• SUVANNABHUMI
• /
• v.2 no.1
• /
• pp.17-53
• /
• 2010

The Chandi Borobudur was likely constructed around 800 AD, during the period of the Sailendra dynasty in central Java, Indonesia. The Chandi Borobudur have 1460 narrative panels of reliefs which are distributed from the hidden foot to the fourth gallery. The 160 panels show various scenes of actions producing the corresponding results according to the Karmavibhanga(分別善惡報應經) text. Blameworthy activities with their purgatorial punishments and praiseworthy activities with their subsequent rewards are both shown. The 120 panels depict the biography of Buddha according to the Lalitavistara (方廣大莊嚴經) text. The 620 panels depict stories from Jatakas (本生譚) and Avadanas (譬喩經). The stories of 560 panels are based on Mahayayana (入法界品, 488 panels) and Bhadrucari (普賢行願讚, 72 panels) of Gandavyuha (華嚴經) text. In this study, among the 120 narrative reliefs which tell the life story of Buddha according to the Lalitavistara text in Chandi Borobudur, the images of Birth of Siddhārtha(誕生), The Great Departure (出家), Attaintment of Enlightenment (成道) and The First Sermon (初轉法輪) have been compared with the images of biography of Buddha showing in Ancient India, Gandhara and South India, and China. From a historical perspective of cultural exchange, Borobudur is very important site because it is located on the south route of transmission of Buddhism from India to South Asia, China, Korea and Japan. Study on the reliefs sculptured on the wall of Chandi Borobudur provide us information to understand the process of spreading and changes in styles of Buddhist arts.

• Korean journal of communication and information
• /
• v.41
• /
• pp.75-107
• /
• 2008

The paper aims to figure out the meaning of money in terms of communication in which we can find the specific communicative and cultural form of money. In the modern capitalist society, we cannot limit money within the economical terms - for example, store of value, medium of exchange, unit of account and means of payment - because money mediates all human activities beyond the economic boundary and conveys specific meaning in the social and the cultural area. Money can be the medium of the cultural and the communicational as well as the medium of the economic. In this respect, we've try to articulate money with linguistic or semiotic insight. Through this theoretical dialogue, we find two significations of money as a medium of communication. The first signification is meta-signification which drives the individual to the unlimited accumulation of the money. Meta-signification displace the second signification of the money that is the singular, over-determined and the mosaic significations. In this process money can be the signifier without signification. And then, money is the Master signifier which all sign should be identified imaginary. Finally, Money is not only the re-presense (Darstellung) of all sings but also the representative (Vertretung) of all signs. But this double position creates some tensions and makes master signifier of money unstable. Man's analysis of Bonapartism, which shares the linguistic or semiotic insight, shows the crack of the re-presence between the representative. Like Marx's analysis, the money has the tension between two signification which makes the room for the struggle to signify.

• Journal of the Korean Society of Costume
• /
• v.55 no.4 s.94
• /
• pp.138-150
• /
• 2005

Phrygia headgear has an important meaning from the perspectives of costume history and cultural exchanges in ancient times. This study is to investigate the prototype of Phrygia headgear through analysis of its manufacturing methods and styles on the basis of prior studies on ancient sculptures and literatures conducted by European researchers and to examine its history and meanings. In these ways, this study will be helpful in understanding the importance of Phrygia headgear in cultural exchanges between the East and the West. Results of this study can be summarized as follows: Phrygia headgear was orn by eastern tribes, so it was a symbol of those from the east in ancient times. Phrygia headgear is frequently found in Greek artistic works of 5th to 4th century BC that depicted eastern tribes. Also, this headgear can be observed in artistic works for Mithras, Attis, or other gods. Since Phrygia headgear's shape is similar to that of Homer's helm, many researchers believe that it might be originated from Homer's helm. This headgear made of oxen scrotum(stierbeutel) or its surrounding skin has a long end at the top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we can draw a conclusion that Phrygia headgear was made of oxen scrotum and its surrounding skin. Dependingy on drooping patterns, there are various shapes, such as the round, tightly swollen one worn by Mithras, the tongue-shaped one found in Basilika S. Apolinare Nuovo's mosaic depicting three wise men, the balloon-shaped one frequently found in Greek vases depicting Scythian, and the one drooping to the side depicted in Alexandersarkophag. Further, some Phrygia headgear has covers for neck and ears. For example, Phrygia headgear worn by Persian Satrap tribe has such covers attached to the head part. Meanwhile, Phrygia headgear worn by Amazone tribe does not show such separate covers, Rather, one piece of oxen skin was tanned and finished to make such covers. Wearing Phrygia headgear can be interpreted in several ways. Use of animal's skin for wearing things is a unique aspect in ancient societies because they believed that wearing animal skin would give them power of the animal. Further, Phrygia headgear made of oxen scrotum was a symbol of reproductive power to women.

• The Journal of the Korea Contents Association
• /
• v.20 no.8
• /
• pp.375-385
• /
• 2020

This paper attempts to understand the reality of Netflix on the Korean film distribution market environment, and to verify the possibility of developing domestic content centered on independent films in the OTT market, led by Netflix. The research significance of finding the way for Korean diverse films and independent films that cannot be provided with investment and distribution opportunities in various Korean Wave contents will be studied, and the characteristics of Netflix in the Korean film market will be explored. Netflix disseminates Korean contents such as Korean movies and Korean dramas, contributes to the spread of the Korean Wave, and is re-adjusting the paradigm of the distribution market, raising issues that cause a virtuous cycle of profits, controversy over net usage fees, and flooding of Hollywood movies. Considering the nature of intercultural exchange, the interaction between independent film content, Netflix platform, audience, and global market will expand interactive communication opportunities. In other words, just as Netflix uses the Korean media market to make profits, Korea should also use Netflix to try to expand the global market of Korean film contents (K-Film)and maintain a cultural and economic reciprocal attitude.

• Archives of design research
• /
• v.19 no.4 s.66
• /
• pp.111-120
• /
• 2006

These days, contemporary people's interest in culture is higher than ever, and in response to such a current trend, each country is making efforts to search for its identity in various areas, and conducting research to compare its culture with that of other countries. The culture of a region does not develop independently or spontaneously, but it changes and evolves in connection with neighboring countries or cultures. Thus, in order to understand our own cultural characteristics properly, we need not only to make an in-depth study in our own culture but also to compare it with other cultures and understand their similarities and differences dearly. From old times, Korea, China and Japan have had great influences on one another through active socio cultural exchange and at the same time they have their own unique cultural characteristics. Unfortunately, however, the distinguished identity of Korean culture has not been recognized properly. The present study purposed to classify Korean, Chinese and Japanese traditional furniture from the $14th{\sim}19th$ century by type, and compare their characteristics by type as well as their general formative characteristics. This research is expected to improve our objective understanding of our own culture. Furthermore, it will provide a ground for reinterpreting our culture to distinguish Korean culture from Oriental culture.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.3
• /
• pp.26-47
• /
• 2010

When the term conservation is used with regard to excavated features, it means not only conservation but also restoration. Restoring the features here does not imply restoring their original form but restoring their form at the moment of excavation. That means, the conservation of excavated features includes the concept of both reparation and restoration. The way of conserving excavated features can be largely categorized into on-site conservation and transfer conservation. On-site conservation means to conserve excavated features as they were at the excavation site. It can be further categorized into soil-covered on-site conservation, in which excavated features are covered with soil to prevent them from being damaged, and exposed on-site conservation in which the features were conserved as they were exposed. Transfer conservation is operated on the premise that excavated features are transferred to another place. It can be further categorized into original form transfer, transcribing transfer, reproduction transfer, and dismantlement transfer. Original form transfer refers to the method of moving the original forms of excavated features to another place. Transcribing transfer refers to moving some of the surfaces of excavated features to another place. Reproduction transfer refers to restoring the forms of excavated features in another place after copying the forms of excavated features at the excavation site. Dismantlement transfer refers to the method of restoring excavated features in a place other than the excavation site in the reverse order of dismantlement after dismantling the features at the excavation site. The most fundamental issue regarding conserving excavated features is the conservation of their original forms. However, the conservation of excavated features tends to be decided depending on a variety of conditions such as society, economy, culture, and local situations. In order to conserve excavated features more effectively, more detailed and specialized conservation methods should be created. Furthermore, continuing research is needed to find the most effective way of conserving them through exchange with other neighboring academic fields and scientific technology.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.3
• /
• pp.86-107
• /
• 2014

The large stone cist tomb 8501 of Lingcheng prefecture Xiaoheishigou, according to Chinese chronology, was built during the late Western Zhou period. However in this tomb not only Chinese Zhongyuan style bronze ceremonial vessels but also indigenous style bronze ceremonial vessels and instruments and hybrid bronze ceremonial vessels with a mixture of both indigenous and Chinese styles were excavated in large numbers. The bronze ceremonial vessel assemblage of Xiaoheishigou, in comparison with the decorum regulations and bronze cauldron and coffer system of the Chinese Zhongyuan region of the same time period, belong to that of the lowest status category. However, in contrast to the lowest class category tombs of the Chinese Zhongyuan region, in this tomb, with the exception of cauldrons and coffers, the remaining food and wine vessels of the assemblage match the standard of emperors and feudal rulers of vassal states. This is reinforced by the burial of musical instruments. Of the bronze ceremonial vessels of Xiaoheishigou large stone cist tomb 8501, the indigenous and hybrid styles, in consideration of manufacture technology seem to have been manufactured locally. However, the form, pattern and also the standards of the Western Zhou style bronze ceremonial vessels are identical to those of the Chinese Zhongyuan region and therefore it is clear that they were manufactured in Western Zhou. The reason for these precious ceremonial vessels which were manufactured and used in the many individual vassal states of the Chinese Zhongyuan region being buried in Xiaoheishigou, seems to have been the result of economic exchange and friendly political relations between the Xiaoheishigou and other groups rather than these vessels having been plundered by the Xiaoheishigou group. A distinct cultural sphere existed between the Upper Xiajiadian culture and Western Zhou which interacted frequently with both sides.

• Korean Journal of Heritage: History & Science
• /
• v.38
• /
• pp.285-303
• /
• 2005

Through the excavated excellent articles of the Tang era, we have considered the building techniques and styles of a square pavilion, an octagonal pavilion, a miniature hill, a pond, etc., could read building techniques of the scenic structures on ancient literatures including records and additionally about their poetical life at that time and inquired into the arrangement, structure, building techniques, etc. of a miniature hill, a pond, a pavilion, a flowerplant, etc., on Nakyangmyungwonki. Thus, under the research on the private landscape architecture, especially the nobility gardening, around excavated excellent articles and literatures, 'A miniature hill(假山) and a pond for landscaping views formed the center of a garden, and additionally a pavilion was built and flowerplants were set. The miniature hill of laying stones and having a carven, steeping, stratifying, looking like dyed green and birds' singing among hills and eating water on the lakeshore${\ldots}$' was expressed. The pond of digging in the ground and conducting water had its water system developed. There were several kinds of pavilions such as 廳, 堂, 館, 亭, 臺, 樓, 閣, 榭, etc. As examples of landscaping plants, there were a bamboo, a lotus flower, a peony, aromatic trees a pine, a korean spindle tree, a big cone pine, an empress tree, a wild walnut, a peach, a plum, a Japanese apricot tree, an apricot tree, a chrysanthemum, arrowroot vines, etc. Thus, the garden of the Tang era, abundant, diverse and excellent, enjoyed the prime of the period of prosperity. Due to cultural exchange, it is supposed that the period of united Shilla of the same age would meet with the period of prosperity in the developmental history of Korea landscape, based on the nobility garden system '4 different dwelling-houses every season on a record "四節游宅"'.

• Korean Journal of Heritage: History & Science
• /
• v.39
• /
• pp.5-38
• /
• 2006

Although in Korea there are only three examples of wooden coffins being found in burial mounds - from the Daho-ri, Songhyun-dong, and Munyung tombs, in Japan data on the shape and structure of wooden coffins from the Gofun era is relatively abundant. The wooden coffins of the Gofun era of Japan can be classified into either the dugout log style or the combined boards style according to their method of manufacture. They can also be divided by shape, into such categories as the boat shape, the split bamboo shape, the box shape, and so on. The box shape category can be further divided into the assembled type and the nailed type, according to how the boards are put together. Japanese Umbrella Pine (Sciadopitys verticillata) was favored as coffin-wood in all ages, but during the later Gofun era easily obtained woods such as the Japanese cedar (Cryptomeria japonica) or the Hinoki Falsecypress (Chamaecyparis obtusa) were also used. The coffins found at Daho-ri and Songhyun-dong are similar to the Japanese dugout log style in shape and manufacture, while the king's and queen's coffins excavated at Munyung Tomb are seen to have had direct influence on the appearance of nailed coffins Japan. The coffin in Songhyun-dong 7th mound was originally a dugout log boat. It was probably used for practical reasons such as the bugproof, anti-corrosion qualities of camphor wood, not because of ideological reasons such as in a boat burial (in which the boat takes the deceased to the after world). Because the Changnyong region is inland, where camphor trees do not grow, using an already existing boat may have been the only way to procure a camphor-wood coffin. From historical circumstances, it may be inferred that the camphor trees were imported into Korea from Japan, between which there was much cultural exchange.

• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.35 no.1
• /
• pp.73-96
• /
• 2024

This study aimed to establish a systematic and comprehensive operational plan for the library to be constructed in the Gwacheon Knowledge Information Town. To achieve this, a survey on the demand for library operations was conducted among actual users of the Gwacheon City Public Library, and plans for the library collection development, user services, and methods to revitalize use were formulated based on the survey results. The findings are as follows. First, the library's construction/space analysis results suggest the need for a multifunctional cultural space accessible to everyone, serving as both a relaxation area and venue for a free information exchange and communication, allowing for a certain level of noise to facilitate an open atmosphere for users. Second, the analysis of the preferred types and forms of library materials revealed that printed materials ranked first, followed by web resources in the second place, and e-books/e-journals in the third. Additionally, there was a high preference for subjects such as literature and history. Third, a high preference was observed for cultural and arts programs, indicating the need for the future Gwacheon Knowledge Information Town Library to strengthen and implement programs focusing on cultural and artistic themes.