• Design Convergence Study
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• v.15 no.3
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• pp.1-17
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• 2016

Nature-mimetic architecture has been discussed for a long time in the West. There were differences in understanding nature, the pursuit of nature-mimetic and the characteristics of nature-mimetic architecture. It can be inferred that it was influenced by various happenings in each period. The purpose of this study is to acknowledge the characteristics of nature-mimetic architecture up from the past to the present, and to understand the difference through the timeline of historical events. First, the study inquires the characteristics of nature-mimetic architecture by timeline. Seek the perception and attitude, characteristics of nature-mimetic architecture and the value of it through cases of Ancient Greek, Medieval, Renaissance, Early Modern and Modern. Secondly, understand the important historical issues that influenced nature-mimetic architecture such as view of nature, social aspect, religion and scientific technology. Finally, discuss the relationship between nature-mimetic architecture and its historical background.

• Acta Via Serica
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• v.8 no.2
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• pp.79-94
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• 2023

The purpose of this study is to examine the descriptions of the transmission of plague along the Silk Road in Orhan Pamuk's 2022 novel Nights of Plague. Pamuk won the Nobel Prize in Literature in 2006, the first prize for Turkish literature. Pamuk's vast knowledge of epidemiological history, which has long fascinated him, comes to life in this novel as he describes the characters' battles against the plague in the East and West and how the plague was brought to the islands and spread along the Maritime Silk Road. One of the most important trade routes in human history, the Silk Road was not only a link between East and West trade and cultures but also a route for the transmission of bubonic plague during the medieval period onwards. It was this epidemic that contributed to the decline of the Silk Road. In the novel, a plague originating in China strikes the Ottoman coastal cities of Smyrna and Mingheria on its way to Europe via India. The epidemic is contained in Smyrna but the death toll spirals out of control when the plague reaches the island of Mingheria by sea. The spatial setting of the novel is an island, which means that it communicates with the outside world by sea. The only way the plague could have spread to an isolated island was by ship. Rats from different ports and ships would have traveled to other parts of the world or even countries to spread the plague. In Nights of Plague, the fact that the plague reached Mingheria via the maritime Silk Road is also proven by the route of the ships and various narratives. The novel confirms what many scholars have argued, that the Silk Road brought various goods from the East to the Roman Empire, along with deadly diseases, and that the sea routes were an important way for the plague to travel and spread.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.154-169
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• 2019

This study attempts to shed light on the nature and purpose of the small melon-shaped celadon ewer that was found in the Sinan shipwreck, focusing on the fact that it has the shape of a ewer, yet could not really have served as a tea or liquor utensil given its small size and unusual shape. We analyzed the shape-related characteristics of other melon-shaped celadon ewers as well as this one; checked the use of similar items unearthed in China and Japan; examined the relevant literature, materials, and paintings; and arrived at the following conclusion. First, it was found that the small melon-shaped celadon ewer was one of a type that was first made in the Southern Song Period in China and continued to be made until the Yuan Period. The artifact displays some differences from many similar relics found in the same shipwreck, particularly its spout, lid, and handle. Second, research on the tea ceremonies and types of liquors prevalent during the Song and Yuan Periods of China, as well as the appearance of this ewer, suggest that it was unsuitable for use as a liquor utensil. Third, we looked at the relevant literature records, paintings, and relics unearthed in China and Japan in an attempt to determine its actual purpose. It is well known that the literati had a deep affection for stationery items, particularly water droppers, which were made in a variety of shapes during the Song Period of China and thereafter. According to literature dating from the Song and Ming Periods, it appears that melon- or ewer-shaped water droppers were used. Certain paintings from the Ming Period depict a small ewer, along with a water dropper, as a stationery item. Looking at paintings dating from medieval Japan, small ewer-shaped objects do not figure among the tea and liquor utensils depicted, whereas kettles with handles and hot water bottles do. Objects known as yeonjeok (a water dropper) were included among the items said to have been made in pottery kilns during medieval Japan. However, a book on flower arrangement of Japan dating from the fifteenth century shows a small ewer, with flowers in it, among the stationery items placed on a desk. Based on this detail, it is concluded that the small melon-shaped celadon ewer from the Sinan shipwreck might have been used as a flower bottle as well as a stationery item.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.29-38
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• 2010

A moat is a pond or waterway paved on the outside of a fortress that is one of the facilities to prevent enemy from approaching the fortress wall or classify it as the boundary space, and this study was undertaken to find out the characteristics of the moat that was existed in the East and the West from ancient time to medieval time with the following result. First, the moat in the East was installed of natural moat and artificial moat at the same time while the moat in the West had the fortress built in naturally advantageous site to use natural most substantially more. Second, the moats of Korea were smaller in scale compared to other countries (Japan, China and the Western countries). Third, the fortresses in the East were built to protect towns or royal palace while the West had the fortress to protect the residence of kings, lords, great wealthy persons and the like, and they were used jointly with the natural moat and artificial moat to defend against the infiltration of enemy. Fourth, the Pungsujiri in the Orient is one of the numerous ideologies forming the supplementary ideologic system of Korean people that could not be denied as the perception that influences on Korean people after the Silla Dynasty, and this Pungsujiri was considered when determining the location of the castle. The moat surrounding the castle had the role to keep the good energy in the castle from escaping away. Fifth, the Ha-Ha technique in the west was designed to prevent the external power from infiltration by digging the ditch on the place applicable to the boundary of the garden site, rather than the fence. While walking around along the water-side path without knowing the existence of this ditch, when the road is discovered with the cut off in the ditch, people had the exclamation without actually recognizing such astonishment. It was originally the dike for military purpose during the medieval time that was designed to look into the garden without physical boundary surrounded with the vertical fence in the garden that by having the deep ditch like shape on the boundary line of the garden which was designed to form the farm by preventing various types of cattle from coming inside the garden and bring in the garden element for farms, forestry, agricultural land and the like.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.105-120
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• 2011

A moat is a pond or waterway paved on the outside of a fortress that is one of the facilities to prevent enemy from approaching the fortress wall or classify it as the boundary space, moats had existed in Europe, Asia and the America from ancient times to medieval times. however it is has been disappeared in modem society. In addition, a moat is a great value in historical and cultural sense such as offering a variety of cultural activities and habitats for animals, but unfortunately there is little consideration of its restoration plan. This research is aimed to investigate historical and cultural meaning and significance of moats which had been existing from ancient times to medieval times in the Eastern and Western. For this purpose, this research analyzed concepts and functions in consideration with times and ideological backgrounds of moats in Korea, China, and Japan. Results were as follows: 1. Moats in Korea existed not only in the castle towns of Goguryeo but also in ancient castle towns of Baekje and Silla. Natural moats and artificial moats existed around castles that were built to prevent and disconnect accessibility of enemies In Goryeo Dynasty and Chosun Dynasty, moats were also used as a defensive function. 2. A moat was generally installed by digging in the ground deep and wide at regular intervals from the ramparts, A moat was installed not only around a castle but also in its interiors. Moats outside castles played an important role in stomping the ground hard besides enhancing its defensive power. In addition, water bodies around a facility often discouraged people's access and walls or fences segregated space physically, but a moat with its open space had an alert and defensive means while pertaining its visual characteristics. 3. The moat found at Nagan Eupseong rumor has it that a village officials' strength was extremely tough due to strong energy of the blue dragon[Dongcheon] in Pungsujiri aspects, so such worries could be eliminated by letting the stream of the blue dragon flow in the form of 'S'. 4. The rampart of the Forbidden City of China is 7.9 meters high, and 3,428 meters long in circumference. It was built with 15 layers of bricks which were tamped down after being mixed with glutinous rice and earth, so it is really solid. The moat of the Forbidden City is 52 meters in width and 6 meters in depth, which surrounds the rampart of the Forbidden City, possibly blocking off enemies' approach. 5. Japan moats functioned as waterways due to their location in cities, further, with the arrangement of leisure facilities nearby, such as boating, fishing from boats, and restaurants, it helped relieve city dwellers' stress and functions as a lively city space. 6. Korean moats are smaller in scale than those of the Forbidden City of China, and Edo, and Osaka castles in Japan, Moats were mostly installed to protect royal palaces or castles in the Eastern Asia whereas moats were installed to protect kings, lords, or properties of wealthy people in the west.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• Journal of Cadastre & Land InformatiX
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• v.44 no.1
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• pp.17-35
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• 2014

There is no provision regarding the 'litigation on land boundary' under the Korean laws. Therefore, there are disputes in theory with respect to its nature, requirements for litigation, criteria for determination, etc., and it is necessary to establish the provisions of the law on this issue in the future. For this legislation, it is necessary to conduct a comparative consideration on laws of other countries which have completed the relevant provisions. This study, as a first step, researches a history of litigation for determination of boundary under the Roman law and medieval law, and furthermore introduces the German law which has relatively completed legal provisions on litigation for determination of boundary. In addition to common ownership litigation, the German law has established a provision on litigation for boundary as a judicial procedure considering a special place, called as a dispute on ownership of adjacent land, on the assumption that it is difficult or impossible to prove the boundary. The primary purpose of this litigation is to clarify a true boundary, and if such clarification is impossible, a boundary is discretionally created in accordance with the statutory standards under Article 920 of the German Civil Act (BGB). It means creation of the scope of land ownership by operation of decision, not only by the 'discovery of original boundary'. Both cases are different from each other in the aspect of judicial decision, but embracing them into one is a lawsuit for determination of boundary under the German law. Under the Korean legislation, it is necessary to make a theory containing two different criteria for determination into a single type of litigation, considering such aspects.

• Journal of Korean Library and Information Science Society
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• v.9
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• pp.115-144
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• 1982

In ordinary modern wester expression 'the Renaissance' was used to denote the impact made by dead Hellenism civilization in western Christendom, particularly Italian literary and artistic movement at Northern and central Italy in the late medieval period. However, A.J. Toynbee examined the renaissance from the different aspect of view. In his great work "A Study of History" in vol. IX, he succeeded in establishing the theory of historic civilization encounters in space and in time; and in time, civilization of the present and the past or between dead and infant successor contacts on the analogy of parenthood and sonship in the relation of A n.0, pparentation-and-Affiliation. The distinguished his view of 'Renaissance' was illustrated in the sense of encounters between a grown-up civilization and the 'ghost' of its long-dead predecessor. The renaissances (by the process of evocation of ghost of its parent society) has not only one single aspect of literary and artistic field but also in politics, law, science and philosophy, languages and literatures and visual arts, and religion. The main theme of this study is to examine the development of libraries and its historical meaning through Toynbee's literary renaissance. His renaissance of Languages and Literatures has three typical steps: They are: 1st step-to restive the dead literature's remains: 2nd step-to remaster their meaning: 3rd step-to reproduce them in counterfeits... Through its first and second steps, collecting and editing, annotating by compiling an anthology, thesaurus, lexicon or encyclopedia, and in its third step publishing mostly imitation of classics took place. Toynbee depicted the five outstanding eminent representatives of literary renaissance who had a n.0, ppeared on the state of history down to the time of writing. They are: Assurbanipal, Constantine prophyrogenitus, Yung Lo, K'ang Hsi, and Ch'ien Lung and the last four had all been emperors of imperia rediviva. As the result of the examination of these five emperors with three steps of literary renaissance, the common result may be summarized as follows: 1. Those emperors of imperia rediviva interested in intellectual work and study, they also were deeply involved in collecting classics in an ostensible reason. 2. There were strong political intention of collecting materials as an a n.0, ppeasement policy of civilization by transferring scholars energies to an intellectual field. 3. Under the rulers of a resuscitated universal state, the literary renaissance were a product of political plane and that the total size of collection and work were huge. 4. Since there were strong exercise of sovereign power, an active censorship by distortion and elimination was inevitable. 5. There existed newly developed strained atmosphere between grown-up and long-dead parent civilization, whenever the book collection movement had occurred. 6. Over adhesion to the parent civilization caused imitation of classic work and the creative activities were stagnated.stagnated.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.