• The Journal of Art Theory & Practice
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• no.8
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• pp.59-87
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• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• The Journal of Korean Philosophical History
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• no.56
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• pp.81-117
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• 2018

The purpose of this study is to clarify the overall features and its meaning of the Gaebyok(開闢) through the intercomparison of the Gaebyok idea that is the core idea of a newly risen modern religion in Korea. Limitation of most studies so far is that they have stayed in the fragmentary study on the Gaebyok idea of each new religion. In order to overcome this problem, first of all, the Gaebyok idea was studied from a philosophical point encompassing the cosmological view of time in the book of changes. And based on this methodological foundation, with organizing the existing result of study, the process of development and characteristics in the Gaebyok idea of a posteriori Donghak(東學), Right I Ching (正易), Won Buddhism(圓佛敎), and Kangjeungsan(姜甑山) was investigated respectively. And through comparing and analyzing each Gaebyok idea, the similarities and differences between each other were organized. The founders of new religions thought that a great change in the universal and natural luck was made before and after the point of their living. The concept of the frequency of revolution theory is the concept to explain the aspect of transition according to the frequency of revolution(運度) of the cosmological nature that returns to the beginning, and in the idea of the posterior Gaebyok, this content and concepts is contained as it was. This study showed that the concept of the frequency of revolution theory in an apriority and a posterior like those becomes appeared in some preaches of Suun, Ilbu, Sotaesan and Jeungsan. An apriority in the Gaebyok idea of new religion is the world of crisis that represents the limited condition of human being, and a posterity means the religious ideal world realized through the power of the absolute being or a dramatic universal change from that limited circumstances. So the Gaebyok ida is a kind of an universal eschatology and religious view that expects the coming of ideal world in the future. In addition, since the universal eschatology is a kind of a view of time, it inevitably has an issue how long time apriority and a posterity included in it have. And especially, it becomes to premise the content how the social condition and human condition change in an apriority and a posterity. Accordingly, in this study, based on the understanding of the view of time in the cosmological level, the content of answers that each newly risen religion discloses was listed and analyzed with comparison. It can be considered that Suun took charge of a mission to deliver the message through being possessed of a god in heaven who is able to be called a transcendental existence, Ilbu disclosed the coming of the world of a posterity beyond an apriority through the Book of Changes(易學), Jeungsan proclaimed himself as the absolute being who could make such a posterity and bring it, and Sotaesan proposed the Gaebyok of mind in order to meet with the world of a posterity and to live in that era.

• (The)Study of the Eastern Classic
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• no.49
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• pp.225-260
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• 2012

The poetry of Haseo Jo Gyeong is first characterized by its fantasy content with mysterious and strange beings such as mountain wizards, gods of flowers, ghosts, Jujos and dragons. Such works imply the huge gap between his political ideal of Neo-Confucianism and the reality of society and are expressions of his resulting sorrow. Of course, he did not just look at reality pessimistically. Like other Neo-Confucianism scholars, he used the symbol of "spring" in his poems, which indicates that he did have optimistic belief in the world in spite of despair. In his poems, the symbol of "spring" implies the political world where the noble man grabbed the power and the sinister groups were extracted or the world where the political ethics of Neo-Confucianism was implemented. His works depicting the essence of natural objects, mountains, and rivers exhibit the characteristics of his poetry more clearly. He described the law of the universe behind natural objects and the vibrant aspects of natural objects by depicting their movements in a clear and sharp manner. Unlike the old Neo-Confucianism scholars that often created poems on the topic of acquirement of natural law and nature, he expanded his poetic world in a direction of revealing the secrets of objects. His works describing the spirit of mountains and rivers are especially noteworthy in that they implied a life attitude of moving forward in an deteriorating world bravely by manifesting strong and dynamic power. Paying attention to the secrets of natural objects, Haseo displayed his life ideal in richer ways by painting the new forms of ume flowers. Unlike the old ume flowers poems in the past, his ume flowers poems present ume flowers as ascetics that obtained truth, men of virtue that inspired contemporary people, or retired gentlemen that revealed the profound secrets of nature. While it is unique that he manifested the forms of ume flowers in ascetics and men of virtue while perceiving the dark reality of society, it is more noteworthy that he described ume flowers as the beings revealing the profound secrets of nature. It was the expression of his yearning for an innocent personality and his fear for losing the personality, clearly depicting a human form of his ego. He created a more human and realistic personality ideal by embracing the contemporary thinking based on the profound secrets of nature in his Dohak poetry[道學詩], which is a significant achievement in that it showed new changes to Dohak poetry in the 18th century.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.183-208
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• 2021

In order to examine the origin of Image-Number Theory in Cho Hoik (曺好益)'s Yixiangshuo (易象說), it is necessary to review Hu Yigui (胡一桂)'s Zhouyi Benyi Fulu Zuanzhu (周易本義附録纂注). Hu Yigui based his work on Zhu Xi's Zhouyi Benyi, he took related contents such as the Zhu Xi's writings and phrases and organized them into a fulu (附録), and he collected commentaries that matched the meaning of Zhouyi Benyi among the theories of many Confucian scholars and produced a zuanzhu (纂注). In addition to these, there are 'Yuwei (愚謂)' and 'Yuan (愚案)' which allowed him to add his own opinion. The system of Hu Yigui's Zhouyi Benyi Fulu Zuanzhu almost coincides with Cho Hoik's Yi-ological writing system. In other words, Cho Hoik appears to have written Yizhuan Bianjie (易傳辨解) and Zhouyi Shijie (周易釋解) as a fulu and zuanzhu of Zhouyi Benyi Fulu Zuanzhu. And there is Yixiangshuo which corresponds to 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu. Yixiangshuo was not originally an independent Yi-ological book, but was compiled by later generations from what was recorded in the form of the head notes of Zhouyi (周易). Thus, Yixiangshuo takes almost the same form as the 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu. In addition, Cho Hoik's Yixiangshuo cites many contents from 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu. On the other hand, in order to examine the origin of Image-Number Theory in Cho Hoik's Yixiangshuo, the Yi-ology of Zhu Zhen (朱震) cannot be overlooked. This is true not only due to the fact that Yixiangshuo is quoting Zhu Zhen. The more significant reason is Yixiangshuo is a fundamental aspect of Zhu Zhen's Yi-ology. As demonstrated in the main body of this article, the methodology of Image-Number Theory in Yixiangshuo and its counterpart in Hanshang Yizhuan (漢上易傳) are almost identical. In conclusion, the origin of Image-Number Theory in Cho Hoik's Yixiangshuo can be found in both the Hu Yigui's Zhouyi Benyi Fulu Zuanzhu and Zhu Zhen's Hanshang Yizhuan. In particular, it can be said that its origin can be found in both the 'Yuwei' and 'Yuan' of Zhouyi Benyi Fulu Zuanzhu and the methodlogy of Image-Number Theory in Hanshang Yizhuan.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.135-174
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• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.4
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• pp.56-75
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• 2023

As of 2019, for the 'Island I Want to Visit' project, Banwol and Bakji Islands, located in Shinan-gun, started color marketing to create a tourist attraction by painting roofs, buildings, and facilities purple. As this landscape change was evaluated as a 'dangerous but beautiful attempt,' it was recognized as the 'World's Best Tourism Village' in 2021, drawing attention from domestic and foreign tourists. However, the residents of the islands, who created and enjoy the benefits of the landscape, were alienated from the planning stage. This study investigated the meanings and symbols of residents' perceptions of the purple landscape. The cultural landscape frame of new cultural geography, which interprets the landscape's symbolic meaning and ideological signs, was utilized. In addition, a holistic approach was applied to understand the residents' perceptions of the multi-layered environment. Therefore, the perception of purple, the main color of the islands, the overall landscape and individual places, and the general perception of the Purple Island project were investigated. After the Purple Islands Project, the main senses for recognizing the villages focused on sight, and the residents were satisfied with the purple landscape as it improved the underdeveloped village environment. This satisfaction was based on lessening the negative memories experienced as an island rather than a value judgment on the purple color. In addition, the perception of the symbolic landscape, which has a social and universal system, has been subdivided and reorganized, including for tourism functions. It can be understood as an aspect of the spectacle landscape that appears in cosmopolitanism. However, in the process of transforming into a tourist attraction, it was discovered that the residents recognize the value of local resources and create a new cultural landscape. In addition, the perception of the relationship between Banwol and Bakji has also changed around tourism.

• (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.

• (The) Research of the performance art and culture
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• no.42
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• pp.77-106
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• 2021

The history of The Korean Buddhist music dates back to as early as the 2nd year of Goguryeo King Sosoorim's reign (372) when Buddhism was introduced to the land for the first time and should cover the entire development to this date, which spans over 1,600 years. The extensive scope of research is overwhelming and research efforts are limited at best. Against this backdrop, this study aims to examine how the historical development of The Korean Buddhist music has unfolded over such a long period of time and to understand how the Buddhist music is supposed to further develop in this land in and after the 21st century. Since the Three Kingdoms period, followed by Goryeo and Joseon Dynasty period, Japanese colonial period, and to this date, the history of the Buddhist music has unfolded in line with the 'ups and downs of the history of Buddhism'. The Buddhist music is characterized by various development paths based on historical peculiarities over different periods, including protection by the royal family during the Three Kingdoms period, aspect of Buddhist music during the Goryeo Dynasty period, policy to worship Confucianism and suppress Buddhism during the Joseon Dynasty period, harsh repression of Buddhism during the Japanese colonial period, and the present Buddhist music seeking new ways of proliferating Buddhism among the public, which requires an effort to understand the different characteristics of different periods by identifying key perspectives and tasks of Buddhist music in different periods. In this vein, this article includes not only the history of 'Beompae(Buddhist Chant)', a collective term for Buddhist music in a narrow sense but also all Buddhist music characterized by with Buddhism that is communicated in this land and extends its coverage even to Chanbulga(Buddhist hymn)讚佛歌 music created in and after the 20th century. It also examines the historical development of Buddhism related music in this land. Another task of this article is to understand the Myeongching-gagok 名稱歌曲 sung by monks in the early Joseon Dynasty period, music created for public mission work during the Joseon Dynasty period, the meaning of the existence of 'Hwacheong' 和請, and the traces of Buddhist music existing in the music of the Joseon Dynasty period.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.96-109
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• 2022

This study aims to identify the role and the use of landscape architects as a core strategy in urban regeneration projects by project type. This study attempted to find ways to promote landscape architects' participation patterns and characteristics in promoting urban regeneration and revitalization plans. Among the New Deal projects, from 2017 to 2019, when the urban regeneration projects were promoted, a total of 822 projects with terms such as park, garden, landscaping, rest space, forest, greening, planting, and flowers were included, In this study, an integrated approach was applied, considering the status of landscape architects participation, a literature survey by project entity, analysis of prior research, revitalization plan reports, and interviews by project entity, and aspects and characteristics of landscape architects participation according to project type. The results were classified. In the urban regeneration projects, the landscape characteristics were analyzed in terms of hardware or software participation methods according to the project type, and the participation patterns and promotion measures of landscape architecture and ways to promote them identified in the course of the project are as follows. First, the role and participation pattern of landscape architects in urban regeneration projects differed depending on the type of project. As the prerequisites for each type of project, the subject of the project, the direction, the differentiation of the regeneration strategy for each project, and the level of participation of residents interacted in a complex way. The participation of landscape architects has changed and expanded its meaning and role. Second, the change and value of the expanded the participation method of landscape architects in the urban regeneration project and appeared as a multi-purpose and complex role in the process of a project, indicating that the value of landscape in the classical sense is changing and its substantive aspect depends on the type of project. Third, this study confirmed the importance of recognizing the role and value of 'landscape architecture' as a strategic and practical means of regeneration that can be utilized. Therefore, in order to promote the participation of landscape architects, diversification is required through changes in participation methods according to urban regeneration strategies for each project, rather than participation focused on hardware projects, such as park creation in terms of form and place. In addition, it was confirmed that the participation of landscape architects, which play an important role in fostering a sense of community among residents as an experience and activity program, should be further activated in terms of the process of the ideal way of existence. This study is meaningful in that it substantially grasps that the role of landscape architects is expanding as the subject of urban regeneration projects, and presents the direction for its promotion. Participation and research should be continued.