• Journal of the Korean Institute of Landscape Architecture
• /
• v.50 no.6
• /
• pp.15-29
• /
• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.1
• /
• pp.427-436
• /
• 2023

Je Baek-seok, who is well versed in poetry, calligraphy, painting, and sculpture, has established himself as the most outstanding painter and pavilion in the history of modern and contemporary Chinese art. During the Ming and Qing Dynasties, the art of the pavilion was developed greatly during the enlightenment period, with the emergence of many masters of the pavilion, including Jeonggyeong, Hwanghwangseokyeo, Oyangji, Jo Ji-gyeom, Hwang Mok-bo, and Oh Chang-seok. Je Baek-seok formed an original ritual under this social background. Je Baek-seok's tactics were formed by imitating works from the Hanwi period, and he harmonized Jin Kwon, Sopan, and Janggunin while using the penmanship of the Cheonbal Shinchambi based on the "Sasam Gongsanbi." In addition, by boldly using the Danipdo method, it is possible to use the human face as much as possible while fully exhibiting the artistry of calligraphy and adding to the atmosphere of gold stone. This paper mainly analyzed and reviewed the process of Je Baek-seok's transcription transformation and humanities practice from two aspects. First, it is planned to summarize the process of Je Baek-seok's transformation into a Jeonseo. Second, Je Baek-seok's humanities practice was analyzed. This paper will further understand Je Baek-seok's humanistic ideas and practical search by clarifying the originality of Je Baek-seok's engraving art with examples of Je Baek-seok's works, and it is believed that this will provide future scholars with learning paths and rich experiences.

• Journal of English Language & Literature
• /
• v.56 no.1
• /
• pp.135-156
• /
• 2010

In the 1640's and 1650's, Milton wrote many prose works on a variety of topics such as education, church polity, divorce, censorship, regicide, tithing, civil liberty, and blindness. Much of his prose shows us turbulent decades of English history. In this period, he also published his first collection of poems and wrote sonnets. He wrote 23 sonnets in his life, and many sonnets Milton wrote after he had become Latin secretary are occasional poems in historical time. Milton's sonnets, as Annabel Patterson says, are a marker in his personal development, in his life, in his career as a writer, and in the history of his time. Four sonnets (15, 16, 17, 23), written between 1648 and 1655, were not published in the collected edition of Milton's poem in 1673. These sonnets, addressed to leaders of the Parliamentary party during the English revolution, Thomas Fairfax, Oliver Cromwell, and Henry Vane, and to his friend Cyriack Skinner, have been known as "commonwealth" sonnets. They are also called as "heroic sonnets" because they have the common style and theme with his later heroic epic poems. These sonnets were finally published in 1694 by Milton's nephew John Phillips. Milton was interested in religious, domestic, and political liberty for his lifetime, and his heroic sonnets also deal with these ideas of liberty. Milton asks civil liberty from Fairfax, freedom in religion from Cromwell, and from Vane for the reconciliation of both. The aim of this article is to examine how the rhetorical strategies of his "left-handed" prose interact with those of his "right-handed" poetry. This paper explores the relationship between Milton's heroic sonnets and his prose works, such as The Second Defense of the People of England, A Treatise of Civil Power, and The Likeliest Means to Remove Hirelings. Milton deals with the critical issues of religious tolerance, the separation of church and state, liberty of conscience and defense of his blindness, and attempts to define the statesman's role in peacetime England in these heroic sonnets and prose works.

• Sijohaknonchong
• /
• v.24
• /
• pp.5-46
• /
• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• The Journal of Art Theory & Practice
• /
• no.9
• /
• pp.93-121
• /
• 2010

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

• Cartoon and Animation Studies
• /
• s.24
• /
• pp.173-197
• /
• 2011

Through a story, the audience moves between fiction and reality. A story is an emotional experience that appeals to human feeling. The rational function of a story is to convey knowledge and information, and its emotional function is to touch the audience. Moreover, these aspects of a story are linked to its language, text, and imagery. This paper focuses on the emotional function of a story. In a experiential story, the audience's emotional response is a result of maximum dramatic communication between them and the characters. Through psychological and mental communion with the characters, the audience becomes immersed in the story when they emotionally identify with the characters, and dramatic communication is achieved. However, dramatic communication is mostly achieved instantaneously. The elements of a film need to be realized to sustain dramatic communication such that the audience continues to be immersed in the story. The audience can identify with the characters who are placed in real-life situations by considering the characters' external and internal aspects. External search pertains to the tangible aspects of the character such as its background, life, and conversation. Through the audience's external search, the characters communicate with the audience. Internal search deals with aspects of the characters' personality such as their self-concept, desires, and internal conflicts. Through internal search, the audience understands the inner side of the characters. In this process, a film director should ensure that the acting depicts the inner side of the characters. In other words, the director should perfectly depict the internal and external elements of a human on screen. Appropriate visualization can lead to dramatic communication with the characters and thereby create the audience's emotional response. Considering these techniques, this paper focuses on the scenes of the film "Poetry" in which dramatic communication with the characters creates the audience's emotional response. Accordingly, the audience plays a role in sustaining dramatic communication for the physical screen time of a film.

• Sijohaknonchong
• /
• v.25
• /
• pp.101-127
• /
• 2006

JANG-YOOK-DANG(장육당) is the pen-name of Lee, Byeol(이별). His elder brother is Lee, won(이원). He was putted to death by the king Yeon-san(연산군). So abandoning the way of the world, JANG-YOOK-DANG hided himself at mountain valley in Peong-san of Hwng-haedo(황해도 평산). Here he angled for fish and with the persons over sixty years old drunk, sang the songs. Then he composed the poem . This poem spreaded abroad, and came to the ears of Lee, Hwang(이황). He criticized this poem to have irreverence by casting upon the world, not to have gentleness and affability. But imitating the poem he composed intended to be sung. For that gentleness and affability are the instruction of the Poetry, he filled the poems with contents of the gentleness and the affability. But the livings of the two persons were different, and then their poems was intended to be sung were different. In these different contents, we can not say that this or that is right. JANG-YOOK-DANG would do to express his bitter sentiments by his song.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.154-167
• /
• 2014

The results of this study conducted to identify the substance, regional characteristics or landscaping of Namwon Yonghogugok, which is the only valley of Jiri Mountain, based on Kim Samun's 'Yonghokugok-Gyeongseungannae(龍湖九曲景勝案內)', 'Yongseongji(龍城誌)' and position, meaning of letters carved and projection technique by ArcGIS10.0 on the rocks are as below. The feature landscapes of the canyon of Yonghogugok, which is an incised meander and one of the Eight beautiful scenery of Namwon, ponds, cliffs and rocks generated with metamorphic rocks and granites weathered by rapids torrents. As a result of measuring the GPS coordinates of the letters carved on the rocks, excluding the 3 Gok Hakseoam and the distances based on the origin and destination of the letters carved on the rocks using the API(Application Programming Interface) function of Daum map, the total distance of Yonghogugok was 3.5km and the average distance between the each Gok was 436.5m. It is assumed that Yonghogugok was designated by Sarim(士林) of the Kiho School(畿湖學派) related to Wondong Hyangyak(元洞鄕約) which is the main agent of Yonghojeongsa(龍湖精舍), the forerunner of Yonghoseowon(龍湖書院), between the late Joseon Dynasty and the early Japanese colonial era, in 1927. Its grounds are the existence of Yonghoyeongdang mentioned on 'Yonghojeongsilgi'(龍湖亭實記), records of 'Haeunyugo(荷隱遺稿)', 'Yonghopumje(龍湖品題)' of Bulshindang(佛神堂), 'Yonghojeongsadonggu Gapjachun(龍湖精舍洞口 甲子春)' letters carved on the rocks and 'Yonghogugok-Shipyeong(龍湖九曲十詠)' posted on Mokgandang of Yonghoseowon. Comprehensively considering the numerous poetry society lists carved on the stone wall of Punghodae(風乎臺), the Sixth Gok Yuseondae, its stone mortar, 'Bangjangjeildongcheon(方丈第一洞天)' of Bulshindang and Gyoryongdam(交龍潭), the Yonghoseokmun(龍湖石門) letters carved on the rocks, Yeogungseok adjacent to the First Gok and Fengshui facilities, centered on Yonghoseowon and Yonghojeong, Yonghogugok can be understood as a unique valley culture formed with the thoughts of Confucianism, Buddhism, Taoism and Fengshui. 'Yonghogugok-Gyeongseungannae' provides very useful information to understand the place name, called by locals and landscaping aspects of Yonghogugok in the late Joseon Dynasty. In addition, the meaning of "Nine dragons" and even though 12 chu(湫: pond) of Yonghogugok Yongchudong including Bulyeongchu, Guryongchu, Isuchu, Goieumchu and Daeyachu are mentioned on Yongseongji, a part of them cannot be confirmed now. Various place names and facilities relevant to Guryong adjacent to Yonghogugok are the core of the place identity. In addition, the accurate location identification and the delivery of the landscaping significance of the 12 ponds is expected to provide landscaping attractiveness of Yonghogugok and become very useful contents for landscaping storytelling and a keyword of storyboard.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.2
• /
• pp.20-30
• /
• 2013

'Paulownia tree', one of a tree species which has been with human civilization, has been widely used as a garden plant. The purpose of this study is to investigate concrete species of 'paulownia tree,' which had been planted in Korean traditional garden, the position of plantation, and consider its usefulness therefrom. The results of the study can be summarized as follows. 1. As the result of considering old literatures as encyclopedia, agricultural book (農書), gardening book, etc., there's a difference in the description of 'paulownia tree' depending on the complier, as well, the classification of concrete species is quite ambiguous. Therefore, it judged a limit which is planted based on point of the compass is not apply to species of tress of paulownia tree. Merely, the point of suitability and evasion(宜忌) related to the plantation of 'paulownia tree' could be identified in "Jeungbosanrimgyeongje(增補山林經濟) and "Imwongyeongjeji(林園經濟志)", not "Sanrimgyeongje (山林經濟)". 2. It could be confirmed again through poetry and prose which describe old garden that the words such as 'O(梧)', 'Dong(桐)', 'Odong(梧桐)', etc. were used without significant division. However, it is supposed that the species 'Odong' which was actually adopted at the garden might be Catalpa as well including Korean Paulownia and Chinese parasol tree. 3. It is considered that the reference point of suitability and evasion(宜忌) regarding 'paulownia tree' plantation was not generally applied. That is, species of paulownia tree was not divided for planting according to direction, as well, they seemed to willingly plant paulownia trees nearby the house as well, e.g. front yard or nearby yard, etc. 4. The usefulness of paulownia tree as a garden plant of an old garden played a role of 'the messenger of fall,' emphasizing a sense of the season. 5. Paulownia tree has another usefulness as a tree which adds an Ephemeral landscape. Therefore, the ancient people considered 'paulownia tree' that goes with 'the moon' the best, and enjoyed the quaint beauty of those two are juxtaposed. Also, 'paulownia tree' was utilized as a tree which adds an atmosphere of a rainy day, such as enjoying the sound of rain dropping on the 'paulownia tree', etc. The limitation of this study is that the research was performed being restricted to the translation among lots of Chinese references. Later-on task of research is the necessity of a more in-depth study through the discover of new historical sources and the accumulation of translation outcome.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.3
• /
• pp.84-94
• /
• 2015

This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.