• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• Journal of the Korean Society of Costume
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• v.14
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• pp.63-73
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• 1990

The thought of three religious, Confucianism, Buddhism, and Taoism, had been the mainaxis of Korean spirit of the past. This study is centered on Buddhist and Taoist costume. There have been a lot of studies on Korean costume from many viewpoints. However, there have been few approaches to the inner !"ide of it. That is to say, the research on spiritual back-ground or religious correlation has not done yet. And especially, we are wholly lacking the studies on Taoist costume. In this dissertation, I investigate how they had come to wear Buddhist costume and how it trans, on the basis of related documentary records and existing remains. I also inquiry Taoist costume which was worn at Taoist ceremony in our country, with the help of Korean books and documents and of the sources of Packwoonkwan in China. In the case of Topobyunjeung in Korean costume, in particular, we can catch the source of it only after studying the religious side of Taoist costume and Buddhist costume. As revealed in the theory of Topobyunjeung in Ojuyunmoonja-ngsango by Lee, Kyu Kyung, even old masters and great Confucianists could not know whether Topo, the ordinary clothes of the Sadaeboo, originated from Taoist costume or Buddhist costume. There have been many opinions about the origin, but even now it is true that no one has made it clear. Therefore in this dissertatio I demonstrate mainly how Topo and Hakchangeui appeared in Korean costume through Taoist costume. It is said that Taoists, Buddhists, and literary men wore Topo, Chickchul, and Chickshin in Song dynasty of China. Topo was a clerical robe of Taoists and was also an ordinary clothes. Chick-chul was a clerical robe of Buddhists, and Chick-shin was worn by Zen priests in Won dynaty. Over the Po, Buddhist wore a large robe, namely Kasa, and Taoist wore Packhakchang like Wooeui, when they attended at the religious ceremony. And they regarded such manner of dressing as ceremonial full-dress attire. The style of Topo in China was Saryunggyogeo. The is th say that they put the black Yeon along Sajoo, which are Young, Soogoo, Keum, and Keo, and that they wore Sajodae around their waists so as to let the band down in front of them. Our existing type of Topo is that of Chickryung-gyoin. The characteristics of the type are its Koreum hung on the dress, no Yeon along Sajoo, and Soopok at the back of the dress. And when they put on the dress, they wear Saejodae around their waists. These characteristics considered, we can find the source of Topo from the Po of Chickshin among Buddhist costume. Other types of Topo are those that were transformed elegantly according to our national manners and customs in our country. So-called Wooeui in Chiness Taoism is Hakchang. Originally it was made by weaving for of cranes or other feathered birds. Its remarkable feature is the wide sleeves. Later they called such a robe with wide sleeves Hakchang. Our hakchangeui has Yeon along Sajoo and a belt around waist. We can guess that the features of Topo and wide-sleeved Hakchang mingled and turned into Hakchangeui. Or it might also be that Topa worn by Taoist was regarded as Hakchang and Topa which has Yeon along Sajoo was regarded as Hakchangeui in our country. Such type of Hakchang worn by Taoists was well shown in the Buddhist and Taoist paintings among "The Pictures of Hills, Waters, and Folks" in the latter half of the 16th century. In China Hakchang with a belt around waist could not be seen. Comparing our style of Hakchangeui with the Chinese style, we can recognize the former was similar to that of Chinese Topa. From this, we gather that Topa was regarded as Hakchang, Wooeui worn by Taoists, Ascetics and True Men in Korea. Furthermore I also gather that our Hakchangeui, which has Tongjeong, Koreurn and a belt around waist, was a transformed style in our own country. From the above, we can realize that in costume the three religions, Confucianism, Buddhism, and Taoism, cannot be treated separately although they are different each other in the essential thought. We have to recognize that Korean Costume was established under the closely connected correlation among the religions and that it was transfigured and accepted according to the cultural characteristics. This study is significant in that it is the first attempt to understand Korean costume through the religous approach, which has never been made in our Korean costume studies. We are demanded even more wide and profound investigation on the religious side of costume throughout the general field of costume studies.

• Archives of design research
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• v.19 no.6 s.68
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• pp.9-14
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• 2006

There are many paintings describing butterfly in a folk story or old story but the word of Nabby is showed up because korea culture is subject to a Chinese character culture area. the word of Nabby is originated from flying features of nabby. It was expressed to an Hoju(胡蝶:swallowtail) or Hwangjub(黃蝶:yellow butterfly) in old book, Nabby or Naboi in Dusiunhae(杜詩諺解) issued in 1481, Naboi in Hunmonjahoe(訓夢字會) issued in 1527 and Nami in Simongunhaemungmyung(時夢諺解物名) issued in Sookjong dynasty(1675$\sim$1720). After that it was called Nabeui or Nabby and Nabby became the standard language but it is still called Nabbo or Nabbe in some provinces. The butterfly have been called as jewelry spread out through the world and people have been attracted by its meaning (love, pleasure, luck, long life and eternity) and its beautiful figure so that they have collected poems and paintings about it to appreciate its beauty or have made craft works and personal ornaments of it. This research is to analyze the shape and color of the using the application method of the nubi, which is used as expression method in this research, is suitable to express the beauty of butterfly's shape and the nerve of its wings and the basic material, which is light and have good drape, was used to easily express the rhythmical movement of butterfly's flapping. And thus, this research is to present that the above expression method is suitable to express the beautiful expression of butterfly's image and have unlimited potential energy for developing designs. Results showed that the soft outline of butterfly's wings can coincide with the linear shape of human body. It was also found that the characteristics of nubi method could be diversified as material expression method and the Haute Couture luxurious work could be developed by applying the mixed nubi method to costumes.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.91-101
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• 2009

In this study, the landscape of Insa-dong was interpreted from the viewpoint of a social construction of landscape, which regards the dynamic process of landscape change as more important than landscape visibility. This viewpoint also regards landscape as the result of its interaction with certain actors. From a review of previous studies on the same subject, it was found that the physical environment, institutions, and images are essential factors influencing landscape change. Insa-dong, which was Kwanindaing and Daesadong during the Joseon Dynasty, acquired symbolic meaning as a traditional area during the Japanese colonial period because of its many antique shops and Korean-style buildings. In 1970, the establishment of modern galleries in the district added to its image as a haven of the traditional Korean culture. Insa-dong thus eventually came to be referred to as "the street of traditional culture" by the people of Korea. Thanks to global festivals like the Asian Games, the Olympics, and the World Cup, Insa-dong's reputation as a cultural tourist destination has become stronger as these festivals created a need for a place in Korea where the country's traditional culture can be showcased to foreign tourists. After the mid-1990s, the merchants of Insa-dong began to cash in on the district's image as a showcase of traditional Korean culture due to the economic depression that emerged then. The people of Insa-dong and those outside it, however, came to feel that this trend damaged the district's image. Therefore, the people of Insa-dong and the district's local government started a movement to restore the aesthetic value and symbolic meaning of the district's landscape. This effort induced institutional change. Insa-dong used to be a natural haven of traditional Korean culture. Its landscape has recently been reconstructed so that this image could be restored. This process was made possible by the active interaction of diverse people: merchants, users, administrators, and NGOs.

• Journal of Conservation Science
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• v.25 no.2
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• pp.207-217
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• 2009

After replicating 10 bronze types such as Gyemija, Gyeongjaja, Eulhaeja, etc. before the Imjin war, we studied the change of microstructure from each casting process, method, and alloy ratio by Gyechukja replicated from "Donggukyeojiseungnam". We selected the average of compositions of Eulhaeja in the National Museum of Korea as the standard(Cu 86.7%, Sn: 9.7%, Pb: 2.3%) of bronze types, so we decided on the alloy's composition of Cu 87%, Sn 15%, Pb 8% added to 5% Sn and Pb contents because of evaporating the Sn and the Pb. Before replicating major metal types, we made master-alloy first, melting it again, and then replicated metal types. The composition of the 1'st replicated Gyechukja showed the range of Cu 85.81~87.63%, Sn 9.27~10.51%, Pb 3.05~3.19%. The 2'nd replicated Gyechukja made using the branch metal left after casting the 1st replica. The 2nd replicated Gyechukja showed the composition range of Cu 87.21~88.09%, Sn 9.06~9.36%, Pb 2.80~3.05%. This result decreases a little contents of Sn and Pb as compared with metal types of the 1st replica. However, it's almost the same as the Eulhaeja's average composition ratio in the National Museum of Korea. As a result of observing the microstructure of restored Gyechukja, it showed the dendrite structure of the typical casting structure and the segregation of Pb. There is no big difference of microstructure between the 1st and the 2nd restored metal types, even though the 2nd restored types partially decreases the eutectoid region in comparison with the 1st types. The systematic and scientific restoration experiment of metal types using Joseon period will be showed the casting method and alloy ratio, and this will be of great help to the study of restoration metal types in the future.

• Journal of Conservation Science
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• v.24
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• pp.23-36
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• 2008

The stone Buddhas and Shrine of Unjusa temple (Korea Treasure No. 797) in Hwasun formed in Koryo Dynasty are unique style which the Buddha faces each other the back parts of south and north within the stone Shrine. The stone Buddhas and Shrine are highly evaluated in historical, artistic and academic respects. But, the stone properties have been exposed in the open system various aspects of degradations weathered for a long time without specific protective facilities. The rock materials of the stone Buddhas and Shrine are about 47 blocks, and total press load is about 56.6 metric ton. The host rocks composed mainly of white grey hyaline lithic tuff and rhyolitic tuff breccia. In addition, biotite granite used as part during the restoration works. The chemical index of alteration for host tuffaceous rocks and the replacement granites range from 52.1 to 59.4 and 50.0 to 51.0, respectively. Weathering types for the stone Buddhas and Shrine were largely divided with physical, chemical and biological weathering to make a synthetic deterioration map according to aspects of damage, and estimate share as compared with surface area. Whole deterioration degrees are represented that physical weathering appeared exfoliation. Chemical weathering is black coloration and biological weathering of grey lichen, which show each lighly deterioration degrees. According to deterioration degree by direction of stone Buddhas and Shrine, physical weathering mostly appeared by 39.1% on the sorthern part, and chemical weathering is 61.2% high share on the western part. Biological weathering showed 38.3% the largest distribution on the southern part. Therefore, it is necessary to try hardening for the parts with serious cracks or exfoliations, remove secondary contaminants and organisms through regular cleaning. Also necessary to make a plan to remove moisture of the ground which causes weathering, and estimate that need established and scientific processing through clinical demonstration of conservation plan that chooses suitable treatment.

• Journal of the Korean Society of Food Culture
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• v.5 no.3
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• pp.301-311
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• 1990

The agriculture of Korea was begun in the neolithic era partly and generalized around 4,000 B.C. Discovery of acorn and stoneworks used in agriculture in neolithic era in 8,000 B.C to 6,000 B.C suggests that prehistoric ancestors of Korean night use acorn, hazel-nuts, and haws, etc. as foods. Cultivation of chestnuts, peaches, plums, pears, and japanese apricots was found in Mahan, the tribal states, and in the period of three kingdoms and Balhae dynasty too. In the period of Koryo, pears, plums, japanese apricots, pine nuts, apricots, grapes, jujubes, gingko nuts, oranges, and citrons were cultivated and used in diet. Sejongsilrokjiriji(1454), a geography of the early chosun, and Sinjungtonggukyojisungnam(1492) show that they cultivated almost all fruits we are now cultivating such as hazel-nuts, haws, nutmeg nut, and so on. Loquats seem to be brought in the early chosun era and figs around 16th century. Pecans, sweet cherries were brought around 1,900 and recently tropical fruits like kiwis were brought in and used in a large scale. In addition, Some fruits were used in medical treatments. Fruits increase the pleasure of the diet and sometimes they are used as a measure of a standard of living. Fruits have been improved and used for a long time, their status in our diet will be maintained resolutly.

• Archives of design research
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• v.12 no.4
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• pp.33-44
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• 1999

Fashion is subjected to newness and change by itself. Fashion trend and tendency which could predict next season akeady indicated that digital and cybel11ation environment lliould be factors in fashion. Changes in future life styles and values caused by digital environment must be variables as fashion objects by themselves. Therefore digital environment of a fashion itself and that all encountered in fashion will not only be an existing situation but also an objective and a factor which must be pursued with fashionable sense in future fashion. Advanced technology and social change in relation to digital environment requires that educational method as well as its content will be changed on the scene of education for future. Thus we should seek an educational direction in fashion design for future society in which digital environment requires new paradigm. Subject to these backgrounds this study has an intension to study the change in fashion extensively influenced by expanded digital environment on a limited situational level of fashion design education and to suggest an educational direction for professional in future fashion design who will serve as a core of fashion area in the future. It is essential that education of professional in fashion for future should be achieved by digital-minded level that eagerly understands and accepts future society in which digital environment will be a main axis. It is necessary for this to make them expetience computers, digital media including CAD program. We have to note that education of digital media is more effective and applicable when accomplished in CAI level which can be related and expetienced with fashion education rather than mere functional training in media themselves. Intellectual creativity will be a vety source of producing values and national competence in 21st centtury. Education of design professional in fashion area must positively accept these environmental charactetistics in future society, as well as deeply reflect the education for the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.70-83
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• 2013

To widen prospect of villa as Korea traditional garden, the result of the research about constructional characteristics of Seogo-jeongsa and Sameun-jeong of Yeoju Lee family at Toero-ri, Miryang-si, Gyeongsangnam-do, Korea, is abstracted as below. Seogo-jeongsa(西皐精舍) and Sameun-jeong(三隱亭) was intended to practise retirement with sense of unity with the head residence, since Seogo-jeongsa was 340m far and sameun-jeong was 630m far away from head residence, which set within 1km. Although Seogo-jeongsa's basic prop, Sameun-jeong's timber, which are both from designer's pen name and head residence name, "Hangjae(恒齋)" and "Yongjae(庸齋)," and Hanseoam have each different exposure, it is homogeneous as space configurational side in order to optimize the gaze leading effect and appreciated domestic trees from the pond, which is center of the garden and the significant facility. Method of direction of Seogo-jeongsa's Hwalsudang(活水塘) and Sameunjeong's pond of Sameun-ji(三隱 池) gets attention by distinction. Especially, directing of 3 step water flow from behind to front and traditional pond method, called Bangji-Bangdo(方池方島), were very unique that any other place can be found. Also, the middle islet on the pond at both villa, which isn't more supper, but more for the symbolic molding that seek a stone pagoda(石假山), is more interesting directing method as considering the relationship of the 3 stone pagoda imageries on the surface of Ghwayukchon(果肉泉) At the same time, Seogo-jeongsa and Sameun-jeong shows very different characteristics from traditional villa that adopted both domestic trees and foreign trees. Particularly, it is extremely exceptional case to plant vigorous needleleaf tree, such as Chamaecyparis pisifera, C. obtusa, Pinus bungeana, P. palustris, Sciadopitys verticillata, Metasequoia glyptostroboides and Cedrus deodara, on Sameun-jeong. Moreover, adopting foreign wild needleleaf trees for landscaping trees, such as a Torreya nucifera, Taxus cuspidata, P. parviflora, and foreign landsacping trees, such as P. bungeana, Cryptomeria japonica and C. obtusa tells planting trend of the late Joseon dysnasty era. Also, as we can know from 2 Jipgyeong(集景), which is 'Seogo-jabyoung 17 young(西皐雜詠十七詠)', and 'Sameun-jeong 12 Gyoung(三隱亭十二景)' which are set on both villa, the intend to expand the garden area is strongly shown by the natural forest directing. As a result, Seogo-jeongsa and Sameun-jeong, located at Toero-li Miryang, are sharing the traditional Joseon dynasty era's custom, such as space and visual composition; however, it is different and attractive garden remains as a point of view of water directing, stone pagodas, and adopting foreign landscaping trees.