• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.42-59
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• 2020

The purpose of this study is to examine the actual cases of crane breeding at private homes in the Joseon Dynasty period, thereby identifying the universal meaning and characteristics of this act reflected in these cases. This study is likely to help understand the true nature of garden culture during the period. The study' temporal and spatial scope was limited to the Joseon Dynasty and private homes. As references for the study, translated versions of classical literature were selected from the Database of Korean Classics(http://db.itkc.or.kr). To complement for the data, related researchers' translated materials were also used in part. The study's results are summed up as follows: First, Individuals from various social classes including royal families, noblemen, noble families in countryside, and commoners kept cranes at their homes. These crane breeders included those who left a significant mark in the Joseon Dynasty politically and academically as well as 'cheosa(處士)' that refers to scholars living in seclusion without entering the government throughout their lifetime. Second, Crane breeders were spread all over the country. Notably, various cases of crane breeding were found within the Hanyang Wall and its vicinity. Third, The act of crane breeding was highly associated with blood ties and academic lineages such as friendships and teacher-student relations. In this regard, crane breeding was not just a simple taste or appreciation for the arts, but rather reflective of a person's life attitude and orientation. Forth, The consciousness of Confucian origins based on an ancient story of Limpo (林逋) appears to have a large impact on the act of crane breeding. In addition, some cases exhibited the reflection of Taoistic tastes. Fifth, Some individuals tamed cranes for a living. This proves the presence of steady demand for cranes in this period. The present study's limitation is its reliance on translated materials, which hindered research into various cases. Therefore, the future discovery of additional data and the accumulation of their translations will enable the investigation of a wealth of cases.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of Christian Education in Korea
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• v.67
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• pp.157-194
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• 2021

The issue of AI's ethical consciousness has been constantly on the rise. AI learns and imitates everything behavior human beings do, just like a child. Therefore, the ethical consciousness we currently demand from AI is first the ethical consciousness required of humans, and at the center of it is the dignity of humans. Thus, this study analyzed human identity and its problems according to the development of AI technology, apologized the theological premises and characteristics of human dignity, and sought the direction of human dignity education as follows. First, this study discussed the development of AI and its relation to human beings. The development of AI's technology has led to the sharing of "reason or intelligence" with machines called AI which have been restricted to the exclusive property of mankind. This raised the question of the superior humanity which humans would be remained to be distinguished from AI machines. Second, this study discussed transhumanism and human identity. Transhumanism has been argued for the combination of AI machines and humans in order to improve inefficient human intelligence and human capabilities. However, the combination of AI machines with humans raised the issue of human identity. In the AI era, human identity is to believe thoughts that God had when he built us. Third, this study apologized theological premise and characteristic about human dignity. Human dignity has become a key concept of the constitution and international human rights treaties around the world. Nonetheless, declarative conviction that human is dignified is difficult to be understanded without Christian theological premise. Theological premise of human dignity lies on the fact that human is dignified feature being granted life by Heavenly Father. This feature lies on longing for "Goodness" and "eternality", pursuit of beauty, a happy being in relationship with others. Fourth, this study presented the direction of human dignity education. The direction of human dignity education has to awaken what is identity of human and how human beings were created and how much they are precious. Furthermore, it lead human to ponder consciously and accept the highest value of what human beings are, how they were created, and how precious they are. That is about educating human identity, and its core is that regardless of the circumstances - the wealth gap, knowledge level, skin color, gender, age, disability, etc. - all people are in God's image and for the glory of God, thereby being very important to God.

• The Korean Journal of Archival Studies
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• no.21
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• pp.41-84
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• 2009

Lots of cultures, memories, histories of the local life have disappeared. Some sectors of universities and religion have keep their records in manuscript archive only. On the other hand records of public sectors were at least able to be managed by the records management law. Citizen's groups and academic bounds were also roles to get public records strong. However can we just describe whole body with only public records? As records management law a record of private sector which has value of preserving can be managed under national protection. Yet establishment of local archive is not obligate. Only stressing on public records is like what dictatorial government acted in past years. It is what we ignore diversity and request of community. We need to move our view that we have focused on public and central sectors to private and local sectors. Local records management based on locality could help to complete the entire puzzle. The way complete the puzzle is various and wide spheres including from cultural space to being extinct village. Locality is defined as the property in certain area or distinctiveness of locals. Establishing production strategies is as important as collecting records produced over the past years for local archiving. Local archiving has to be regionally conducted in phase. Moreover common wealth and recognition of communities are reflected in the acquisition process. In next to archiving local organizations and private records according to collection policy, methodology on local archiving needs for archive management and use in various public and private fields. This methodology could be possible by building a local archive networking tool. It is true that Local archiving is not familiar and clear yet. If we can turn the effort for public records we have made to endeavor for private sectors, we might expect big fruits in private sectors. We easily emphasis on globalization or internationalization, our daily lives start on our villages. Setting aside our small communities, such a puzzle of the whole would never be completed. This is good time to begin finding lost puzzle for future. The key that can find lost puzzles be held in archiving localities.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.190-217
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• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.126-149
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• 2021

The reign of King (later Emperor) Gojong of the Joseon dynasty (later the Korean Empire), which lasted from 1863 to 1907, was a period of turmoil caused by political and social instability at home and military incursions by foreign powers. It was also a period in which Joseon was proclaimed as the Korean Empire and, accordingly, the royal seals of the dynasty underwent a major change. Records show that some 135 seals were produced during the reign of Gojong. The present study of the makers and styles of the royal seals aims to reveal a wealth of information on the seals, which typically had handles in the shape of either a turtle or dragon. Among the seal makers of this era, Jeon Heung-gil was particularly highly regarded as a Golden Royal Seal Artisan (Geumbojang) because he was highly skilled at making both turtle and dragon handles. Kim Eun-seok, a master Jade Royal Seal Artisan (Okbojang), also excelled in the production of turtle and dragon handles for his jade seals. Another master Jade Royal Seal Artisan, Yi Jung-ryeo, is noteworthy because he developed a new style of jade royal seals, which eventually became the dominant style after 1890, when Kim Eun-seok was not active. Furthermore, after the 1890s, his style was also applied to the production of the gold royal seals and developed as the dominant style. Regarding the dragon handles adopted after the proclamation of the Korean Empire, both the golden and the jade royal seals were made in the same style by the same artisans in the service of the Joseon dynasty. They adopted the style of Chinese imperial seals when they began making seals with dragon handles for the Korean Empire, although the basic shapes of both handle and dragon were copied from those made during the Joseon period. As a ceremonial object symbolizing the authority and legitimacy of the royal or imperial family, the style of the royal seals was influenced mainly by changes in the political situation at home and abroad. As Gojong's reign was a period in which more royal seals were made than in the reign of any other ruler, the seals originating from his reign constitute a richer source of information about the efforts of the dynasty to preserve the tradition while effectively dealing with the changes of the new era.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• (The) Research of the performance art and culture
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• no.32
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• pp.595-628
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• 2016

Pansori of a creative group pansori 2006 demonstration factory floor sound brutal sorigeuk the home of is a legend 'deokttaegol' in pansori, a creative for adaptation to remakes Work is. Evil Twin 'deokttaegol' called "Give me my leg back" in of Ghost Stories, broadcast on a kbs of lines from breakneck work is considered to be a pronoun. Sound and shadow play and playing drums and payments sentiments of the cruelty I've come across in this 'Give me my leg back' audience to be deployed to the cruel is formed by the center. Based on emotional horror of cruelty. When I was little, ever heard of Korean Ghost Stories, a bedrock of the main feeling revulsion of value in a short time and is contained in a story of filial piety, while in education, to the target Provided. Done in our lives using genre called 'pansori' sentiment and efficient learning can move about the value education can know. Sound and stories, many carefree a stimulus such as Pansori is a great gesture can be a means of education. Valued with any information, work is performed in pansori, depending upon efficient and the various, education and made an emotional cultivation resulting from the value. In my life friendly, our own via a variety of materials that can easily access many values and sentiments, and to culture for each age group on languages and customs Each age groups and instructive preferred allowing them access through their rhythm, pansori, access to the target is persistent about it with curiosity and interest. Can have interest. This wealth not belong to the traditional pansori and new together private and to the tune called creative work for the Pansori. Therefore, our language and customs, their poems span a friendly, the pansori and created using the vocabulary for each age group creative content is educational effects if used in education It is expected to be big thing. These effective approach for each age group and based on the vocabulary by the content easily understood lessons by causing only a smoothly acquired Can to provide an opportunity. Therefore, the Pansori of a creative education is important to take advantage of educational value.

• The Southeast Asian review
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• v.20 no.3
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• pp.263-297
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• 2010

The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. "Indianization" is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a "selective reception of foreign religious culture." There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an "Indianization" or the "influx of elements of Indian culture," it was closely related to the matter of 'localization.' The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.