• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.75-85
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• 2010

The purpose of this study is to attempt new analysis on Soswaewon Garden(瀟灑園) where is Korea's traditional garden, focusing on which the tendency of its change is a relational-formation tool similar to the Eastern Mode of Thought, with paying attention to conversion as the new view of world. Accordingly, the aim is to reanalyze by connecting with Soswaewon Garden based on the theory of complexity, which tries to look at the whole through relationship rather than characteristics in individual components. Given summarizing findings, those are as follows. First, it was found that complexity shown in space and open system of physical dimension was characterized by 'event(situation)', 'non-determination' and 'homogeneous relationships between part and whole', and a variety of techniques introduced the nature positively. In particular, it was found that there were many cases of topographic usage, since the Soswaewon Garden selected its construction site proactively and was a product from architectural works in compliance with a given flow of natural topography. This has a nature of open text in the situation of emergent behaviors. Second, it was found that complexity shown in experiences and open system on the invisible dimension was characterized primarily by 'event(situation)' and 'relationships of interactive response between actors and environment', and various techniques appeared as a space for interactive combination of nature and daily experiences. This is typical of bilateral harmony based on interactions between subject and object, and between mankind and nature, and becomes also a space to accommodate temporary emergent behaviors in our life. Third, the compositional elements are reconstituted as space of organic property with dismantling steady relations. Especially, 'Soswaewon Garden's 48 poems(瀟灑園四十八詠)' will be the origin of the emotionally spatial experience to the current performers. Ultimately, the performer in the space of Soswaewon Garden simultaneously becomes a creator of space, and will generate new space with intertextuality with environment. Therefore, Soswaewon Garden becomes a place of binding me and the other together while maintaining mutual relationship based on organic thinking between a human being and nature and between the whole and a part.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Journal of The Korean Association For Science Education
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• v.40 no.3
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• pp.337-346
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• 2020

In this study, we investigated the characteristics of students participating in Science Core high schools classes and their relevance to Positive Experiences on Science (hereinafter, PES), and factors causing PES, presented by the students of Science Core high schools. A total of 20 students and five teachers in four regions across the country participated in the in-depth interview, which were conducted with the focus group of students first, and then in-depth interviews with teachers. Based on the interview results, we explored teaching and learning experiences helpful to the PES, assessment experiences resulting in the PES, and ways to support Science Core high schools to enhance their PES. Students and teachers of Science Core high schools argued that students' participation will increase only if they engage in classes while drawing attention within the range that students can understand, students' PES such as scientific interest can be improved through experiments in which students choose topics or design their own exploration process, science competencies such as science problem solving ability and scientific thinking ability should be developed through exploratory experiment activities that fit the nature of science, etc. In addition, regarding ways to improve and support Science Core high schools to enhance PES, securing science class hours, restructuring the contents of science elective courses, and necessity of maintaining Science Core high schools are suggested. Based on the research results of science high school students' PES, ways to improve the PES of general high school students are discussed.

• Journal of The Korean Association For Science Education
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• v.38 no.3
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• pp.305-317
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• 2018

In this study, we investigated the characteristics of participant students' modeling with the blackbox simulation program and epistemic criteria. For this research, we developed a blackbox simulation program, which is an ill-structured problem situation reflecting the scientific practice. This simulation program is applied in the activities. 23 groups, 89 second year students of an education college participated in this activity. They visualized, modeled, modified, and evaluated their thoughts on internal structure in the blackbox. All of students' activities were recorded and analyzed. As a result, the students' models in blackbox activities were categorized into four types considering their form and function. Model evaluation occurred in group model selection. Epistemic criteria such as empirical coherence, comprehensiveness, analogy, simplicity, and implementation were adapted in model evaluation. The educational implications discussed above are as follows: First, the blackbox simulation activities in which the students participated in this study have educational implications in that they provide a context in which the nature of scientific practice can be experienced explicitly and implicitly by constructing and testing models. Second, from the beginning of the activity, epistemic criteria such as empirical coherence, comprehensiveness, analogy, simplicity, and implementation were not strictly adapted and dynamically flexibly adapted according to the context. Third, the study of epistemic criteria in various contexts as well as in the context of this study will broaden the horizon of understanding the nature of scientific practice. Simulation activity, which is the context of this study, can lead to research related to computational thinking that will be more important in future society. We expect to be able to lead more discussions by furthering this study by elaborating and systematizing its context and method.

• Journal of Korean Home Economics Education Association
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• v.22 no.3
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• pp.163-188
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• 2010

This study set out to develop and evaluate an educational program for the Clothing Life of Home Economics through the theme-based integrated approach develop integrated thinking abilities for solving everyday problems. For those purposes, it selected a couple of themes in the area of Clothing Life toward which the theme-based integrated approach could be develop and evaluate an educational program. The developed program was applied and assessed in total 28 hours of field lessons given to eighth graders attending B Middle School in Busan Metropolitan City. The analysis stage involved an exploration into programs related to an integrated approach to other subjects; the design stage identification of program types; and the development stage theme selection according to the selection criteria. The previous studies were analyzed along with the Technology and Home Economics textbooks to select a theme. two themes "Clothing Management" and "Fabrics(Materials)" were selected after discussing with the students on the Messenger and with a group of experts. Then content was organized and composed around the themes by discussing connections with other subjects. There were three evaluation; one by experts, another through preliminary lessons, and the other through field lessons. Following the research procedure, a theme-based integrated program was developed for the two selected themes. It contained total 49 and 32 learning materials for "Clothing Management" and "Fabrics(Materials)," respectively. Those learning materials were comprised of experiments and practices according to the nature of the themes. Each program consisted of the goals, learning content, content organization chart, learning activities, and evaluation; learning activities experiences, practice and experiment activities, self-directed activities and problem-solving processes; and evaluations self-evaluation, teacher evaluation, peer evaluation, portfolio, and experiment reports. The program was assessed three times. The first and second evaluation results found that the program was well compatible with the current needs, was properly organized to give lessons through integration with other subjects, and continuously maintained the students' interest. They, however, requested that there should be detailed explanations about each part of the program content. In the third evaluation done by the students during field lessons, 60% of them said that the program was fun and its content was easy to understand, that they realized a theme could be connected to several other subjects, and that the program could be applied to actual life. The educational program through the theme-based integrated approach is significant in that it is an educational program for the area of Clothing Life and tries an integrated approach. It helped the students not only gather knowledge in an integrated manner, but put it to practical uses to solve various problems they faced in actual life by creatively changing integrated knowledge. The study will be hopefully used by many teachers so that the students solve problems based on the ability of integrating various knowledges organically.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.48-58
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• 2013

The results of this research to study forms, structure, changes, symbolic meanings of 16 Hahoe sceneries through analyses of "Hahwaesipyukgyeong" and "Hahwaenakgangsanghaildaedo" are as belows. The coherence of headword is not discovered in 16 Hahoe sceneries, but based on various variables and sense dependence, endemicity with original natural scenes, human's life and phenomena of riverside village are spread in 3km viewing areas within 200m from Gyeonamjeongsa(謙巖精舍) and Okyeonjeongsa(玉淵精舍). As the viewing points of Gyeonam and Okyeonjeongsa are symmetrically facing and separately independent, while viewing angles do not intersect at Wonjijeongsa (遠志精舍) and Binyeonjeongsa(賓淵精舍) because of Buyongdae(芙蓉臺), and crating each independent viewing area, we can see 16 Hahoe sceneries are perfect views by supplementing Gyeonam and Okyeon Jeongsa, as well as points of views from Wonji and Binyeonjeongsa. Meanwhile, as the view point of 16 Hahoe sceneries, Gyeomam, Okyeon, Binyeon, and Wonji Jeongsa are clearly described, and 12 natural sceneries, which are Hwasan(花山), Ipam(立巖), Maam(馬巖), Jando(棧道), Bangi(盤磯), Hoengju(橫舟), and Honggyo(虹橋), among landscape elements of 16 Hahoe sceneries that can be expressed on canvas in the Haoedo are realistically described, there is high possibility that Haoedo is the 'Mental Stroll about Nature(臥遊) of 16 Hahoe sceneries. The belted forest surrounding the village in the painting is assumed to be an erosion control forest, and considering row-expressed trees, the south belted forest may be a different broad-leaved forest from current Mansongjeong(萬松亭) pine forest. In 16 Hahoe sceneries, there is Neo-confucianism tendency, which connects the nature and human life, and moreover prioritize human life than the nature. Especially as seen in the 'Choljae(拙齋)', the pen name of 16 Hahoe sceneries' author park, the 16 Hahoe scenery poet suggests 'Beauty of Jolbak(拙撲美)' based on the simple life that upright classical scholars pursued as the basic emotion. The thinking system shown in the poet is interpreted as Neo-confucianism category including one's sense and emotion depended on natural features or phenomena. Ultimately, 16 Hahoe sceneries are landscape that reflects moral world views of Confucianism scholars who wanted to express ideal thoughts based on natural features and phenomena in reality at Jeongsa in Buyongdae and Hahoe Village.

• Journal of Science of Art and Design
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• v.12
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• pp.97-124
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• 2007

The paper examined whether the fine arts education needed concept of 'Yu' that was suggested by, 'Soyoyu' of Jangja, a representative philosopher of Doka. At first, the paper defined concept of 'Yu' of Jangja as well as background and needs of the fine arts education, and investigated values of 'Yu' of the Oriental painting in aesthetic way to examine whether today's Yu concept can be applied to modern Oriental fine arts education to express. Chapter 2 examined concept and thought of 'strolling (Yu)', and Chapter 3 did background and needs of the fine arts education. Chapter 4 examined an access to practical technique education of the Oriental painting through 'strolling (Yu)': At first, the chapter investigated 'Heosil' of space concept that was researched at Chapter 2, 'Pilmuk' of expression technique, and 'Saeui' of state of spiritual canvas of painters. The findings were as follow: Firstly, when relation between Yu and Oriental paintings was investigated based on formative idea, 'Heo' reminded appreciators of association of ideas, hint and imagination, etc by, 'Sil' that other objects disclosed intrinsic attributes so that it indicated border of positive forgetfulness expressed by artists to have same border between 'Heo' and 'Yu'. Therefore, both 'Heo' and 'Sil' could build up expression as well as appreciation ability by experiencing formative idea to develop creativity and to build emotion and to cognize needs of the fine arts education. Secondly, the artistic state of 'Shin', 'Ki (Simjae)', 'Jeonshin' and, Saeui', etc could be expressed with strength and weakness of both Yin and Yang of Pilmuk. Therefore, the Pilmuk were linked even with creation of both Hyeongsa and artistic form of Saeui. Therefore, freedom at border of spiritual 'strolling' could produce creative power being expressed by thinking, natural appreciation ability, and education that could judge values of aesthetic culture. Therefore, cultivation of aesthetic eye, development of creativity, build up of formative ability and education of human nature, etc could keep identity of the Oriental fine arts education at various modern fine arts.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of Science Education
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• v.42 no.1
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• pp.49-65
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• 2018

Astronomy is the subject that can easily draw students' interest in studying science, therefore plays an important role in developing scientific core competence. However, it is difficult to develop spatial thinking that is required in understanding astronomical concepts through the classroom lessons. Planetarium, along with the science museum, is one of the most representative informal educational institution where astronomical concepts can be taught beyond time and space constraints. In this study, we developed the astronomy education program that is operated in the planetarium and applied the program to the elementary, middle and high-school students to investigate the effects of the planetarium lesson compared to the classroom lesson. The duration of this research was about 8 months, and the number of the students involved is 761, including participants of the 1 night and 2 days camps in the Daegu National Science Museum. The newly developed planetarium lesson is comparable to the previous classroom lesson of which topics are cardinal points, constellation, and the rotation of the earth. Test items were developed to evaluate the understanding of the astronomical concepts. The study was conducted based on the pre- and post-test with non-equivalent groups design comparing classroom and planetarium lessons. The results of this study are as follows. First, planetarium lesson is more effective for understanding astronomical concepts such as the cardinal points, earth's rotation, and the constellation than classroom lesson. Second, planetarium has a positive effect irrespective of gender and previous knowledge. Third, planetarium for high school students has the same effect as additional observation activities followed by the classroom instruction. Therefore, planetarium can be used as an alternative, effective tool when night observation is not available. In summary, planetarium is an effective tool that helps students to understand the astronomical concepts.