• Title/Summary/Keyword: historical background

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The Northeast Asian Rim:A geopolitical perspective (지정학적 관점에서 본 동북아권)

  • Yu, Woo-ik
    • Journal of the Korean Geographical Society
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    • v.28 no.4
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    • pp.312-320
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    • 1993
  • Along with the fade out of the Cold War the world is undergoing a fundamental restructuring. The process is generally refered to regionalization and globalization. In this context, the Paper presents a geopolitical perspective on the future of Northeast Asia. To meet the global trend, it is expected that the countries in the area organize an economically cooperative unity, the concept of which the author calls the northeast Asian Rim (NEAR). With its huge potentials to become the largest economic area in the world and with its rather complicated historical and social background, the Rim is tentatively supposed to have a loose and soft organization, to be flexible in dealing with the intra-and interregional relations. The idea underlying the view is that the former area of confrontation between the land power and the sea power is, under the new world environment, going to recover its proper locational attributes and develop into a merging area, a new core. As a physical framework of the Rim a spatial structurc is assumed to consist of two-subrims and two development axes with four development centers.

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Installation Art In Indonesian Contemporary Art; A Quest For Medium and Social Spaces (인도네시아 현대미술에 있어서의 설치미술 - 미디엄과 사회적 공간을 위한 탐색)

  • Kusmara, A. Rikrik
    • The Journal of Art Theory & Practice
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    • no.5
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    • pp.217-229
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    • 2007
  • Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

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The Subject of Jeongganbo Invention from the Viewpoint of Music Education (음악교육의 관점에서 바라본 정간보 창안의 주체)

  • Yim, Hyun-taek
    • (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.

Paragon of people circling the pagoda of Woljeongsa Temple and performance of its cultural inheritance (월정사 탑돌이의 전형과 공연문화)

  • Lee, Chang-sik
    • (The) Research of the performance art and culture
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    • no.36
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    • pp.751-781
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    • 2018
  • Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

The Study on the Structure and Meaning of UlsanSoeburisoree (울산쇠부리소리의 민속연행적 구조와 의미 연구)

  • Sim, Sang-Gyo
    • (The) Research of the performance art and culture
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    • no.37
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    • pp.127-155
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    • 2018
  • This paper considers the structure and meaning of the folktale accompaniment of the sound of UlsanSoeburisoree. The review process examined the meaning of each structure of the UlsanSoeburisoree in the preparation process while preparing the main elements of the structural features along with the historical background of the structure. UlsanSoeburisoree is Poongcheol ritual ceremony which means prayer ceremony for the production of iron. The sound of UlsanSoeburisoree is 1-Gilnori 2-Gosa 3-The sound of blowing smelting process 4-The sound of process of iron smelting 5-The sound of tabooline 6-The sound of blowing smelting process 7-The sound of blowing matches 8-The After-party. This structure is in line with the structure of folk play called Gilnory-Gosa-Performance-After-party. This is similar to the basic structure of folk beliefs Cheongsin(請神)-Osin(娛神)-Songsin(送神). Thus, the sound of UlsanSoeburisoree was formulated in a sequential parallel structure. The sound of UlsanSoeburisoree resemble the sacrifice of heaven ceremony since the time of the SamHan dynasty. The sound of the birth of life by physical sacrifice also plays the role of the song of creation of new life. The sound of UlsanSoeburisoree can be seen not only in Korea 's folk culture but also in folk culture of GyeongnamDo area. There are many festivals to pray for the abundance of life for UlsanSoeburisoree. Soil plays an absolute role in the process of producing iron. For those who soak it, the earth is a religious object. Among the folk tales handed down in the Yeongnam area, there are a lot of performances that are passed down through the blending of the people 's affection to overcome the harshness of life. In the case of the sound of UlsanSoeburisoree, it can be said that it was made and mixed with the wind that wanted to go beyond the harshness of life and the spirit of art.

The Records and Archives Administrative Reform in China in 1930s (1930년대 중국 문서당안 행정개혁론의 이해)

  • Lee, Won-Kyu
    • The Korean Journal of Archival Studies
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    • no.10
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    • pp.276-322
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    • 2004
  • Historical interest in China in 1930s has been mostly focused on political characteristic of the National Government(國民政府) which was established by the KMT(中國國民黨) as a result of national unification. It is certain that China had a chance to construct a modern country by the establishment of the very unified revolutionary government. But, it was the time of expanding national crises that threatened the existence of the country such as the Manchurian Incident and the Chinese-Japanese War as well as the chaos of the domestic situation, too. So it has a good reason to examine the characteristic and pattern of the response of the political powers of those days. But, as shown in the recent studies, the manifestation method of political power by the revolutionary regime catches our attention through the understanding of internal operating system. Though this writing started from the fact that the Nationalist Government executed the administrative reform which aimed at "administrative efficiency" in the middle of 1930s, but it put stress on the seriousness of the problem and its solution rather than political background or results. "Committee on Administrative Efficiency(行政效率委員會)", the center of administrative reform movement which was established in 1934, examined the plan to execute the reform through legislation by the Executive Council(行政院) on the basis of the results of relevant studies. They claimed that the construction of a modern country should be performed by not political revolution anymore but by gradual improvement and daily reform, and that the operation of the government should become modern, scientific and efficient. There were many fields of administrative reform subjects, but especially, the field of records and archives adminstration(文書檔案行政) was studied intensively from the initial stage because that subject had already been discussed intensively. They recognized that records and archives were the basic tool of work performance and general activity but an inefficient field in spite of many input staff members, and most of all, archival reform bring about less conflicts than the fields of finance, organization and personnel. When it comes to the field of records adminstration, the key subjects that records should be written simply, the process of record treatment should be clear and the delay of that should be prevented were already presented in a records administrative meeting in 1922. That is, the unified law about record management was not established, so each government organization followed a conventional custom or performed independent improvement. It was through the other records administrative workshop of the Nationalist Government in 1933 when the new trend was appeared as the unified system improvement. They decided to unify the format of official records, to use marker and section, to unify the registration of receipt records and dispatch records and to strengthen the examination of records treatment. But, the method of records treatment was not unified yet, so the key point of records administrative reform was to establish a unified and standard record management system for preventing repetition by simplifying the treatment procedure and for intensive treatment by exclusive organizations. From the foundation of the Republic of China to 1930s, there was not big change in the field of archives administration, and archives management methods were prescribed differently even in the same section as well as same department. Therefore, the point at issue was to centralize scattered management systems that were performed in each section, to establish unified standard about filing and retention period allowance and to improve searching system through classification and proper number allowance. Especially, the problem was that each number system and classification system bring about different result due to dual operation of record registration and archives registration, and that strict management through mutual contrast, searching and application are impossible. Besides, various problems such as filing tools, arrangement method, preservation facilities & equipment, lending service and use method were raised also. In the process this study for the system improvement of records and archives management, they recognized that records and archives are the identical thing and reached to create a successive management method of records and archives called "Records and Archives Chain Management Method(文書檔案連鎖法)" as a potential alternative. Several principles that records and archives management should be performed unitedly in each organization by the general record recipient section and the general archives section under the principle of task centralization, a consistent classification system should be used by classification method decided in advance according to organizational constitution and work functions and an identical number system should be used in the process of record management stage and archive management stage by using a card-type register were established. Though, this "Records and Archives Chain Management Method" was developed to the stage of test application in several organizations, but it was not adopted as a regular system and discontinued. That was because the administrative reform of the Nationalist Government was discontinued by the outbreak of the Chinese-Japanese War. Even though the administrative reform in the middle of 1930s didn't produce practical results but merely an experimentation, it was verified that the reform against tradition and custom conducted by the Nationalist Government that aimed for the construction of a modern country was not only a field of politics, but on the other hand, the weak basis of the government operation became the obstacle to the realization of the political power of the revolutionary regime. Though the subject of records and archives administrative reform was postponed to the future, it should be understood that the consciousness of modern records and archives administration and overall studies began through this examination of administrative reform.

A Study on the Continuous Utilization of Japan's Cultural Heritage Through the Cases of Silk Heritage, World Heritage, and the Japan Heritage Project in Gunma Prefecture (일본 문화유산의 연속적 활용에 관한 연구 - '군마 실크유산'과 세계유산, 일본유산 사업을 중심으로 -)

  • Lee, Chungsun
    • Korean Journal of Heritage: History & Science
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    • v.52 no.1
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    • pp.190-211
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    • 2019
  • In March 2015, The Agency for Cultural Affairs of Japan implemented a project called "Japan Heritage," which aims to promote the unique narratives of cultural properties of the region by branding the locality for revitalization in preparation for the 2020 Tokyo Olympics and Paralympics. This bottom-up approach of cultural policy has been called a "Cool Japan Strategy of Cultural Heritage" in the 21st century, which effectively incorporates local cultural heritage and tourism. However, although a total of 67 Japan Heritage projects have been designated as of December 2018, almost none has been introduced in the academic forum in Korea. On the basis of this background and a lack of academic awareness in Korea on Japan's recent cultural policies, this research aims to focus on the three cases of Gunma Prefecture implemented in local, global, and glocal aspects. To specify, the cases are the "Gunma Silk Heritage" project, implemented in 2011, the "Tomioka Silk Mill and Related Sites" project that was included on the UNESCO World Heritage List in 2014, and "The Best Wife in the World - Silk Story of Gunma," case certified as the first project of "Japan Heritage" launched in 2015. Based on the questionnaire method conducted with the World Heritage Registration Promotion Division in Gunma Prefectural Government, as well as a literature view, the research revealed that the consecutive implementation of a series of cultural heritage projects in Gunma is not coincidental, but rather a strategy aiming to create a synergism where each project complements the others. Moreover, this paper demonstrates that Gunma Prefecture has been utilizing the local silk industry as a tangible and intangible cultural resource in multi-layered heritage projects, resulting in a "spiral synergy effect" and a "chain of the recognition process." In conclusion, it illustrates the recent trend of utilizing cultural heritage in the context of the Cool Japan strategy, which seeks to move away from the administration of maintaining the status quo cultural heritage protection to a proactive one with greater potential growth. This research may thus provide meaningful insight into the utilization of domestic historical and cultural resources as well as related policy-making, in that it will ultimately promote the chain effect of linking the multiple heritage policies and projects at the local, global, and glocal levels.

A Study of the Construction and Change of Chugyeongwon in Donggweol (동궐(東闕) 추경원(秋景苑)의 조영과 변천에 관한 고찰)

  • Oh, Jun-young
    • Korean Journal of Heritage: History & Science
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    • v.52 no.1
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    • pp.44-63
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    • 2019
  • This study empirically investigated the construction and aspects of change in Chugyeongwon, which is located in Donggweol (東闕). In detail, this study investigated the location of the construction and range of Chugyeongwon, the background and intention of the construction, and the affiliated system and aspects of spatial changes of it. The research results can be summarized as follows: First, Chugyeongwon has been assumed to be the space near Haminjeong (涵仁亭) or between Simindang (時敏堂) and Jinsudang (進修堂) in Changgyeonggung Palace. However, according to related historical materials, it is said that Chugyeongwon was located west of Dochongbu (都摠府) in Hyeopsangmun (協祥門) and near Sungmundang (崇文堂). Through Donggweoldohyeong (東闕圖形), evidence of the construction of Chugyeongwon can be found, which verifies such claims. According to The Plan of Changgyeonggung Palace (昌慶宮配置圖), in the form of modern measured drawing, Chugyeongwon today is the green space created in the south of Munjeongjeon (文政殿) and Sungmundang in Changgyeonggung Palace. Second, According to Donggweoldo (東闕圖), Chugyeongwon was a green space where trees grew on the ground within the walls. No artificial facilities were constructed inside. In addition, Chugyeongwon was located at a site with an altitude higher than the surroundings. Especially, the composition forms and location characteristics of Chugyeongwon are similar to those of the Palace Outer Garden located in Hanyang. Thus, based on this evidence about the form and other aspects of the operation of the Palace Outer Garden, it can be inferred that Chugyeongwon was constructed for the preservation and cultivation of the geographical features inside Donggweol. Third, in the late Joseon period, Chugyeongwon was assigned to Changdeokgung Palace or Changgyeonggung Palace in the same manner as was Donggung (東宮). Thus, it is very likely that Chugyeongwon served as a garden for the Royal Family in the Donggung area. The west boundary of Chugyeongwon, which originally consisted of walls and a side gate, was changed into the form in which the walls and colonnades were combined. Chugyeongwon has been modified due to various acts of development since the Japanese colonial era, and in the end, it has disappeared so that no trace can be found.

Matsuri and Shinsen : Centering on the Rites of Ise Shrine and Emperor (마쓰리(祭)와 신찬(神饌): 이세신궁과 천황의 제사를 중심으로)

  • Park, Kyutae
    • The Critical Review of Religion and Culture
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    • no.32
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    • pp.13-54
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    • 2017
  • The Ise Grand Shrine(伊勢神宮) dedicated to the sun goddess Amaterasu (天照大神), located in the city of Ise(伊勢市), Mie Prefecture of Japan, is a center of Japanese Shinto Shrines and composed of a large number of Shinto shrines centered on two main shrines, Naiku(內宮=皇大神宮) and Geku(外宮= 豊受大神宮). Historically it has kept very close relationship with Emperor, because its enshrined deity Amaterasu is generally said to be the ancestor of Imperial Family. The food and alcohol offering to the gods in Japanese Shinto rites are called Shinsen(神饌, ambrosia). Main subjects of this essay dealing with Shinsen are the various matsuri (rites) of Ise Grand Shrine and Emperor, such as Higoto-asayu-omike-sai(日別朝夕大御饌祭, offering repasts to the gods in the moring and evening everyday), Kan-name-sai(神嘗祭, offering of the year's new rice harvest), Shikinen-sengu-sai(式年遷宮祭, year of the ceremony), Nii-name-sai(新嘗祭, Ceremonial offering by the Emperor of newly-harvested rice to the gods), and Daijo-sai(大嘗祭, first ceremonial offering of rice by newly-enthroned Emperor). Then, the purpose of this essay is to examine not only the social, religious, and political but also cultural meaning of Shinsen especially in relation to Korea, basically introducing some types and characteristics of Shinsen with its mythological background and historical development. In so doing, I will show the concrete list of items and processes of Shinsen in those rites. For example, the social meaning of Shinsen might be examined in association with agricultural features, ancient dietary life, Japanese food, and its contemporary context etc. Besides, its religious meaning can be mentioned especially from the perspective of divine nature, life and rebirth etc. On the other hand, the politics was in ancient Japan originally called Matsurigoto which means the ancestral rites for gods. This suggests the political meaning of Shinsen that the politics in Japan has originated from Shinsen.

Studies on the Spacial Compositions and the Characteristics of the Alter System at Daebodan in the Changdeok Palace (창덕궁 대보단(大報壇)의 공간구성과 단제(壇制) 특성에 관한 고찰)

  • Jung, Woo Jin;Sim, Woo Kyung
    • Korean Journal of Heritage: History & Science
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    • v.46 no.1
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    • pp.318-345
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    • 2013
  • This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.