• 식품문화 한맛한얼
• /
• v.4 no.3
• /
• pp.278-284
• /
• 2011

• Korean Journal of Heritage: History & Science
• /
• v.11
• /
• pp.355-390
• /
• 1977

• The Journal of the Korea Contents Association
• /
• v.19 no.4
• /
• pp.446-457
• /
• 2019

There are many local resources industrialization projects for regional development in South Korea but a lack of method for being adapted for project planning from survey of local resources to commercialization. In this research, we composed local resource commercialization process with a case study of Chusa Kimjeonghee cultural assets commercialization project considering regional characteristics of resources, employment, and needs. This research is composed with three parts such as resource assessment, main manufacturing area selection, and project contents development. In first step, local resource lists are gathered and graded by expert survey with the item of importance and industrialization possibility. In second step, we proposed project asssistant coefficient with numbers of enterprises and employment data by manufacturing are gathered in national and target area level. In third step, we propose questionnaire survey items for developing project contents based on customer needs. Finally we summarized project results and induced implications for future cultural assets commercialization projects.

• The Korean Publising Journal, Monthly
• /
• s.143
• /
• pp.2-3
• /
• 1994

겸재 정선과 추사 김정희 연구의 대가이자, 유교와 불교를 넘나들며 고미술품에서 당대의 정신사적 궤적을 탐구하는 일에 정열을 바쳐온 최완수씨가 "명찰순례"를 펴냈다. 이 책은 그 특유의 박람강기로 국내사찰의 유물.유적 속에 내장된 민족사를 길어올린 역작이다. 사찰과 최완수와의 만남, 그것은 우리에게 '한국문화사'로 읽힌다.

• The Journal of the Convergence on Culture Technology
• /
• v.6 no.3
• /
• pp.283-291
• /
• 2020

Chusa is a pearl in our cultural history. His unfavorable times and circumstances made him more and more devoted, and through this, his art was able to bloom brilliantly. He was born and raised in a prestigious family, and was able to establish his academic world broadly through the encounter with Ongbanggang and Wanwon, the great masters of the Qing Dynasty culture at the time of the 20s. Particularly, his artistic activities in the area where he lived in exile allowed him to establish Chusache. He also showed the essence of his literary spirit as a picture of Sehando. Through numerous letters, he can also examine his culture, art, and thought. Furthermore, based on the archaeology of the Qing Dynasty, you can also examine the thoughts and philosophies of the real world. This article intends to examine and review the Aesthetic Sense of Chusa's literary art in terms of mentality through Sehando·Bujakrando. This is because it is judged to be an aesthetic sense that is the essence of Chusa art.

• Conservation Science in Museum
• /
• v.30
• /
• pp.127-144
• /
• 2023

"Buliseonrando," meaning "Buddhist virtues and the orchid are one and the same," was painted by Chusa Kim Jeong-hee. Four appreciation sentences are written in various fonts around the orchid drawn in the center of the painting, along with a total of 15 seals stamped. Hyperspectral image analysis(HSI), microscopy, and X-ray fluorescence (XRF) were conducted with a focus on the seals and the parts of the painting that have been applied with a conservation treatment. As a result of the analyses, the seals were classified into two types-seals with or without barium content. Stamp shade was identified only in five of themstamps, which allows the assumption that the composition and material characteristics of the stamp inks varied depending on the period. In particular, hyperspectral image analysis confirms traces of conservation treatment on the seals and the lost parts identified in addition to the 15 seals, which also demonstrates the utility of hyperspectral image analysis.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.157-181
• /
• 2015

This thesis pursued exchanges of Hwangsang with Chusa Family, who existed in the 19th century. What was Chusa to Hwangsang and what was Hwangsang to Chusa? The answer is concluded to the question of which existence Chusa was to Hwangsang but not of which existence Hwangsang was to Chusa. However, disregarding social positions of the nobles and the commoners, brothers of Chusa also cherished Hwangsang and respectfully treated him as a poet at all times. Chusa was a critic who recognized Hwangsang as a successor to Dasan poetics and became a patron of the literary circles on the other hand. Hwangsang's Chinese poems related to Chusa Family are counted as 45 JE 52 SU in total which consist of 31 JE 34 SU in "CHIWONYUGO" and 14 JE 18 SU in "CHIWONSOGO", On the other hand, Chinese poems which Chusa wrote for Hwangsang are only a few pieces shown in "WANDANGJEONJIP". Hwangsang first met three brothers including Chusa in September 1853 when he came up to the capital for the 4th time. Jeong Hak-yeon, the oldest son of Dasan Jeang Yak-yong, played an important role in the whole process that Hwangsang met Chusa's three brothers and was recognized as a poet. As the oldest son of Dasan Family, Jeong Hak-yeon made efforts in various ways for Hwangsang. Hwangsang tried his efforts to exhibit his ability as a poet to Chusa and to get Chusa's introduction of his poetical works. Considering Chusa's importance in then literary circles, the introduction seemed to reflect recognition by the literary circles in the metropolis and it also showed that Hwangsang was no more than an obscure poet in the provincial area. Poetical composition of Hwangsang for Chusa three brothers commonly contained friendship, intimacy and special respect at all times. Seeing from exchange process between Hwangsang and Dasan Family or Chusa Family, it is found that mutual exchanges were actively made in the mid-nineteenth century overcoming regional differentiation between capital and province, or feudalism class distinction of social positions of the nobles and the commoners.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.1
• /
• pp.170-189
• /
• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• Journal of the East Asian Society of Dietary Life
• /
• v.20 no.5
• /
• pp.639-654
• /
• 2010

This study attempted to research the local food of various regions at a personal level by discovering how food has developed das part of a region's culture base. Discovery of the characteristic story behind the making of a region's characteristic food as local delicacies can inspire self-esteem in the culture, and enhance the real-life image as appropriate to a region, and thereby be made a part of local tourism and thus contributing to the local economy. For this reason, the native foods of the region of Chungcheongnam-do were researched in terms of the cultural sensibilities that inform the unique history of that region. The study was designed so as to aid in understanding food's characteristic value in Chungcheongnam-do and to give a historical representation of Chungcheongnam-do's image by means of storytelling techniques; thus, the local food's character can be presented alongside a story that appeals to the five senses. For this purpose, Chungcheongnam-do's representative native rice table was cast as the 'Hyunchoong rice meal table' - after the figure of admiral Yi Sun Shin of Asan area region, a representative image of Chungcheongnam-do - and 'Choosa rice meal table', after the figure of 'Choosa' Kim Jeong Hee of Yesan region, of which various literary works form a representative image of Chungcheongnam-do. 'Hyunchoong rice meal table' was composed of a health food centered menu which could supply sufficient nutrition as a food ration in times of war or winter shortage, thus providing an image of nutrition and power as appropriate to these situations. Also, to assess the health effectiveness of each rice table, the functionality of the ingredients were investigated as reported in 'Sik-ryo-chan-yo : a dietary treatment' which was published by Soon-Ui Cheon in the Chosun era and by which the foods of the early Chosun era won recognition as being both healthy profitable.

• (The)Study of the Eastern Classic
• /
• no.73
• /
• pp.361-384
• /
• 2018

This paper aims to introduce Park Seon-su's ShuowenJiezi YIzheng from the perspective of Epigraphy, and incorporate it into the fields of Korean Epigraphy. Korean Epigraphy, which now categorized as a study since Kim Jeong-hee's powerful work in 19th century, can be listed either by studies published before and after Kim Jeong-hee's and by name of influential writers who have successfully presented each study and strive for the development of Korean Epigraphy. Earlier studies show that Korean Epigraphy has more books of data collection rather than the books of research on the epigraph. Regardless of the nationality of the author, all books containing Korean epigraph were counted as Korean Epigraphy, and those books made for religious reasons were not excluded from Korean Epigraphy as well. This indicates how wide the scope of Korean Epigraphy is. In this The reason Park Seon-su's research is ignored at present time, which was assessed as excellent in the late Chosun Dynasty, may come from lack of understanding on the ShuowenJiezi YIzheng. His book, ShuowenJiezi YIzheng, focuses on graphology but more broadly it includes translation of Epigraph and Epigraphy which leads to interpretation of scriptures. Such Park- Seonsu's great work must be presented in Korean Epigraphy studies to broaden its scope, also it is important to look for yet unfound pieces on the fields of Epigraphy.