• Archives of design research
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• v.19 no.1 s.63
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• pp.293-302
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• 2006

clay cups with handles made in studios in Korea and the United States were selected and analyzed. The shape of cup were fixed to ensure proper comparison between handle size of the cup and position. The variable factors were the thickness of the handle, the number of fingers required to hold the cup, the relationship between the handle's shape and the position of its attachment to the cup, the effect of the handle's setter, the change in shape of the handle's thickness, and the relationship between the cup's weight center and handle. Preference test were designed and tested to the users, and the results were analyzed. The results showed that to make a comfortable handle, it is important to incorporate the shape of the resting hand in the design of the handle. Specifically, the design should be such that the cup can be held comfortably. This is possible if the weight of the cup is spread evenly when several fingers are inside the handle's curve and if such factors as the hand size, the curve of the fingers, and the position that best controls the cup's weight center are carefully considered. At this time, if there is a setter for the thumb, a cup of the same weight can be lifted more lightly. In the design of such a cup, the oval line is drawn by extending the cup's handle toward the direction of the cup's body. If the cup's weight center is located on the oval line, the cup's handle may be said to be effective. In such a case, the nearer the handle is to the cup's body weight center, the less power is needed to lift the cup efficiently. Our test results can be applied as a powerful tools in design and manufacturing cups with handle in terms of artistry and functionality.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.1-11
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• 2009

This study focuses on Abstract Types in Contemporary Landscape Design. The formation and artistry of contemporary landscape design reveals many areas which Previously have not been able to be expressed in scenic landscape thanks to the deviation of the genre in contemporary landscape and the hybridization that has occurred among architecture, landscape and art genres. The focus of this study is basic research concerning "the abstract", which is used as a creative artistic theory in a variety of art fields such as landscape, architecture and painting. Through a theoretical establishment of "the abstract", its process of change, and the discovery of its contemporary principles, the relationship between each art field in landscapes and the formation of the abstract, abstract language, and abstract properties have been studied. The use of the abstract in contemporary landscape design can be classified in three ways: Inductive abstract representing conceptual transcendental symbols not logically but rather through intuition and transcendental cognition to display the inner expressions, ideas and minds of the artists. Second, a deductive abstract represents an expansive, logical model for the simplification of objects, distortion, exaggeration based on knowledge and logical reasoning about objective fact based on traditional realism. The complexity of the abstract is a concept that is bound to both the deductive & inductive abstract. As a major trend, the concept of "The abstract" in contemporary landscape has been putting forth ever-deeper roots. New trends like abstract works and landscape architecture reflecting the artist's inner expression, in particular, will provide fertile soil for landscape in the future. Further research about the concept of "the abstract" will also be necessary in the time to come.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.120-126
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• 2010

As the importance of an historical area is getting increased in these days, the reconstruction of an bell chamber in Namhansansung has significant historial, educational and cultural meaning. The purpose of this study, as a study on an bell chamber in Namhansansung, is to assume an original location of the bell chamber and identify the size and shape of the original bell chamber through literature study, site inspection, and analysis on old maps. In addition, this study could provide useful information when new bell chamber is constructed. According to the literature study, site inspections(5 times) and analysis on old maps, the original bell chamber is assumed to locate near current Oroji tea house at the rotary, where was in the area of Hanggung. With regard to the traffic system, it is assume that there was an old road along with the current local road No.342 connecting the South Gate with North Gate and a Y or T shape intersection connecting the site of old bell chamber with the north. In addition, there was a government office street from the old bell chamber to Hanggung. The shape of old bell chamber is assumed to have Paljak or Woojingak roof. Samo roof was not found in all the five maps. Regarding the direction of bell chamber, three maps indicate that it faces the East and two maps show that it faces the South. Therefore, it is assumed that the length and width of the roof have similar size. However, a new bell chamber should face the East, which is the same direction with Hanggung. As there is a record which states that a bell in the Cheonheoungsa, Seonggeosan, Cheonan was used as a Namhansansung's bell when the Cheonheoungsa was closed, this study suggests that new Namansansung's bell should be built, considering histroical value and artistry of Cheonheoungsa's bell. This study is a basic research for the reconstruction of Namhansansung in 2009. However, as reconstruction of historical assets should be based on thorough historical evidences. Therefore, more detail researches by a indicator analysis are left for the topic of future studies.

• (The) Research of the performance art and culture
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• no.36
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• pp.531-551
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• 2018

The educational trait that the arts and cultural education and dance strive for at a time when the ethical tasks of life is the experience for insight of life. The awareness of time entrusted with the intensity [depth] of artistic and aesthetic experience is to contain its implication with policy and system. In the policy territory, broad perception and strategy are combined and practiced to produce new implication. Therefore, on the basis of characteristics and spectrum persuaded at a time when the arts and cultural education and dance education are broadly expanded, the result of this study after taking a look at the role of dance education within the arts and cultural education is shown as follows. The value striving for by the culture and arts education and dance education is to structure the life form with the artistic experience through the art as the ultimate life description. This is attributable to the fact that the artistic trait structured with self-understanding and self-expression contains the directivity of life that is recorded and depicted in the process of life. The dance education in the culture and arts education has the trait to view the world with the dance structure as the comprehensive study as in other textbook or art genre under the awareness of time and education system category within the school system and it has diverse social issues combined as related to the frame of social growth and advancement outside of school. When taking a look at the practical characteristics (method) of dance based on the arts and cultural education business, it facilitates the practice strategy through dance, in dance, about dance, between dance with the artist for art [dance]. At this time, the approachability of dance is deployed in a program based on diverse artistry for technology, expression, understanding, symbolism and others and it has the participation of enjoyment and preference. In the policy project of the culture and arts education, the dance education works as the function of education project as an alternative model on the education system and it also sometimes works as the function for social improvement and development to promote the community awareness and cultural transformation through the involvement and intervention of social issues.

• (The)Study of the Eastern Classic
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• no.57
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• pp.331-357
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• 2014

This paper is to examine Okdong Lee Seo's historical view through analyzing Yeokdaega("歷代歌"), Okdong's full-length historical epic. As long as Okdong Lee Seo was a Confucian scholar holding moral cultivation as the highest value, his Yeokdaega is hard to explain separately from the Confucian world view. Okdong's Yeokdaega is a long old-style sino-korean poem consisting of 526 7-syllable verses, yet it considerably differs in structure from other historical epics known so far. Okdong's Yeokdaega consists of two parts: the first narrates Chinese historical facts from the beginning to the fall of Ming dynasty, and the second describes the social irrationality of the time and reveals his strong social criticism. It is very different from an ordinary historical epic piece narrating the orders and disorders and the rise and fall of historical facts. It is thought that Okdong's Yeokdaega was written based on his Confucian historical view. It seems that for Okdong the rise and fall of Chinese historical dynasties did not merely mean historical facts but functioned as a tool explaining the reason for people to persue moral cultivation. Okdong summed up his knowledge of the rise and fall of Chinese historical dynasties, his sharp criticism on social irrationality, and his stimulation about the necessity of moral cultivation, and then created a long 526-verse historical epic Yeokdaega. For the reasons, it is not easy to say that Okdong's Yeokdaega is the result of pure literary activities only for artistry. However, Okdong's Yeokdaega is not inferior to other historical epic pieces written by the time in literary value. Especially, Okdong's Yeokdaega can be said to be more meaningful since it was, over its literary value, not only a tool to strengthen his own study and will but also a educational tool for others around himself.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.