• Journal of architectural history
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• v.31 no.5
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• pp.57-64
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• 2022

Architectural Monuments have to overcome the challenge of time due to physical properties. The fundamental issue must be grounded in an understanding of history and art to overcome this challenge and make themsustainable. Many efforts to preserve the monuments through the 19^th century and at the beginning of the 20^th century to record them in scientific form were successful. To be aware of the meaning of the art and not to be 'barbare' anymore was behind the promotion of these activities. Above all, the 19th-century French architect Viollet-le-Duc contrasted the concept of barbarism with the concept of art and tried to redefine architecture as art. The ritual to escape 'barbare' played an important role in the end. This consciousness was also at work in the propaganda for the preservation of medieval architectural monuments in France, led by intellectuals such as Rodin. Also, the concept of 'barbare' served as an important yardstick whenever the cause of their loss was questioned while important monuments were destroyed in the First World War. From the viewpoint of Germany, Dehio was the pioneer of the preservation movement and documentation of monuments. The principle he advocated was preservation, not restoration. The historian Pevsner, who moved to England, also surveyed monuments in various parts of England and left them in the same format as Dehio. These facts show that architecture as art plays a fundamental role in the history of human life.

• Journal of the Korean Society of Industry Convergence
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• v.26 no.1
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• pp.59-68
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• 2023

A new type of private education institute appeared starting from the 16^th century, called Seowon consist of educational spaces and Jesa(a form of memorial ritual for the family's ancestors) space. Seowon Architecture is representative Confucian Architecture. Seowon is a kind of private school and it is a higher educational institute. the time of establishment was from the middle of 16^th century to the end of 19^th century, but the famous Seowon which remains up to now had been mainly built from the end of 16^th century to the beginning of 17^th century. Seowon was built on a quiet place far from the town for Students and Scholars to concentrate on their study. and it has beautiful surrounding scenery. Seowon has a place for study in the front and a place for sacrifice at the back regardless of configuration of ground. Gangdang is a building in the place for study in which teacher and students study. It is smilar place to Myongryundang of Hyanggyo. As a plan composition, there is a wide Daechong and two rooms at the both sides. Infront of Cangdang, there are Dongjae and Seojae on the right and the left side which are student' dormitory. This study argues that the Confucianist ideas and topography are the factors that determine the hierarchy Seowon. In light of this, A Study on Spatial Configuration of Education Area in Do-dong Sewon attempted to conduct an analysis by applying such backgrounds, and therefore studied the arrangement rules and construction methods for Seowons.

• International Journal of Computer Science & Network Security
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• v.22 no.9
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• pp.75-82
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• 2022

Analyzing the psychological and pedagogical literature, we found the researchers' interest in the problem posed. The concept of "culture of professional communication» is considered, which is interpreted as the level of realization of creative abilities, exchange of messages, organization of mutual understanding, mutual knowledge in the process of professionally directed interaction between subjects, in which interpersonal relationships arise, manifest and form. The concept of "professional culture of communication of a teacher" is interpreted. The motives that are socially significant in the professional communication of the teacher are highlighted. The necessity of forming a culture of professional communication among students, in particular by means of information technologies in the present, is clarified. The interactive component of professional communication is considered. The types of interactions between people in everyday life (ritual and entertainment interaction, joint purposeful activity, no interaction, game and interpersonal interaction) are identified. Traditional and specific forms and methods of teaching are written out. All interactive technologies carried out by means of information technologies are conventionally divided into four groups, depending on the form of educational activity appropriate for their use (pair (work of the subject with the teacher or peers one on one by means of Information Technologies); frontal (the teacher simultaneously teaches a group of subjects by means of Information Technologies); group or cooperative (all subjects teach each other by means of Information Technologies); individual (independent work of the subject using Information Technologies)). In the higher education institution, future specialists should learn knowledge, acquire skills on the basic rules of the culture of professional communication and methods of interaction and their effective use, which is possible with the use of Information Technologies. Recommendations for optimal professional communication have been developed that help you express your thoughts easily and beautifully, and conduct a dialogue in a relaxed and harmonious way.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.64-71
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• 2012

This is a basic study for recovering original form of Nongsanbyeoleop(農山別業) in Gangjin, Jeonnam, created in the latter part of Joseon period and the estimation of originla form at the time of creation was conducted by analyzing related literature and inspecting the actual site. "Joseokruki(朝夕樓記)" of Dasan Jung, Yak Yong could estimate spatial structure and using form of Nongsanbyeoleop and the arrangement of spatial structure in literature could be confirm by on-the-site inspection. The results of this study are as follows. The first, Nongsanbyeoleop managed spatial factors applying natural topography. For the spatial characteristics of Nongsanbyeoleop, the location of ancestral ritual space including deceased father's tomb and tomb house far from the main levee of Yun, Kwang Taek, a father of Yun, Seo Yu by 1.9km and housekeeping could be confirmed. The second, spatial estimation by "Joseokruki" could be possible. "Joseokruki" describes Joseokru.Youngmojae.Hanokkwan.Cheokyunjung.Sangam as construction factors, Wundang.Kookdan.Nokwunoh. as plant factors, Sookyunggan.Keumkoji.Nokeumjung.Uijanghae as hydroponic factors and Pyoeunkok.Aengjakang as natural topography factors. However, most of them were disappeared and at present, only Youngmojae, Keumgoji, Kukdan and Wundang show the past trace. The third is for the changed space of Nongsanbyeoleop and its reason. The surrounding space of Nongsanbyeoleop was planated by land arrangement in 1960s and it played a role of topographical damage because it's recognized as the plane factor including Nongsanbyeoleop's surrounding landscape rather than dotted factor. The forth, the actual measurement of Nongsanbyeoleop and digitalization of manual map of numerical value are judged to be sufficient to apply as the basic material for recovering garden in the future. Because of the diatahce changing method applied at that time, the garden recovery of Nongsanbyeoleop intended to be concreted and 3D model established by digitalized basic materials is considered to apply for multilateral studying. Thus, Nongsanbyeoleop which is byeolseo including the tomb of deceased father based on the conceptual hyo thought shows clear differences from the organized factors of Byolseowonrim of precedent studies and the importance of Byolseowonrim is sufficient. But, the constructional factors which cannot know disappeared spatial factors and accurate location became the limitation of this study. In the future, clear verification of original form must be progressed by excavation which can confirm the location of construction factors.

• Journal of Korean Society of Forest Science
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• v.98 no.1
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• pp.66-81
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• 2009

From a new perspective of "humans and the culture of forming and conserving the environment", the sustainable forest management can be reformulated under the concept of "cultural sustainability". Cultural sustainability is based on the emphasis of the high contribution to sustainability of the culture of forming and conserving the environment. This study extracts the implications to cultural sustainability for the modern world by investigating a historical case of the culturo-social pine forestry in the Joseon period of Korea. In the legendary and recorded acts by the first king Taejo, Seonggye Yi, Korean red pine (Pinus densiflora) was the "Royal tree" of Joseon and also the "Sajik tree" related intimately with the Great Sajik Ritual valued as the top rank within the national ritual regime that sustained the Royal Virtue Politics in Confucian political ideology. Into the Neo-Confucian faith and royal rituals of Joseon, elements of geomancy (Feng shui), folk religion, and Buddhism had been amalgamated. The deities worshipped or revered at the Sajik shrine were Earth-god (Sa) and crop-god (Jik). And it is the Earth god and the concrete entity, Sajik tree, that contains the legacy of sylvan religion descended from the ancient times and had been incorporated into the Confucian faith and ritual regime. Korean red pine as the Royal-Sajik tree played a critical role of sustaining the religio-political justification for the rule of the Joseon's Royalty. The religio-political symbolism of Korean red pine was represented in diverse ways. The same pine was used as the timber material of shrine buildings established for the national rituals under Neo-Confucian faith by the royal court of Joseon kingdom before the modern Korea. The symbolic role of pine had also been expressed in the forms of royal tomb forests, the Imposition Forest (Bongsan) for royal coffin timber (Whangjangmok), and the creation, protection, conservation and bureaucratic management of the pine forests in the Inner-four and Outer-four mountains for the capital fortress at Seoul, where the king and his family inhabit. The religio-political management system of pine forests parallels well with the kingdom's economic forest management system, called "Pine Policy", with an array of pine cultivation forests and Prohibition Forests (Geumsan) in the earlier period, and that of Imposition Forests in the later period. The royal pine culture with the economic forest management system had influenced on the public consciousness and the common people seem to have coined Malrimgat, a pure Korean word that is interchangeable with the Chinesecharacter words of prohibition-cultivation land or forest (禁養地, 禁養林) practiced in the royal tomb forests, and Prohibition and Imposition Forests, which contained prohibition landmarks (Geumpyo) made of stone and rock on the boundaries. A culturo-social forestry, in which Sajik altar, royal tomb forests, Whangjang pine Prohibition and Imposition forests and the capital Inner-four and Outer-four mountain forests consist, was being put into practice in Joseon. In Joseon dynastry, the Neo-Confucian faith and royal rituals with geomancy, folk religion, and Buddhism incorporated has also played a critical humanistic role for the culturo-social pine forestry, the one higher in values than that of the economic pine forestry. The implications have been extracted from the historical case study on the Royal-Sajik tree and culturo-social forestry of Joseon : Cultural sustainability, in which the interaction between humans and environment maintains a long-term culturo-natural equilibrium or balance for many generations, emphasizes the importance that the modern humans who form and conserve environment need to rediscover and transform their culturo-natural legacy into conservation for many generations and produce knowledge of sustainability science, the transdisciplinary knowledge for the interaction between environment and humans, which fulfills the cultural, social and spiritual needs.

• (The) Research of the performance art and culture
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• no.37
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• pp.33-60
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• 2018

This article is to present that the research on the Mudang Gut Chum should be within the context of the performance of Mudang Gut and examines its meanings and implications with focus on Seoul Mudang Gut Chum and Hwanghae-do Mudang Gut Chum. Seoul and Hwanghae-do Mudang Gut Chums do not exist in the form of simple dance or movement. They feature continuity while serving the function of revealing the existence of spirit and sometimes show the process of the spirit joining the Gut ritual, which means that the Mudang Gut Chum should not be understood as the dance itself only. Instead, care attention should be paid to the status of the tune of Gut where the dance is placed, relationship between the gut and the spirit, and the flow of narrativity. Also, the Mudang Gut Chum has a lot to do with the tune. Looking at the Mudang Gut Chum simply focusing on dancing steps, and the movement of feet and/or hands fails to gain an accurate understanding of the fundamentals of the Mudang Gut Chum. Closely connected to the tune, which is also associated with the grade of the spirit, the dance shows a variety of performances conducted by entering the Gut ritual of the spirit. In that respect, complex views on the Mudang Gut Chum are required. The same applies to the hereditary shaman Mudang Gut as well. The Korean Mudang Gut Chum has a slight difference between the Gangshinmu gut and the hereditary gut but is in basically the same aspect. The Gut Chum holds its meaning in the flow of gutgeori (tune or dance performed during exorcism, a shaman song) and delivers its own meaning in connection with the tune. It is definitely meaningful to focus on the individual movements of a dancing shaman but one should be able to derive the network of meanings that such movements have within the performance of the gutgeori, which means that intensive studies on the field performance and circumstances should be completed before studying the Mudang Gut Chum. In addition, the Mudang Gut Chum discloses the characteristics of the performance group. The Mudang Gut Chum exists in a complex manner. With respects to the status of the spirit, it shows the characteristics of the performance group. It represents the progress of Gut while closely connected with the tune. Therefore, the way of describing the Mudang Gut Chum should be far more than just simply keeping the dance notations. With this in mind, one should investigate and record the Mudang Gut Chum.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.43-107
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• 2005

A ritual ceremony accompanied by a song and dance is called as Kagura in Japan. The word Kagura is originally derived from Kamukura, which means the place where spirits reside. However, later it came to refer to the whole process of the ritual ceremony itself. Through the field studies, this paper examines Takachiho-kagura, helded in Takachiho, known as the village of myths, located in northern Miyazaki-ken in Japan. Kagura takes place all night through in each and every village in Takachiho and it normally runs from the end of November when the harvest season ends until early February the next year. One ordinary house is especially chosen for this ceremony, in which Kagura performs 33 repertoires. Takachiho-kagura is sometimes called as Yokagura, since the performance takes place over-night. A song and dance is performed by ordinary village people called hoshyadong, who inherited Takachiho-kagura. Currently, the ceremony is held in more than 20 villages and designated by the government as "Important Intangible Folk Cultural Property" in Japan. Takachiho-kagura follows the example of rituals held in Sada shrine in Izumo, which is now eastern Hiroshima-ken. It is the dance using a bell, a sword, a fan, which signify Norimono and is usually combined with mask-play called as Shinno. From the shrine of village, itwelcomes the gods who defense their village, called Ujikami and other 8 million gods, called Yaoyorozunokami, in Kagurayado, where Kagura of 33 repertoires is played in order. Kagura starts from dances for attendance of the gods, Hikomai, Daidono, Kamioroshi, performs dances of Amanoiwato, the gate of heaven's cave in Japanese myths, Dazikara, Uzume, Dotori, and continues dances for the old ghosts Shibahiki, Yatsubachi mixed with acrobatics. Finally, this performance ends with dances to send off the gods, Hinomae, Gurioroshi, Gumooroshi, until the dawn the next morning. This paper explores Takachiho-kagura from the perspective of folk performance with ethnography. These days, ecstasy and oracle do not happen in Takachiho-kagura. However, it kept the old form of folk performance as Kagura held in ordinary house. Especially, in Takachiho, remarkable venue of the Japanese myths, Takachiho-kagura is developed artistically. The first field study was held in Gokamura, Iwato-zone and Ashakabe, Mitai-zone between December 6th and December 12th 1997. Afterwards, the second field study was conducted in the area of Shiba and Ashakabe from December 17th until December 19th 1997 and from December 1st until December 10th 2000.

• (The) Research of the performance art and culture
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• no.34
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• pp.383-421
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• 2017

Because the Jitsori and the Hotsori of the Beompae(the Korean Budhhist chant) has no meter and no Jangdan(a Rhythmic cycle of the Korean Music), so it is hard to analyze the melody of the Beompae. Also the melody of the Beompae is different from that of the other Korean traditional music, so studying of the Beompae has been out of the limelight of many scholars, studying the Korean music. But the melody of Beompae had been handed down for thousands of years in Korea, it and other Korean trditional music, had exchanged the impacts each other for a longtime. So I thinks that the Korean Beomapae have shared the similarity of the musical features with the other Korean traditional music. Because the Beompae of the Bulmosan Yeongsanjae on the Geongsangnamdo province has also no meters and no Jangdan, it is difficult to understand, too. But because the Onghoge of Bulmosan Yeongsanjae have a well-regulated melodic structure in comparison with the Beompae of the Seoul province, so called Geongjae Beompae, it seem to be easy to analyze its melody. So I will analyze the melody of Bulmosan Yeongsanjae Onghoge. This analyze should be contribute to investigate the rule of the melodic progress method on the convoluted Beompae melody. Onghoge has been sung on the procedure for Siryeon, Samsiniun(Goebuliun), Jojeonjeoman, Sinjungjakbeop. And the monk for the ritual has sung the chant first to purify the ritual place and to protect the soul. They has called the song, Onghoge a Jitsori at the Bulmosan Yeongsanjae preservation society of the Gyeongnam province. Commonly, there were Jitsori and Hotsori in the Beompae melody, and the melody of Jitsori is longer than that of the Hotsori. So, the melody of Onghoge is lengthened. In other word, the melody of the Onghoge show the lengthened and curved melodic feture of the Beompae very well. Hahn Manyeong, who had studied on the Beompae, Budhhist chant, said that the Hotsori has five letters in a phrase, and there were 4 phrases in a song. And he had insisted that the form of the song, Hotsori, is ABAB. I analyze the melody of the Onghoge by the Hahn's method. I will extract the Wonjeom(a primary tone of a skeletal melodic structure) from the melody of Onghoge, and in the progress of the Wonjeom of Onghoge melodies, I will arrange the repeat of the Wonjeom melody. It is a structural melody of Onghoge. The first phrase of Bulmosan Yeongsanjae Onghoge, 'Pal bu geum gang ho do ryang(八部金剛護道場)' have 4 structural melodies, the second phrase 'Gong sin sog bu bo cheon wang(空神速赴報天王)', the third phrase 'Sam gye je cheon ham le jip(三界諸天咸來集)', the firth phrase 'Yeo geum bul chal bo jeong sang(如今佛刹補禎祥)' have 2 structural melodies each. The structural melodies of Onghoge are 10 in total. And the structural melody of the Onghoge is formed the shape of 'Mi - La - do - La - Mi'. All of the Onghoge melodies is repeated 10 times by the melodic shape. The form of the Onghoge is not ABAB by Hahn, but is 10 times repeat of the shape.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.16 no.4
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• pp.83-97
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• 2013

The traditional village forests in Korea such as Dangsan forests and Bibo forests form unique cultural landscape and they are national cultural assets with histories of more than several hundred years. It is important to have sustainable right to enjoy cultural heritage as well as maintaining its authenticity. Cultural assets are meaningful only when they are managed to succeed to next generations. Dangsan forests and Bibo forests need to be named properly and recognized by society as a precious cultural heritage for many generations to come in order to claim the value as traditional cultural landscapes in Korea. The traditional village forest in Dangin-ri, Wando-gun was composed of a Dangsan forest and five Bibo forests. Although this traditional village forest is large in size, it was not on the report of Cultural Heritage Administration(2005) investigated for 'Village forest of island region in Jeollanam-do'. The objective of this study was to investigate the characteristics of the traditional village forest in Dangin-ri to grant correct name and to enhance its value. In this study the characteristics of a Dangsan forest and five Bibo forests were investigated from 2006 to 2013 for physical features such as size, shape, location, tree species composition, and diameter at breast height(DBH), as well as cultural aspects and tradition. Currently the naming and designation of natural monuments by the cultural heritage administration(CHA) is based on the rule enacted in 1934. Many Dangsan forests were named as evergreen forests. This type of names does not represent the meaning of traditional village forest. It was suggested that this traditional village forest is to be named as 'Dangsan Forest and Bibo Forests at Dangin-ri, Wando-gun'. This traditional village forest needs to reclaim authenticity and rebuild its original appearance by restoration of the disturbed areas, especially in Bibo forest I.

• Korean Journal of Plant Resources
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• v.29 no.1
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• pp.46-61
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• 2016

The ethnobotanical study was conducted to record and conserve the traditional knowledge of botanical taxa in Hallyeo-Haesang National Park area, S. Korea from 2012 to 2013. According to the survey results, derived from 1,430 sheets of 183 residents at 70 places, the ethnobotanical plants in Hallyeo-Haesang National Park area consisted of a total 247 taxa; 82 families, 197 genera, 224 species, 3 subspecies, 19 varieties and 1 form. The analysis of usage for 247 taxa showed that the edible use was the highest with 166 taxa, followed by medicinal with 138 taxa, craft with 27 taxa, material with 16 taxa and ritual with 9 taxa respectively. The leaf of plant was the most useful part, followed by stem and fruit plant. Quantitative analysis of the ethnobotanical plants in Hallyeo-Haesang National Park area was performed by the basic values of FC, NU and UR, and indices of CI, RFC, RI and CV. As a result, The CI places Artemisia princeps in the first position, followed by Pueraria lobata, Taraxacum platycarpum. The RFC place A. princeps in first position, followed by Achyranthes japonica, Aster scaber. The RI places A. princeps in the first position, followed by P. lobata, Pinus densiflora. The CV places A. princeps in the first position, followed by P. lobata, A. japonica. Farfugium japonicum had been used as specific ethnobotanical plant in this area, for arthralgia, postpartum arthrodynia, circulatory disturbance.