• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• 제36권3호
• /
• pp.58-74
• /
• 2018

This study aims to propose baseline data for designing restoration of Gaobyulup, researching space formation and characteristics of gardens of Gaobyulup, which located in the foot of Cheonmasan Mountain in Namyangju. Gaobyulup is a remain in retirement of Gyulsan Yu-Won Lee, a representative politician, administrator, and tea drinker in late Joseon Dynasty. The results of the research about the shape of Gaobyulup deducted through reference review, poetry and prose analysis, an on-the-spot survey and residents' interview are below: Lee, who used pseudonym as 'Gyulsan,' which menas Jongnamsan Mountain, yearned Mangcheonbyeoreop(輞川別業) by Yu Wang and retirement with a country house operation by Seogye Sedang Park. In the persuit of this ideal, he created and operated a country house in Gaogok of Yangju, which a family burial ground was located. Gaobyulup, which located in Gaogok in the lower part of Cheonmasan Mountain, was largely composed outer and inner gardens, and the area of house operation was started from a stone post of Gaobokji The inner garden of Gaobyulup was including major garden components like buildings, such as Sasihyanggwan, Obaekganjung, Imharyoe and Toesadam, and Chaewon near Haengrangchae, and Gwawon in an backyard. In addition, Younggwijung pavilion, which located 850m away from Gaobyulup, was the another country house inside the Byulup, thus Gaobyulup shows a duplex space formation. In the inner garden of Gaobyulup, there are Sasihyanggwan, which had functions of Sarangchae as library and depository of old paintings and calligraphic works, and Obaekganjung, a small Sarangchae which connected with Sasihyanggwan in the form of a transept. Yusanggoksuger located near Obaekganjung. Additionally, Imharyeo, a library with a tablet of Byeokryowon(??園), which located in the highest point in Byulup, has the functions of a reading room and a tea house. Many Taihu stones were located not only in Toesadam, a square-formed pond with lotus but also many places in the inner gardens. And rare garden plants were planted. These were closely related to the trend of horticulture for pleasure, wealth, and collecting old paintings and calligraphic works for pleasure of Lee. Meanwhile, the area of Younggwijung pavilion, located in Gaocheon stream fall from Byulup to Manhoiam, looks like Wooampok, a enjoying place of other personages, who use their pseudonym as "Oksan" or "Wooam" Lee identifies Wooampok as "Jesampok" and carved 'Gyulsan' s he declared this place is his operating area. Lee built Younggwijung pavilion and planted many peach trees for recreation of utopia. The stone letters of Byukpadongcheon, located in front of a bridge in the foreside of Younggwijung pavilion, seems another enchanted land created in Gaobokji inside. Lee carved Jeilsan in huge rock on the falls rear Manhoiam temple, which Lee did great role of foundation of the temple, so he identifies that this place was the end of the outer garden of Gaobyulup. This study tries to estimate traces of the country house in Gaogok through reference review and on-th-spot survey, and the results from this study are presumed based on site remains only conformed today. It needs to discover second scenary or stone carved letters between Jeilsan and Jesampok. Additionally, exact formation characteristics of Gaobyulup should be identified through excavation survey later. To do so, an interest and a major role of Namyangju-si must be equipped for future restoration of Gaobyulup.

• Journal of the Korean Institute of Landscape Architecture
• /
• 제37권5호
• /
• pp.64-77
• /
• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• The Journal of Art Theory & Practice
• /
• 제16호
• /
• pp.107-137
• /
• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• Journal of architectural history
• /
• 제10권3호
• /
• pp.7-23
• /
• 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 Science of Art and Design
• /
• 제6권
• /
• pp.119-139
• /
• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• Journal of the Korean Society of Costume
• /
• 제56권1호
• /
• pp.1-12
• /
• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• Journal of Fashion Business
• /
• 제8권1호
• /
• pp.16-33
• /
• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of the Korea Convergence Society
• /
• 제11권10호
• /
• pp.171-179
• /
• 2020

This study was attempted to identify the media preferences and the reasons of cancer patients. The data collection was conducted on 76 people. and they are 6 men, 70 women with 38 breast cancer patients, and 38 patients with other cancers. For measuring tools, self-written questionnaires and Mandala paintings were used for single-time art therapy. The data analysis compared the results of technical statistics, independence verification and chi verification using the SPSS WIN ver.25.0 with the Mandala painting. There were no significant differences in media preference by age and duration of the disease, and there were significant differences in media preference by disease. In the Mandala painting, the characteristics of the medium and the factors of specific disease showed that there were reasons and effects of preference media choice. This study is meaningful in that it concentrated on the art therapy access and support in terms of the cancer outpatients, which have been concentrated on inpatients so that they shed light to the support and intervention needed by the outpatients, and can be used as basic data for the development of art therapy programs to help stabilize the mind of cancer patients in the future.

• Journal of Korean Society of Forest Science
• /
• 제98권3호
• /
• pp.231-241
• /
• 2009

Trade specialization index, import market share, unit value index, market comparative advantage index have been applied to compare the competitiveness of forest products in Korean and European markets for the case of Korea-EU FTA. The results say that no items of non-timber products would show a surge of imports as a result of FTA. Timber products, however, such as non-coniferous plywood, continuously shaped wood (non-coniferous), densified wood, wood wool and flour, other (plywood), other (particle board, 441039)), other (fiberboard), oriented strand board (other), other (particle board, 441090), other (particle board, 441031), Prefabricated buildings of wood, fibreboard (of a density exceeding $0.5g/cm^3$ but not exceeding $0.8g/cm^3$), wooden frames (for paintings, photographs, mirrors or similar objects) and wood marquetry and inlaid wood are expected to increase of their imports by eliminating tariffs. For Korean exports no items of non-timber products have competitiveness in European market. For Korean pyroligneous liquid, which is the only competitive timber product in EU market in terms of MCA and TSI, it is difficult to decide whether it has competitiveness, since the actual exports have taken place occasionally during a period of last five years.

• Journal of Conservation Science
• /
• 제19권
• /
• pp.43-56
• /
• 2006

We checked the conditions and material properties after producing the lime finishing layers with a mortar mix of processed lime. In addition, we reproduced the lime finishing layers of the Koguryo Tomb Murals, colored the layers with a few different techniques and identified the characteristics for each painting technique. As a result of the experiment, we could infer the producing techniques as well as teaming the conditions and properties of the lime finishing layers of the Koguryo tomb murals, and examined the maintenance of the lime finishing layers. Of those samples produced under various conditions, the layers of slaked lime, which were obtained after being hydrated underground for a long time, showed quite a good condition. Thus the slaked lime mixes produced through particular hydration methods are judged to increase the maintenance of the lime finishing layers of the Koguryo Tomb Murals. Mostly, the paints of Koguryo Tomb Murals indicated that they have similar conditions with the samples produced with a secco method. In addition, Considering the compositional forms of the painting layers and the boundary layers which formed between the painting layers and the finishing layers, we can verify that, in some cases, the conditions of the painting layers of the Koguryo tomb murals are similar to those which were produced with a combination of fresco and secco.