• The Journal of Art Theory & Practice
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• no.4
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• (The)Study of the Eastern Classic
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• no.49
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• pp.39-71
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• 2012

This paper examines Jang Hyeongwang's cultural awareness and the way of practice by focusing on his spirit of humanities in relation to the understanding of territory and bibliographic materials. In fact, this starts from conflicting evaluations on Jang Hyeongwang's way of learning in the field of Korean history. Jang Hyeongwang emphasizes realization of humanity, which is considered as basic framework of culture. He claims the indivisibility of Dao(道) and culture(mun文) by arguing that almighty principle of Dao manifests itself through phenomena of culture. In other words, Dao is the root of culture and, at the same time, culture is the necessary element of making Dao valuable. Furthermore, he insists that realization of human culture is the gist of manifesting the pattern of nature. In this vein, the roles of human beings are so important in creating humanistic civilization. He considers all kinds of human affairs as the contents of humanistic culture, which are contained in six classics. Especially, He says that the moral is reality of human culture and that literature is a literal expression of humanistic spirit. Thus, he criticizes that there are literatures without moral practices. He pays a special attention to his indigenous culture. He links the cultural understanding of geography, which is the foundation of realizing humanistic spirit, to awareness of Korean territory and grasps the territory in the light of topography of geographic power. Thus, he defines it as "Central Field" which bears comparison with China (middle kingdom). With the positive understanding of his country, he insisted that Korean indigenous culture and custom are as much advanced as China and was so proud of the moral characters and norms that Korean people had formed so far. Moreover, Jang truly exhibited affection to Korean literature, which had formed through Korean history. Kim Hyu, one of his students, activates Jang's will to preservation of Korean culture. Over twenty years, Kim completed Collected Record of Korean Literatures(haedong munhon ch'ongnok 海東文獻總錄). Actually, he started the preparatory works for compiling them. We should keep in mind that this compilation was completed following Japanese Invasion of Korea in 1592. It means that he has cultural awareness of preserving Korean literal heritages. Hence, it can be evaluated as the results of the enhancement of national studies. We have seen that He truly highlights realization of humanistic spirit by insisting the practices of moral values. In fact, his mind is linked to genuine affection to Korean territory, culture and literatures. Such affection can be paraphrased as moral awareness of humanity and its practices. In conclusion, his humanistic spirit should be understood as strong belief on universality of human morality. His cultural awareness of homeland and the will to practices should be considered as cultural pride of Korean intellectual traditions rather than following Chinese culture blindly.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.2
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• pp.76-87
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• 2019

This study aims to analyze the status of the Gaetaesa Temple Site in Nonsan and the value of national cultural heritage associated with it, to work towards gaining the acceptance criteria to become state-designated cultural property and to propose a plan for comprehensive maintenance, a plan for the promotion of the project and a plan for the management and operation. The Gaetaesa Temple Site in Nonsan has unprecedented advancements, and the condition of the remains are relatively good. It would be necessary to conduct digging/excavation surveys continuously in the future and ensure the dignity of the Gaetaesa Temple Site in Nonsan as a cultural asset. In addition, the Gaetaesa Temple Site has excellent historical and cultural values as treasure-class cultural heritage. Most temples had treasures taken out of them, so it is necessary to designate this site as a state-designated cultural property instead of a municipality-designated cultural heritage site, and to manage it systematically. Accordingly, this study investigated the history and historical facts about the Gaetaesa Temple Site in Nonsan through the analysis of literature, including old documents, old maps, related academic papers and books, and referred to the results of digging/excavation surveys, conducted up to six times since the first excavation survey conducted in 1986, in order to understand the status of the remains, ruins and the building sites excavated at the Gaetaesa Temple Site in Nonsan. In addition, this study analyzed the values of the Gaetaesa Temple Site in Nonsan, dividing them into the remains, relics and ruins, and set up the scope of the Gaetaesa Temple Site in Nonsan, the cultural property area (designated and protected areas) and the acceptance criteria for the construction work in the historical and cultural environment preservation area. This study proposed a plan for the comprehensive maintenance of the Gaetaesa Temple Site in Nonsan, a plan for the promotion of the project and a plan for the management and operation. It is necessary to carry out ongoing excavation investigations and to reflect the opinions of the residents for the purchase of land, to supplement the comprehensive maintenance plan, business promotion and management plans, and step-by-step business plans should be established in detail.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.577-589
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• 2013

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.

• Journal of the Korean Institute of Landscape Architecture
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• v.20 no.1
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• pp.18-28
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• 1992

A purpose of this study is to identify the concept formation and classify the diverse concepts which related to Kyoung(景) of Chio Nam-Sun at Korea under Japanese colonial rule (a turning point in the korean history). The cultural policy of th Japanese Government-General was aimed at the destruction of Korean nationalism and racial consciousness and the rapid Japanizatio of the Koreans. In the name of assimilation, Korean language instruction was first simply discouraged while the movement for the use of Japanese was stepped up, the use of the Japanese language was forced upon the Koreans, and textbook revision was carried out in order to develop Shinto nationalism and loyalty to the emperor and the state. The results were as follows; The type of landscape concept was 10 types and had the following frequencies in order; Pung-Kuoung(風景)(42), Kyoung-Chi(景致)(21), Koang-Kyoung(光景)(8), Kyoung-Sung(景勝)(7), Kyoung-Gae(景槪)(5), Kyoung-Goan(景觀)(2), Sung-Kyoung(勝景)(2), Kyoung(景)(2), Sil-Kyoung(實景)(1), Pung-Kyoung-Goan(風景觀)(1). Types of landscape concepts in critical periods were classified into 10 according to the many characteristics; personal situations, cultural policy and education policy of Japanese.

• Archives of design research
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• v.17 no.2
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• pp.33-42
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• 2004

It is a matter of fact that Susan, doesn't have enough systematic history and culture, has face on very difficult situation. A competitive and fashionable tourist theme park need to be constructed to develop their historical theme park, and to make own culture which is related to Busan' tradition. The subject of this study is to suggest the basic knowledge about number of customer to be estimated When cultural theme park is built up. The questionaries to customer is consist of the propensity of leasure, the use of similar facility, the type of theme park, and inclination of visitation to foreign and domestic tourist.

• Archives of design research
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• v.16 no.4
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• pp.463-470
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• 2003

It is a matter of fact that Pusan, doesn't have enough systematic history and culture, has face on very difficult situation. A competative and fashionate tourist theme park need to be constructed to develop their historical theme park, and to make own culture which is related to Pusan' tradition. The subject of this study is to suggest the basic knowledge about specialty of customer to be expected when cultural theme park is built up. The questionare to customer is consist of the propensity of lesure, the use of similar facility, the type of theme park, and inclination of visitation to forign and domestic tourist.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.1
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• pp.25-36
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• 2009

Coastal village and Inland village was village in jeju. This study was cultural elements of stone to village in jeju. Memorial Stone and Stone Monument Street, Shrine, An altar of sarificial site for village tutelary spirits, Bangsatap(pagoda), 25 Bongsu(25 beacon fire stations) and 38 Yeondae(38 signaling sites), Hwanhaejangseong Fortress, Grave wall and Horse pasture walls were included in elements of history and culture to village in jeju. An altar of sarificial rite for village tutelary spirits was generally on the a hill near a village, built of Stone wall. Bangsatap(pagoda) was the kind and the size of stone to a location, that expresses the form and the scale. the form of grave wall was the oval or the rectangle, the latter was frequent. Thatched houses in jeju and facilities in a house, Stone wall, Tongsi(pigsty), Paeng namu and A heights of stone, Spring water and Water collected in a depression, Stone Weir, Horse mill and Dodaebul(Old Lighthouse) were included in elements of life and culture to village in jeju. Stone wall has the multiplicity of the size and the building method in the use, the function and the region. The form of Stone weir was the rectangular figure or the curvilinear figure, the section of that was the right triangle or the rectangular form.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.1
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• pp.67-74
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• 2009

A new possibility for helping regional residents to establish the identity based on the history, culture and environment of the region and harmonizing art and culture in daily life can be seen from eco-museum. Unique cultural inheritances for each region exist not only in our nation but everywhere around the world, and Cheonan region is continuously attracting tourists from other regions as a home of the Independence Hall, Yu Gwan Sun Memorial, and live branches of independent activists with important inheritances such as tourist attractions and national treasures. However, despite unique environment of the region and inheritances with high academic values, lack of basic guides and explanations place the region in an environment that is difficult to approach. The purpose of this study is to systematically investigate regional inheritances based on the concept of eco-museum as an alternative for such problem recognition and to examine problems of inheritances scarred around Cheonan region based on their current status. The author of this study aims to analyze the investigated regional inheritances, rearrange their values and suggest possibilities for continued preservation and utilization.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2003.05a
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• pp.170-173
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• 2003

Because effect about environmental effect that get to human visually is absolute, ability that mural of subway interior considers relation with space is required. Also, public environment element should be designed must intend agreeableness sex by same traitor effect of quality of the material and color and can be evaluated by cultural inheritance that is powerful enemy same time. Wish to accomplish access as meaning of city environment improvement of wall of subway station or underground space etc. through Japan course South Korea's illustration regarding environment landscaping features that is designed in wall of latest domestic building subway interior in this research. Various and new reading by that study and analyze manufactured wall environment landscaping features recently that could find and was approached in variouser technique, practical use of material than single material and is expressed according to history's special quality and planning know can. Underground space can give agreeableness feel and psychological sense of security by user though expression method, material, color plan etc. consist because is having image blockade enemy. Therefore, wall environment landscaping features of underground space to be cultural value and environment Dija because diversified research that is accompanied in element is gone subway interior space of our country and underground space etc. as new culture space develop be able to must.