• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• The Journal of Korean Philosophical History
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• no.57
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• pp.91-125
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• 2018

This study aims at attempting to make a new interpretation of Mencius from the point of social welfare. The thoughts of social welfare, found from Mencius, are temporal and humanistic and near to those in nowadays. Social welfare began under the name of philanthropic work, relief work, charitable work or social work from the Industrial Revolution in the 18th century on. Welfare means the whole social activities such as satisfying the fundamental desires of the social members, ensuring the conditions of their lives, and ultimately achieving social integration and stability. It means the conditions of their lives and wellbeing. Wellbeing means the minimal physical desires and psychological stability. The realization of the economic system through concept of steady livelihood and steady mind, tax system and well-field system, proposed by Mencius, can be ensured by the whole social activities such as ensuring the stable lives of the social members, enriching and satisfying their happiness and ultimately achieving social integration and stability. The thoughts of Mencius include people-as-root idea, which regards people as most important and tries to solve the instability and inequality that are the structural vulnerabilities in modern capitalist society. His concept of Way of the king means promoting people's sense of happiness through education of morality, based upon the people-as-root idea and filial and fraternal responsibilities. The main ideas of social welfare include living like a human being, ensuring minimal physical and psychological stabilities through social welfare system and welfare policy, enriching human dignity and freedom and enhancing the quality of lives. The thoughts of Mencius include all the above ideas. In particular, he desired to establish ethically and morally stable society by economically implementing the well-field system in Zhou dynasty, based upon politically benevolent governance of the politicians. That society was the people-as-root society, the realization of which was the ideal society Mencius desired to establish, and the goal of his thoughts on social welfare. This study, among the thoughts of Mencius, investigated his ideas on social welfare and the practical ethics for applying them to real society. In addition, to understand his ideas on social welfare, not only the social and economic backgrounds and conditions but also the political ideas at that time were also investigated. This will provide the opportunity to make more in-depth research of the elements of social welfare intrinsically contained in his thoughts.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.30-49
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• 2021

Scholar Byeoksu in a Pavilion by An Jung-sik (1861-1919; sobriquet: Simjeon) was first shown to the public in the exhibition Art of the Korean Empire: The Emergence of Modern Art at the National Museum of Modern and Contemporary Art, Deoksugung. This painting bears poems and inscriptions composed by Kim Taek-yeong (1850-1927; sobriquet: Changgang) and written by Kwon Dong-su (1842-?; sobriquet: Seokun). A rare example of an actual-view landscape painting by An Jung-sik, this painting is significant in that it depicts upper-class houses in Seoul in the early twentieth century. More importantly, it demonstrates an association among intellectuals of the time. Yun Deok-yeong (1873-1940; sobriquet: Byeoksu), who asked An Jung-sik to create this painting, was an uncle of Empress Sunjeonghyo (1894-1966), the consort of Emperor Sunjong. He was one of the most prominent collaborators who promoted the Japanese colonization of Korea. When Emperor Sunjong bestowed Yun Deok-yeong with a hanging board with an inscription reading "Scholar Byeoksu in a Pavilion," Yun requested the production of this painting to mark the event. Kim Taek-yeong, a master of Chinese literature during the late Korean Empire period, sought asylum in Nantong, Jiangsu Province in China with his family a month before the Protectorate Treaty was signed between Korea and Japan in 1905. In 1909, he returned to Korea. His decision to return was greatly influenced by Yun Deok-yeong and Yi Jae-wan (1855-1922). Upon his return, Kim Taek-yeong intended to gather materials for publishing a history book. Also, Kim continuously met his old acquaintances, made new friends, and socialized with them. He built relationships with people from various backgrounds, including those living in regions like Gurye, and even in other countries like Japan. This indicates that intellectuals of the time were still forming networks through poems and prose regardless of their political inclination, social rank, or nationality. Scholar Byeoksu in a Pavilion is of great value in that it shows an aspect of the intellectual exchanges among the learned people of the late nineteenth and early twentieth centuries.

• (The) Research of the performance art and culture
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• no.36
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• pp.415-440
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• 2018

On September 23, 2015, the Ministry of Education announced the 2015 revision of educational curriculum which aimed at 'cultivating creative talents' based on the Article 23, Section 2 of the Elementary and Secondary Education Law. As a result, music curriculum have also been partially revised, which seems to maintain the 2009 revision of music curriculum. Although Jeongganbo 井間譜 is already exposed in the music curriculum for the third and forth grades of elementary school, the learning content about how to read Jeongganbo and how to express the pitch and length of sound including the origin of its name and the background of its invention are dealt with specifically in the fifth and sixth grades. Jeongganbo is known as the oldest mensural notation in the Orient created by King Sejong of the Joseon Dynasty in the middle of the $15^{th}$ century, and it was used for the first time in Sejong sillok akbo 世宗實錄樂譜 (Scores in the Annals of King Sejong), the oldest musical score still in existence. However, in the music textbooks as well as the most of specialized books related to the Korean traditional music, it is uncritically accepted without providing clear grounds that Sejong invented Jeongganbo himself. If so, it is necessary to investigate on which grounds it is claimed that Sejong invented Jeongganbo. This paper first examined the grounds of the proposition that "Sejong invented Jeongganbo," which is introduced in the music textbooks for the fifth and sixth grades of elementary school, by separating it into Sejong's creation of Sinak 新樂 (new music), Sejo's invention of Jeongganbo and Sejong's invention of Hangeul. Next, this paper examined how the subject of the invention of Jeongganbo has been described in the textbooks for the fifth and sixth grades in elementary school based on the 2009 revision of music curriculum, and suggested the direction of a desirable music education by pointing out the related problems. According to historical records and circumstances such as Sejong's creation of Sinak, Sejo's invention of Jeongganbo with 16 Jeonggan (square) in one vertical line, Sejong's invention of Hangeul and so on, it seems to be the most reasonable that Sejong is the subject of the invention of Jeongganbo as of now. However, the attitude of the musical academy to accept and educate the unclear thing as if it is a fact does not seem desirable. Therefore, I suggest that it should be described "Jeongganbo was invented in the period of Sejong" or "it is supposed that Jeongganbo was invented by Sejong" rather than presenting "Sejong made Jeongganbo" or "created" until revealing the clear evidence about the subject of Jeongganbo.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.86-111
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• 2011

Wan is a tableware in which boiled rice or soup, side dish are put, and it is a representative model which shows the development of personal tableware. From the establishing period of Hanseong Baekje, the form of wan which is Jung-do Style(中島式) Plain Pottery of previous period Proto-Three Kingdoms Period was succeeded to, but wan is produced and used as a wan baked in the kiln, which is far development of the producing technique including hardness and clay. By and large, the size of $0.3{\sim}0.4{\ell}$ was the majority and the production technique of wan which used carefully selected soft quality clay are largely confirmed to be two methods which are, first, basic method by which on a clay tablet on the rotating table, clay band is accumulated and moulding is finished, and second, the new method which had the same basic moulding as that of basic method but in the last stage takes wan off the rotating table and reverse it to trim the bottom and remove the angle of flat bottom. The former, basic production method is the classical production method since wan of Jung-do Style Plain Pottery and wan was produced and used for all periods of Hanseong Baekje. On the other hand, the latter is the production method obtained through form imitation of China made porcelain flowed into through interchange between Baekje and China, and through comparison with Chinese chronogram material it is estimated to have been produced and used after middle of 4th century. Therefore it can be known that the Baekje people's demand for China made articles was big and imitation pottery was produced and used with Baekje pottery. In addition, bowl with outward mouth are confirmed in multiple number in Lakrang(樂浪) pottery wan and it is assumed that wan was the form produced under the influence.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.126-147
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• 2018

The compositions and iconographies of the three Illustrations of the Sixteen Contemplations produced in the early Joseon Dynasty effectively manifest the transitional period of Joseon society as well as the Joseon people's perception of the Pure Land. In particular, the painting at titled Chionji (知恩寺) dated 1435 and another painting at titled Chion' in (知恩院) from 1465, which were commissioned by the Joseon royal family and high-ranking monk, embody the Pure Land faith of the Tiantai School of Buddhism (天台宗) which thrived during the late Goryeo period. This indicates that the Joseon royal court continued to favor the Pure Land faith that emphasized salvation through "self-power" (自力), which was popular among both the royal family and the nobility of Goryeo. On the other hand, in the painting at titled $H{\bar{o}}rinji$ (法輪寺), which is presumed to have been made in the sixteenth century, the compositions and iconographies shown in late Goryeo examples of the Illustrations of the Sixteen Contemplations are disassembled. Moreover, a new iconographical motif, i.e. "welcoming the dragon boat" (龍船接引), emerged with this painting. This motif symbolizes the idea that the souls of the deceased are guided by Amitabha Buddha to rebirth in the Pure Land of Extreme Bliss, which is based on the "other-power" of the Pure Land faith that emphasizes the power of Amitabha Buddha in attaining salvation rather than the educational "self-power" of the Pure Land faith. The emergence of this motif demonstrates the transformation of the Pure Land belief into a faith that relied on the "other-power" of Amitabha in Joseon's Confucian society.

• (The) Research of the performance art and culture
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• no.32
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• pp.209-241
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• 2016

"Women's Nong-ak (農樂, Traditional Korean music performed by farmers)" was born together with "Maiden group." This study focuses on the reason why women appeared as principal agents of Nong-ak which was almost exclusive to men previously and especially, on the appearance of women Nong-ak Artists who was previously worked in Traditional Drama Troupe. This study empirically deals with details of activities of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak troupes through newspaper articles. Women Nong-ak Artists enjoyed popularity with their peculiar attractions. Participating in Nong-ak contests and collecting money for their performances, women Nong-ak Artists learned their skills form masters of Woodo Nong-ak and attracted attention with their colorful costumes. Women of Nong-ak circle especially saw through the trend of the time, expanded their arena of activities and exercised flexibility and ability to react quickly to changing situations while mixing with various genres. In particular, young girls were mobilized to show value and marketability of Korean culture as cultural medium who decorated "Pure Nong-ak art stage." They were no different from "Pretty dolls dancing like angels" who could not purse their interest and economic benefit or incite political cause and their patrons were domestic and overseas political figures. Women artists, who put Nong-ak on the stage in the name of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak after the liberation from Japanese colonial rule, contributed to expansion of market base. Women Nong-ak artists, who dominated a century in such troupes as Sadangpae, Hyuprulsa, Maiden's (娘子) Nong-ak troupes, Girls' (少女) Nong-ak troupes and Women Nong-ak troupes, were the very heroines who overturned the conventions of "male predominance (男尊女卑)" which filled Nong-ak arena and cultivated a new tradition of Nong-ak culture.

• (The)Study of the Eastern Classic
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• no.69
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• pp.451-479
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• 2017

The objective of this study is to examine the tasks for listing martial arts of "Muyedobotongji" on the UNESCO Representative List of Intangible Cultural Heritage of Humanity. The conclusions are like below. First, "Muyedobotongji" was published in 1790(14th year of King Jeongjo). The 24 martial arts of "Muyedobotongji" were basically divided into three types like stabbing, chopping & cutting, and hitting. Second, the value of martial arts of "Muyedobotongji" is highly evaluated because it has systematically put together the martial arts of three countries like Korea, China, and Japan of the 18th century, suitable for the actual status of Joseon Dynasty, in the new perspective. The value of "Muyedobotongji" as a Memory of the World is the martial arts book emphasizing the practicality, so that everyone including officers and soldiers could easily learn. Third, the procedure of registering martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity has three stages including preparation/submission, screening, and decision, which takes two years. Especially, the screening assistance organization, as an organization under the Intangible Cultural Heritage Convention Intergovernmental Committee is composed of total six countries(one for each area) out of 24 member countries. Fourth, the tasks for listing martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity are like following. (1) It would be necessary to conduct a total inspection of the collection of "Muyedobotongji". (2) It would be necessary to designate the martial arts of "Muyedobotongji" as the municipal/provincial/national intangible cultural heritage. (3) It would be needed to standardize the practical martial arts technique/movement of "Muyedobotongji". (4) The historical evidence of martial arts costumes/weapons of "Muyedobotongji" should be studied. (5) A committee for the registration of martial arts of "Muyedobotongji" in the UNESCO Representative List of Intangible Cultural Heritage of Humanity should be organized. (6) There should be a close cooperation system between relevant departments like the World Heritage Team of Cultural Heritage Administration and the Ministry of Foreign Affairs. (7) Domestic/foreign data related to martial arts of "Muyedobotongji" should be comprehensively collected to meet the registration standard of UNESCO. (8) The registration type of Intangible Cultural Heritage of Humanity should be prepared.