• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.110-118
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• 2015

Borimsa Temple in Jangheung, one of the Goosanseonmoon of Shilla Dynasty, calls for a study in the field of landscape architecture because it has very significant elements in cultural and ecological landscaping aspects. This study examined the changes in landscaping elements of Borimsa Temple since the 17th century in order to newly recognize cultural landscaping value of space composition elements for traditional temple and to verify landscape architectural position. For research method, literatures such as Sajeonggi (事蹟記), Joongchanggi, a surveyed map by Fujishima Gaijiro in 1928 and Joseon Gojeogdobo (朝鮮古蹟圖譜) and modern documents including Borimsa Temple Precision Ground Survey Report and photographic records of National Archives of Korea and provincial governments were examined together with a field survey in order to trace changes in landscape elements such as buildings within the temple site, pond and temple forest. The results are as the following: First, for geographical locations of Borimsa Temple, it is located in an auspicious location and Shipyuknahansang and Cheonbul were placed in a supplementary purpose according to the contents of Bojoseonsatapbi. Compared to Namhwaseonsa Temple in China, it has a similar environmental composition but the fact that buildings were placed on platforms is a distinctive difference. Second, architectural landscape of Borimsa Temple went through the Japanese colonial era and Korean War and still going through changes today. Thus, there shall be some appropriate measures such as to establish an archive of past landscape data. Third, the contents of Borimsa Temple Sajeonggi suggests that the pond of Borimsa Temple had been in a indeterminate form with stones on the outer edge. Its name could have been Yongcheon (湧泉) according to the contents of Joongchanggi. Also, the current landscape, in comparison with past photographs, is a result of changes from surface raise occurred by ground reinforcement within the temple site. Fourth, Jangsaengpyoju (長生標柱) mentioned in Bojoseonsatapbi and Borimsa Temple Sajeonggi was thought to be the dried juniper tree in front of Daewoongbojeon, which can be found in past photographic documents but, it is now assumed to be Seokbihyeong (石碑形) considering the Gukjangsaeng and Hwangjangsaeng of Dogapsa Temple of the similar time period. Moreover, Hongsalmoon mentioned in Joongchanggi was established by King's order after the Manchu war of 1636 in praising of Buddhist monks those who had volunteered to fight for the country. Fifth, it is apparent in Borimsa Temple Joongchanggi that geomancy was a consideration in landscaping process of Borimsa Temple, and the record indicates that pine trees, bo trees and persimmon trees were planted. Sixth, tea tree forest was verified of its historical root that is Seongchailyeo from Unified Shilla through passing down of Jeong Yak-yong's Goojeunggoopo method and relevant documents of Seon Master Choui and Yi Yu-won. Seventh, nutmeg tree forest suggests that nutmegs were used in national ceremonies and for medical uses. The nutmeg tree forest was also verified of its role as Naehwasoorimdae (a forest built to prevent fire from spreading) through aerial photographs and placement of a forest reserve.

• Journal of architectural history
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• v.10 no.3 s.27
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• pp.7-23
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• 2001

We Koreans are very proud of this nation's cultural history over some five millenniums. But most of the relics found in the nation date back up to two thousand years. Under this circumstance, we are wondering the gap and missing of three thousand years. In our traditional literature of history, [Chiwoo] was a military god of supreme dignity and virtue. He was a symbol of brave and strong warriors and since the antiquity, he has been kept alive deeply in the mind of the Korean race. Considering findings through this study, the researcher could provide a conclusion as described below. 1) The name of Paekje's designed tiles was initially made by a Japanese scholar who had first found the antique relic. According to studies by a few of Korean researchers, the name is usually called despite its relation with a historical background of the excavated objects has not been fully studied. 2) After the patterned objects of the Korean antique Kingdom, Japanese researchers reported that [Chiwoo] was a military god as exorcist and probably represented something in the form of a ghost, although there were arguments that the military god was the very being to influence the image of the ghost. This report suggests that the Japanese community didn't downgrade the military god onto the level of a ghost. 3) One of our antique nations, Paekje at that time sought to determine the origin and culture of the Koreans by making multiple exchange relations with China, and probably accepting cultures of the Chinese Han nation and those of the Chinese South and North Dynasty period. Based on findings from a relevant literature, [Sulyigi], people of Paekje attempted to show express the image of Chiwoo in their own unique ways and then deliver the strong bravery of [Chiwoo] to us, or their descendents. This can explain that those findings as above mentioned are consistent with the designed tiles of Paekje, and that the tiles should not be named as the design of ghost. 4) The designed tiles involved elements of Taoism and Buddhism and substantially considered the spirit of four gods which was mobilized for the tomb construction and selection at that time. But this should never be a reason why all of the horned figures seen in tomb wall paintings are collectively treated as ghosts. 5) From the view of historic literature, we can no doubt say that the Heavenly Emperor [Chiwoo] was our ancestor. It is not better to say that the relic stuffs as excavated should be referred to the design of ghost image only in that they have yet to be associated historically with other relics. This claim would be newly changed as it becomes clear with historical remains that our antique ancestors kept doing positive activities along the coast of the antique kingdom, Balhae.

• Journal of the Korean Society of Costume
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• v.17
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.399-406
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• 2023

Due to the increasing influence of the Korean Wave, traditional themes are emerging to the forefront of performance content development, emphasizing the necessity of applying the art of storytelling to the creative process. The purpose of this research is to examine the differentiated costume design of the Pansori ballet "Dokkaeba! Dokkaeba!," developed through the implementation of storytelling in its performance creation process. Choreographers, writers, and costume designer collaborated throughout the storytelling process from planning to content creation. This resulted in a clarified depiction of the Dokkaebi as divine beings with transcendental powers who are simultaneously friendly and familiar entities, often appearing in the form of humans and objects. Accordingly, the costume design based on this collaborative storytelling deliberately avoided the appearance of Dokkaebi reminiscent of 'Kwimyeonwa' or Japanese 'Oni', typically expressed with horns or decorations, and instead implemented novel design elements, such as fusion Hanbok with a variety of dimensionally aesthetic accessories, meaningful color contrast in modern clothing, textural elements indirectly expressing character and transmogrification, and daily clothing attire to illustrate the humanized Dokkaebi. Therefore, this study seeks to contribute to the production of new performance art showcasing the Dokkaebi by identifying the diversity of expression and direction within costume design.

• Conservation Science in Museum
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• v.16
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• pp.56-81
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• 2015

Ring in the scroll painting is one of the mounting elements which are fixed string and tassel to hang, these differ widely in shape and produce a variety of metals. Most traditional shapes of ring have been lost, because of remount, there are used Japanese style rings in present.Therefore, this study examines to shape, production technique and analyze component traditional style rings of 19 traditional scroll paintings in National Museum of Korea for restoration of original style. Ring has been recorded official names; Wonhwan(Ring), Gukhwadong(Chrysanthemum shaped ornaments), Baemok(Ring-shaped nail) in Uigwe. Result of an optical microscope (Leica, M205A), Wonhwan has two type of production technique; one is cutting and bending a metal rod and other is cast. Baemok is made to forging process after metal rod or plate by casting alloy. Baemok decoration is metal plate cutting shape, and then decorates it with pattern by using kicking line engraving, chasing and so on. Component analysis result from portable X-ray fluorescence found various metals, such as, brass, iron silver-cooper. Brass based on copper and zinc used rings of 17 scroll painting. Baemok of Yun Sidal portrait is used iron and plated with a tin-lead alloy. Yi Seogu portrait is silver-cooper alloy in whole ring.

• Archives of design research
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• v.14 no.3
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• pp.15-26
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• 2001

The goal of this study is threefold. First, this study explores the historical origin and architectural characteristics of cultural facilities in Japan. For this purpose, I examine various cultural facilities in Japan such as theaters, multi-purpose halls, convertible spaces and cultural centers. Second, this study also sheds a new light on the meaning of the relationships between cultural activity and architecture design in Japan. For this, I primarily look at the various categories of cultural buildings in Japan and their main functions. Finally, I demonstrate how both traditional and modem design elements are embodied in Japanese cultural facilities.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.59-70
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• 2021

This research studies the specific cases of Ryusuke Hamaguchi's re-arrangement of the original novel Net emo Samite mo(2010) by Tomoka Shibasaki to his 2018 film Asako I&II. The study focuses on the difference that has been made between the original novel and the film, which occurred after Ryusuke adapted the novel's "Telling" to the film's "Showing." The presence of the passive protagonist and the repetitions are the elements that have been avoided from the traditional Screenwriting theory for a long. Instead of avoiding it, Ryusuke Hamaguchi inherits these traits of the original novel when re-arranging to his film. Despite the presence of a passive protagonist, Hamaguchi's method of adaption increases the attention of the audience by using the other tools of Hollywood's tradition: the use of goal and want of the protagonist. In addition, Hamaguchi's storytelling strategy captivates both the modern cinema audiences and the classical film audiences by creating a story, which both repetitive structure and normative narrative structure were applied.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.

• Journal of the Korean Geographical Society
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• v.37 no.4
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• pp.317-336
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• 2002

Dongrae-bu, the administrative central area in Busan in Chosun-dynasty(1392-1910), performed the large parts of diplomatic and trading functions with Japan because of its geographical conditions. Because of his location, landscape of Dongrae city-wall is the mirror of political and military meaning in Chosun-dynasty period. Elements of landscape, such as site of city-wall, location and morphology of gates, government official buildings and the road systems can be interpreted by the functional and socio-cultural terms. The changes of landscape during Japanese colonial period(1910-1945) show that destruction of city-walt went on for the purpose of imperialism. Especially, the landscape which had political meaning in Chosun-dynasty had erased in terms of modem urban planning. Cates of city-wall, official guest house, fortress which symbolize the governing and political power of Chosun-dynasty were destructed almost perfectively. New road system was imported Urban planning was effective instrument through which city-wall could be destroyed for the Japanese colonialism. Under those processes, traditional structure was changed towards the dependency on Japan. Those relict landscape are remained in present urban landscape such as road system, cul-de sac, house and cornerstones. Those results of this study show that city-wall in Korea should be studied in terms of socio-cultural aspects in each periods.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.