• Korea Science and Art Forum
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• v.37 no.3
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• pp.365-376
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• 2019

Now, our urban space is composed of all kinds of sculptures that lost its individual charm in trend flows and street furniture standardized by the integrated design of standardized franchises and similar architectures per each region and autonomous districts. This study was to introduce the concept called the 'community furniture' in the urban environment that there is no an identity of the regional culture and a sense of place because of the mostly similar street environment. The purpose of this study is to propose the concept called the 'community furniture' referred to as public facilities that imply specific identities of some regions that have became the community art expanded into necessary facilities of urban composition as bus shelter's universal convenience and functionality have been preferentially handled and its regional identities are reflected. For doing this, this study fulfilled application alternatives of community furniture design's basic principles after examining the storytelling process of local cultural heritages and analyzing domestic and foreign cases of bus shelters. Results of this study are as follows. First, convergent synergy effects in information and culture and art sectors could be expected as bus shelters visually deliver storytelling factors that imply locally related images. Second, space and place's characteristics and sustainable design concepts embody local characteristics. They can suggest directions for vitalizing urban environment designs by being in harmony with surrounding environments. Third, it is expected that realizing distinctive places is possible as bus shelters with local communities' aesthetic consciousness and regionality are composed of new street spaces.

• (The)Study of the Eastern Classic
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• no.62
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• pp.263-289
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• 2016

Confucius, whose life coincided with the Warring States period of China, is one of the most respected sages in world history whose teachings and life produced countless disciples in China, Korea, and Japan. There are innumerable pictures, sculptures, and other artworks that portray memorable deeds of Confucius and interesting anecdotes that involve his pupils. One of the most popular subjects for these Confucian portrayals is the anecdote in which Confucius and his pupil, Zhi Ru, discover a tilting vessel at an ancestral shrine in the Lu dynasty and use it to understand the doctrine of the mean. The vessel becomes the basis for the famous Chinese expression, "the cautionary vessel beside one's seat," which is nowadays used to denote one's motto for life. Portraits of these tilting vessels can be divided between those showing the vessels only and others that show Confucius observing the vessels. The former serve as visual reminders, for rulers and policy makers, of the doctrine of the mean that is necessary to fair and righteous governance. The latter form part of the pictorial biography of Confucius with educational content and messages. Interestingly, portraits of Confucius observing or studying tilting vessels have been famous among members of the royal court and the literati, circulated either as single artworks or included in the folding screens of human portraits. Portrayals of other Confucian anecdotes are mostly found in albums that visualize the genealogy of the Way; in contrast, the portraits of Confucius and the tilting vessels were included in folding screens that were popular among the literati that enjoyed stylish works of art and antiques. The portraits of tilting vessels thus highlight the diverse functions and symbolic value of human portraits. This study classifies the portraits of tilting vessels into various forms, and analyzes the period-and objective-dependent changes and characteristics in these portraits. With its exploration of the diverse functions and aspects of portraits of Confucian anecdotes, this study will shed new light on how ancient artists reanimated the lives of great sages and how these artworks differ in their expressions and styles.

• The Southeast Asian review
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• v.20 no.3
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• pp.223-262
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• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.

• Conservation Science in Museum
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• v.27
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• pp.23-38
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• 2022

The standing plaster figure entitled is an early work from Choi Man Lin's 'Eve' series. It reflects the aesthetics of abstract sculpture in the period following Korea's liberation from Japanese colonial rule. Modern and contemporary sculptures can be made from a wide variety of materials, so the particular selection of materials and expressive techniques are indicative of both the artist's intentions and the zeitgeist of the moment. In this regard, the materials and production techniques used in provide important basic data for the chronological study of Choi's artistic development. In this study, scientific analysis was conducted to reveal the production techniques used in the work. The scope of appropriate conservation treatment was decided through consultation between several people with decision-making authority. First, the internal structure was inspected using X-CT scanning, and a material analysis was conducted to identify the formal characteristics, materials, and production techniques found in the work. As the analyses revealed the work to be in a relatively stable state, only minimal conservation treatment was applied based on the opinions expressed by the institution housing the work, by a former assistant of the artist, and in an interview granted by the artist during his lifetime.

• Journal of Conservation Science
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• v.37 no.2
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• pp.135-143
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• 2021

Conservation treatment that involved filling the lifting parts of wooden cultural heritage is carried out by obtaining wood or wood powder of the same species and mixing it with synthetic resin or natural glue to charge the blank area. Various concentrations and mixing ratios of adhesives and additives are used, depending on the type and condition of the target. Accordingly, in this study, we determined the conditions of the filler suitable for conservation treatment of wooden sculptures with lifted or separated bark in the National Museum of Modern and Contemporary Art. The optimal filler conditions for each adhesive were selected based on drying speed, shrinkage and expansion rates, and physical deformation degree. Then, to verify their actual applicability, these fillers were applied to wood and exposed to high-humidity environment and their cross-sections were observed. The fillers showed stable application in the following order: animal glue, PVAc adhesive, acrylic adhesive. In conclusion, a 1:2 mixture of animal glue and wood powder is a suitable filler for conservation treatment of wooden sculpture with lifted bark. The results of this study suggest appropriate ways to stabilize the bark that was lifted or separated from a wooden sculpture, thus enabling the future conservation treatment of the artworks under similar conditions.

• 지역과문화
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• v.7 no.2
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• pp.113-132
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• 2020

This study explored ways to make tourism resources based on the historical significance and major legacies of Yesan Imjon Fortress and Hongju Juryu Fortress, the center of the war where the core leadership of Baekje Restoration War was located. After the collapse of Baekje, it looked at the process of the restoration war centered on Imjon Fortress, the main characters, Imjon Fortress and Juryu Fortress, and the legends related to the restoration war. The tourism value of Baekje Restoration War is highlighted in terms of location identity and dark tourism. After reviewing cases of similar characteristics to the Baekje Restoration War, the method of tourism resourceization was presented. The elements of resourceization include characters, battles, relics, places, and name legends. Reproduction strategy, experience strategy, hard branding strategy and soft branding strategy were presented. As an example of the reenactment strategy, the Baekgang Battle reenactment event was presented. Experience strategies include walking and Baekje pottery. As for the hard-branding strategy, installation of sculptures of major characters and upgrading of tourist information signs were suggested. Soft branding strategies raised the need for logo marks, catch phrases, character products, video contents, and story maps through the branding of fortresses related to the Baekje Restoration War.

• Journal of Convergence for Information Technology
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• v.12 no.3
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• pp.214-221
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• 2022

The purpose of this study is to produce works with motifs from organic forms of nature and to try to drive various forms. As a research method, literature was investigated through rsearch in domestic academic jounals, and four hair sculptures that can be used easily in practice were produced by combining the organic forms and design concepts of nature. As a result of the study, first, the work was produced by applying the law of harmony and balance with the motif of the crescent moon. Second, the flow of wave waves was expressed by applying the law of repetition with the motif of waves. Third, the haze rising from the waterfall was expressed by applying the law of dissonance. Fourth, l tried to give the image of the sun announcing a new beginning by emphasizing the rising sun. As a result, it can be seen that the organic form of nature gives an embarrassing inspiration to create design. The limitation of this study is that the accuracy of producing works only with mannequins and producing the same image in the actual model should be limited, and as a follow-up study, research that can be used in the actual model should be continuously conducted.

• SUVANNABHUMI
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• v.4 no.1
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• pp.57-90
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• 2012

This essay is for a study on the survey of buddhist cultural literary document about the Southeast Asia by Nanqishu(南齊書), Liangshu(梁書), Chiu T'angshu(舊唐書), Hsin T'ang shu(新唐書) which are included in the Chinese Official History and Jí-shénzhōu-sānbăo-găntōng-lù(集神州三寶感通錄), Weioshu Shilao Ji (魏書 釋老志). These documents allows us to imagine next some historical states. First, these documents are recording this area, especially Funan, as a plentiful diggings of gold, silver, tin, copper, etc. These are important materials for gilt bronze sculptures. Further, this local produced gold called 'Yangmai(楊邁)' is recognized as same as Zĭmòjīn(紫磨金) in china, and these documents explains the process of producing the bronze images and golden ornaments in Southeast Asia. Specially, this plentiful materials leads them to make a 10 wei(圍) tall golden-silver image which worshiped as hindu god or sometimes buddhist images. Second, Vietnam and Funan in Northern and Southern Dynasty periods were in antagonistic relationship not only in the political but also in religious between Vietnamese Hinduism and Funan's Buddhism. Under this situation, the monk Nagaxian(那伽仙) who had came from India was accredited to Southern Qi court as a delegate to build a good relationship by the common religion Buddhism. It means the Buddhism of Southeast Asia also took a role of diplomacy. Third, these documents proved the active Southeast Asian cultural exchange in early 3th century. At this time, Funan delegate Suwu(蘇物) visited the court of Kushan Dynasty in India and he is seemed to travel the city of Pātaliputra. It oppressed us to extend our outlook which have been restricted in the relationship between Southern india and Southeast Asia to more broaden area. In addition, the buddhist art of Southern India and Bodhgaya temple was imported to Southeast Asia directly to send to Southern China. For example, the wooden buddha image, Bodhgaya stupa image, and Sri Lanka style's buddha images are looked be introduced to Southern China at this time throughout the Southeast Asia. At last, we got to know that the court music of Kucha in the northern silk route was imported to the Southeast Asia in early middle age. Even it may be introduced by China, but this document is very important to make the surmise is not unreasonable that the buddhist culture of northern silk route imported to the Southeast Asia accompanied with Kucha music. The buddha images in Gandharan style which are excavated from some site of Southeast Asia may demonstrate this literary sources is authentic.

• SUVANNABHUMI
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• v.2 no.1
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• pp.55-94
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• 2010

Even Faxian(法顯)'s Gaosengfaxianchuan (『高僧法顯傳』) and Iching(義淨)'s Nanhaijiguineifachuan (『南海寄歸內法傳』) are regarded as very important and useful documents to study the southeast asian buddhist culture, it is very difficult to grasp the contemporary state of those area because their descriptions are very brief and implicit. Therefore this essay aimed an in-depth reading their documents as original texts of modern understanding of those area, and tried to make a new views to approach the southeast asian buddhist culture by some more historically and concretely. At the early 5th century when Faxian(法顯) arrived, Buddhism was flourished in Sri Lanka. Because already a long time passed since the Saṇgha was schismatized into conservative and progressive at around the dominical year, he mentioned nothing about the conflict or disharmony of two orders. And the faith of Buddha tooth relic, which had been uprisen at 50 years ago from Faxian's visiting, was concretely established as a representative religion of Sri Lanka. According to his record, the carrying ritual of this Buddha tooth was performed very magnificently as similar with recent Korean Youngsan ceremony(靈山齋). In the mean time, it looks there were many sculptures of Buddha image made of precious stone of special product from Sri Lanka. The faith of Buddha-pāda(the Buddha's foot-prints) was also generalized at that time. The most famous monk of his contemporary Sir Lanka was Buddhaghosa, the author of Visuddhi-magga, but it is not sure that Faxian had met him. It can be suspected that the funeral in which Faxian participated could be belonged to him, or the Visuddhi-magga was writing at the peak during Faxian's staying. On the way to return to China, Faxian embarked an indigenous ship around Indonesia. It means there were no chinese trade ship which he can use. So the trade between china and southeast asia was advanced by south asian ships, and the chinese ships were not yet joined at that time so activity. And at least until that time, it looks there were no any remarkable buddhist movement in the southeast asian countries by where he stopped. In contrast, the southeast asian world which be seen by Iching had already experienced a lot of changes. He was impressed by the high quality buddhist culture of those area, and insisted to accept it to china. Further, he analyzed the sects of buddhism which were prevalent around the southeast asia in his contemporary time, and tried to make a good relationship with each native monks for learning from them. It looks the center of those exchanges may be Śrīvijaya of Indonesia. He also mentioned the situation of the late 7th century's Funan(扶南) in Cambodia. At that time, the buddhist Saṇgha was oppressed by newly rising Khmer(眞臘). On the other hand, he described the points of sameness and difference in detail between Indian and southeast asian buddhist culture in the field of ritual as like the practical use of garments, buddha images, and daily recited scriptures. There must be a lot of another aspects which this essay couldn't gather up or catch from these documents. Nevertheless, I hope this essay can help the researchers of this field and will wait for any advices and comments from them.

• Journal of the Korean Applied Science and Technology
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• v.41 no.3
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• pp.666-672
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• 2024

Shadow puppetry (皮影戏) is a traditional Chinese folk art that was inscribed in 2011 as an Intangible Cultural Heritage of Humanity by UNESCO. This study focuses on analyzing the character sculptures, colors, and patterns recorded in professional books from Shanxi Province in northern China. The findings indicate that Shanxi shadow puppetry can be categorized into two types. The 'Xiaoyi' in northern Shanxi mainly features characters from the story of 'The Investiture of the Gods' (封神演义) and is characterized by the use of both intaglio and relief carving, dark colors, and a paper screen background. The 'Houma' shadow puppetry in southern Shanxi is influenced by the traditional Shanxi opera 'Jinju' (晋剧) and features four roles: Sheng (生), Dan (旦), Jing (净), and Chou (丑), using a mesh screen background. Shadow puppetry represents costumes, beliefs, lifestyles, social status, social systems, and Confucian culture from the Song, Ming, and Qing dynasties, utilizing both intaglio and relief elements, and traditional five-element colors(五行色). This study aims to understand the characteristics of the modeling art in Shanxi shadow puppetry, and to maintain the traditional craft features while adding innovative elements from animation and film, thereby promoting and preserving the traditional values of shadow puppetry culture for children and youth.