• The Journal of Economics, Marketing and Management
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• v.6 no.2
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• pp.1-4
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• 2018

Purpose - This research, based on the successful experience of Korea, especially of Korea government, which, though promulgating laws and making policies, plays an rather pivotal role in Korea cultural industry development process, in developing cultural industry, explores possibly successful path and pattern that is suitable for China cultural industry. Research design, data, and Methodology - The study conducted a survey on Korea's 2000-2011 year data. After empirically analyzing the data, we believe that cultural industry in Korea and China will maintain its growth momentum. Results - This study shows that China and Korea are both belong to the only cultural circle of Confucianism and Chinese character, therefore, to research the successful experience of Korea government in cultural industry development will do much good to better promoting the optimal development of China cultural industry. China can encourage private flow to take on enterprises. In terms of financing, diversification can be achieved, by the means of cash, land, intangible assets, technology, stock, bond, cultural lottery etc. Conclusions - Besides, to better the degree of the internationalization of the allocation of the cultural resources, China government can, under the condition that Chinese laws permit, encourage foreign capital to invest in Chinese cultural industry field.

• The Journal of the Korea Contents Association
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• v.8 no.8
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• pp.235-243
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• 2008

This research show how Shin Han-Seong make up Taekkyeon to register to intangible cultural assets, and found next conclusion and meaning. First, skill organization of Song Duk-Ki Taekkeon that is only one modem Taekkeon's initiator have been transmitted for a piece of skills of playing figure which don't have regular system. But Taekkyeon which have regular system have been developed by Shin Han-Seong, finally Taekkyeon is approved to intangible cultural assets. Second, Shin Han-Seong modernized Taekkyeon by borrowing training system of Judo, Fencing, Hapgido, Taekwondo, Karate. But people criticize that Song Duk-Ki Taekkeon is not initiate with original thing. Third, Shin Han-Seong made the grade classification and practical technique screening, Bon-Dae Buigi Twelve part like Pomse of Taekwondo (there is no for traditional Taekkyeon). And he contributed to popularization and modernized learning system by pursuiting sportization. Through this research geared up Taekkyeon's original shape and generational outline about skill transition or composition. And it gave important data for understand about Taekkyeon controversy which scattered.

• Journal of Korea Society of Industrial Information Systems
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• v.15 no.1
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• pp.25-36
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• 2010

Recently, digitizing technologies for conservation and restoration of tangible intangible cultural properties are coming into spotlight. Because cultural properties are easy to be lost and damaged over the years, After construction of cultural assets database we can reconstruct the cultural asset making use of the reverse engineering when needed, and implement digital contents such as computer graphics, 3D virtural realization, hologram, etc. So in this paper, we scrutinize visual and technical factors occurring in different types of digital restoration of cultural properties, and present problems and improvements, and try to research technological prowess and visual mechanism.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.251-257
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• 2008

These days Taekkeon of Shin Han-Seong is newly rased as traditional martial which made up in the academic world. The reason why is that create new shaped Traditional Taekkeon which stipulate good points of systematize Martial Arts to register Song Duck-Ki Taekkyeon eleven figures's a piece of skills to cultural assets. This research show how Shin Han-Seong make up Taekkyeon to register to intangible cultural assets, and found next conclusion and meaning. First, skill organization of Song Duk-Ki Taekkeon that is only one modern Taekkeon's initiator have been transmitted for a piece of skills of playing figure which don't have regular system. But Taekkyeon which have regular system have been developed by Shin Han-Seong, finally Taekkyeon is approved to intangible cultural assets. Second, Shin Han-Seong modernized Taekkyeon by borrowing training system of Judo, Fencing, Hapgido, Taekwondo, Karate. But people criticize that Song Duk-Ki Taekkeon is not initiate with original thing. Third, Shin Han-Seong made the grade classification and practical technique screening, Bon-Dae Buigi Twelve part like Pomse of Taekwondo (there is no for traditional Taekkyeon). And he contributed to popularization and modernized learning system by pursuiting sportization. Through this research geared up Taekkyeon's original shape and generational outline about skill transition or composition. And it gave important data for understand about Taekkyeon controversy which scattered.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.586-597
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• 2014

In this paper, we describe a symbolization analysis of a Diamond World Mandala animation. The mandala means the basic idea of the esoteric Buddhism. The Diamond World Mandala has a very high value as cultural archetype due to have better specific meaning and aesthetic quality than other mandalas. Most researches of Buddhist cultural contents have focused on cultural assets restoration and abstract discussion on contents industrialization until now. However researches on contents directly delivering Buddhism scriptures' meanings are insufficient. Therefore, in this paper, we analyze concept of mandala and symbolical meaning of appeared elements in mandala rather than theoretical development appropriateness of mandalas' contents, then implement a prototype of a mandala animation. The animation is made of intangible culture such as an intellectual legacy of mankind, and its applications are as follows; education service for Buddhist doctrines, and cultural services through easy accessibility of Buddhist culture, etc.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Journal of the Korea Furniture Society
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• v.21 no.4
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• pp.293-303
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• 2010

With changing systems of wealth creation around the 21st century, crafts(traditional and industrial crafts) are affected by the trend of changes or lead the trend, that is to say, a turning point of paradigm has come. Values of crafts give the value of users, and the tradition and modern coexists in the trend of times changing from the tradition to the modern so crafts artists’ works are diversified and used in design industries. Based on a place of expression showing various beauty of crafts, identity of design is established through ‘Craft Consilience’ of intangible cultural assets, master craftsman, crafts artists, crafts industries, and crafts departments. As master craftsman and furniture designers meet together to mix master craftsman’s idea with designers’ idea, the new Korean crafts furniture is suggested.

• Proceedings of the Korea Contents Association Conference
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• 2011.05a
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• pp.249-250
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• 2011

이 연구의 목적은 무용전승자들의 중요무형문화재보유자에 대한 신뢰가 전수만족 및 전수애착도에 미치는 영향을 규명하는데 있다. 이 연구는 2011년 중요무형문화재무용으로 지정된 7개 단체 보존회에 등록된 보존회원을 모집단으로 설정한 후 집락무선표집법을 이용하여 최종분석에 이용된 사례 수는 총 229명이다. SPSSWIN 18.0을 이용하여 요인분석, 신뢰도분석, 회귀분석 등을 실시하였다. 설문지의 신뢰도는 Cronbach's ${\alpha}$값이 .829이상으로 나타났다. 결론은 다음과 같다. 첫째, 보유자신뢰는 전수만족에 영향을 미친다. 즉, 보유자신뢰가 높을수록 전수만족 또한 높아진다. 둘째, 보유자신뢰는 전수애착도에 영향을 미친다. 즉, 보유자신뢰가 높을수록 전수애착도 또한 높아진다. 셋째, 전수만족은 전수애착도에 영향을 미친다. 즉, 전수만족이 높을수록 전수애착도 또한 높아진다.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.30-51
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• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Korean Institute of Interior Design Journal
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• v.20 no.1
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• pp.109-116
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• 2011

As urbanization has evolved, a number of cities have been engaged in building creative power through branding. Cities contain much creative space and creative space within cities develops them. Cities are connected with space, which have a great influence each other, in particular, in cities of culture and art. Space contents in cities have various forms and types and work as important factors for branding of cities. In this high-touch generation, cities of culture and art have special meaning in that design of emotional generation, and cultural meaning of tangible and intangible assets in cities are their competitive power and sources of high added value. The cities of culture and art are oriented toward creative future globally and nationally. In cities of culture which seek for urban development by excavating artistic meaning and value through artistic and cultural development, their cultural meaning itself can become a brand, which effectively leads to building creative cities and marketing of urban brands. This study aims to analyse cases of cities developed through discovering or reactivating art and cultural meaning and value of urban space based on urban space contents. Then it analyses through what urban image, brands and marketing space contents were developed and suggests necessity of space contents development in small and middle sized cities. Therefore, based on the cases of art and cultural cities developed depending on space contents, it analyses and differentiate their various types and contents, aiming to show that any cities can be based on art and culture and creativity depending on creation, regeneration and development of space contents.