• Journal of architectural history
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• v.17 no.6
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• pp.87-98
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• 2008

The purpose of this study is ultimately subjected to the Orientalism, even though this deals with some positive effects in the realm of art and architecture as the scope of study, because through which the relationship between two different cultures will be discussed. That is to say, this research focused not only on how the presentation of 'avant-garde' visual art, which is explained as formal 'purity' and 'abstraction' as the characteristics of modern arts, could be made in the transition to the 20th's World, but also on what is the role and meaning of Eastern thoughts, which is popular in that time, for the new philosophical background of the artistic revolution. As a result, this study found that a lot of 'avant-garde' architects such as F. L. Wright, M. Mahony in Prairie School and L. Sullivan, D. Burnham, J. Root in Chicago School, and Lauweriks, H. P. Berlage who introduced Wright's works into the Europe, had possessed the 'Universal Philosophy' including Unitarianism, Transcendentalism, Deism, and Theosophy which are all influenced by Oriental religions and thoughts through historic western philosophers, although it is generally well-known that W. Kandinsky and P. Mondrian were belong to that. Furthermore, they gave attention to the Oriental religions and thoughts in that time, eventually made a historical progressive process of unification of thoughts between East and West. In a word, the new universalism was the philosophical background that made the artist's idea and presentation on 'from Being into Becoming'.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.85-125
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• 2012

Geun Hyung Park is one of the playwrights who consistently pursues his unique world of play. One of the characteristics that is constantly discovered in Park's plays is the motif of 'family.' Park chooses family as the motif in most of his work. Park particularly emphasizes 'family life' rather than 'individual life' to focus on the internal problems of families. Therefore, the motif of family in Park's plays takes a very important position in the content and theme. The Korean society imposes unique value on families and possesses a strictly obstinate family ideology. Park observes distorted family relations or individuals who cannot be happy within their families to identify the problems related to the family ideology that is deeply rooted in the Korean society. This is one of the important backgrounds for which Park is constantly dealing with 'family life.' This study selected five of Park's most famous plays to specifically examine Park's critical understanding of family ideology. First, his criticizes extreme family egoism by depicting a family that cannibalizes people to keep the family full. Park chooses 'absurd time and space' and the extreme subject of 'human flesh' to warn his audiences about the awful consequences of family egoism. His , which is the only piece that deals with family history among the five pieces selected, criticizes Korea's unique family-centered ideology by humorously depicting the history of the Cho family that is all about maintaining and worshipping the its clan. He reveals the unethical and hypocritical attitudes of the Cho family for the audiences to reconsider the family-centered ideology of the Korean society. In , he talks about the son and the father who lose his ethical authority and fail to perform his paternal responsibilities to criticize the traditional family ideology of patriarchism and suggests the pessimistic future of patriarchism. contrasts a blood-related family with an irresponsible father and a quasi-family to criticize the identity of blood-related families. In , Park depicts a 'smelly house' of a family in agonizing relations to deny the family myth and the maternal myth. He clearly shows how the ideals of family myth and maternal myth are distant from the reality. In result of this study, Park's criticism of family ideology appears in various forms. He comprehensively criticizes both the general family problems and the unique family issues of Korea. The family ideology of Korea is currently undergoing a radical change. It has been long since the traditional family ideologies have exposed problems to show the signs of crisis. Also, there have emerged various forms of families, including single-parent families, one-person families, adoption families, and multi-cultural families. In this respect, Park's critical understanding of family ideologies allows you to see the obvious family forms from a new perspective and greatly contributes to awakening the essential questions about families. Park's work is noticeable among the various artistic and literature pieces that deal with family issues because of his extraordinary skills to capture the key issues inherent in the problems of family ideologies.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.