about 50 days; and it led to the appearance of leading troupes including Geijutuza(芸術座), which put on a show in Keijo (Seoul) in November, 1915. The study examined the issues of theater Engeikan(演芸館) performance in 1915 involving the art company, performance genre, and audience composition, showed that there was the coexistence of entertainment and governance through cultural ruling while securing amusement and entertainment, and found it was accompanied by the organized operation of "Keijo Sponsorship Council（京城協贊會）" which brought together the cultural capabilities of Japanese people living in Joseon. The performance at theater Engeikan(演芸館) in Keijo (Seoul) in 1915 fully reflected the issues involving the tensional relations between different artistic genres, the competing relations between the subjects of performance, and the cultural power.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.26 no.6
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• pp.117-133
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• 2023

This study assessed the ecological health of border areas using the ecological health index and suggested Indicators for maintaining and promoting ecological values. We analyzed the change trends, pressures, and resilience of ecosystems and services in border areas, and identified their current status and sustainability. The main findings were: (1) ecological assets and ecosystem services in border areas could be compared through ecosystem health assessment; (2) it can be used to set priorities for management and conservation by identifying the relative importance and vulnerability of ecosystems and ecosystem services in each border area; and (3) the index presented in this study can be judged to have explanatory power for the characteristics of border areas and ecosystem health when compared to previous studies. Limitations of this study include the lack of literature and statistical data at the local government level and the resulting limited application of evaluation methods, which limited direct regional comparisons. To overcome the research limitations, further studies are needed, such as establishing ecological information in border areas, mapping and assessment of ecosystem services, and developing and applying assessments that reflect the opinions and participation of various stakeholders. This study was the first attempt to assess the health of ecosystems and ecosystem services in border areas and provided an important baseline for future changes in border areas. In the future, it will be helpful in national and local government policies and ecological assetecosystem management by supplementing insufficient information and presenting clear goals.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.