목판 인쇄술이 동아시아 문화에 미친 영향

( Huai Yuan ) 東亞大學校附設 石堂傳統文化硏究院 2014 石堂論叢 Vol.0 No.58

목판 인쇄의 역사는 우리에게 목판 인쇄술의 탄생과 발전이 사회 문화적 요구와 밀접하게 연결되어 있다는 것을 알려준다. 조판 인쇄술의 탄생에는 두 가지 기본 조건이 있다. 하나는 물질 기술적 조건이며 또 하나는 사회 문화적 조건이다. 일찍이 진(秦)·서한(西漢, BC 211-218년) 시기, 중국에는 이미 금속·대나무·벽돌에 새겨서 탁본하는 숙련된 기술이 있었다. 동한(東漢, 25-220년) 시기에 이르면 문자 기록 장치로 부드러우면서도 편리한 종이가 발명되었다. 이로써 목판 인쇄술이 탄생하는데 필요한 물질 기술적 조건은 기본적으로 갖추어졌다. 그러나 물질 기술적 조건만으로 목판 인쇄술이 탄생할 수는 없다. 반드시 상응하는 사회 문화적 조건이 있어야만 한다. 대량의 ``지식 수요``와 상대적으로 광범위한 ``독서 인구``가 있을 때, 비로소 사람들은 사용이 편리하면서도 원가는 저렴하며 많은 내용을 저장할 수 있어 사람들의 사상 문화적 요구를 충족시켜줄 수 있는 목판 인쇄술을 발명하기 위해 노력하게 된다. 사회 문화적 요구는 기술 혁신과 발전을 가져왔고 기술 혁신과 발전은 사회 문화적 요구를 충족시켜주었다. 이 글은 목판 인쇄술의 발전 과정을 통하여 다섯 가지 측면에서 목판 인쇄술이 동아시아 문화에 미친 영향에 대해 분석할 것이다. 첫째, 한자를 널리 보급시켰다. 둘째, 불교문화 전파를 촉진시켰다. 셋째, 유교문화의 영향력을 확대시켰다. 넷째, 사상 문화 교류를 촉진시켰다. 다섯째, 동양 예술의 특징을 드러내고 있다. 전 세계 동아시아 문화권, 서구의 기독교 문화권, 그리스 정교 문화권, 이슬람 문화권, 인도 문화권 등 5대 문화권 중에서도 동아시아 문화권의 목판 인쇄술은 지역·인종·문화 등 여러 가지 이유로 인해 동아시아 문화 형성과 발전 과정에서 간과할 수 없는 중요한 역할을 했다. 목판 인쇄술은 탄생―발전―성숙―정점―쇠락에 이르기까지 1500여년이라는 세월을 거쳤다. 이 시기는 곧 동아시아 문화의 중요한 발전기이기도 하다. 목판 인쇄술은 끊임없는 자기완성의 과정을 통해 사회 문화적 요구에 부합하고 만족시키기 위해 노력해왔다. 그리고 그 무엇으로도 대체할 수 없는 목판 인쇄술이 가지는 고유의 사회적 기능은 동양 문화의 전파, 문화 통합, 문화적 동질감, 문화 자정(資政) 등 네 가지 방면에서 커다란 작용을 발휘하여 동아시아 문화권의 탄생과 발전에 직접적인 영향을 주었다. 그러므로 후대 사람들이 깊이 연구할 만한 가치가 있다. It may be firgure out from the history of block printing that the produce and developing of block printing are closely related to the requirement of socity and culture. There`re two essential conditions for the birth of block printing: technology and culture. As early as Qin and Xi Han dynasty, the technology of metal, bamboo even bricks printing has been mature. Until Dong Han dynasty, the soft and portable carrier of writing, which called paper, is invented, the produce of block printing had ingredient of necessary conditions of material. However, It is not certain of produce with which mentioned above, It needs appropriate culture conditions too, only a large number of requirments for knowledge and reading can inspire the produce of block printing, which is appling simply, cost inexpensive and high capacity. It also satisfied the need for thinking and culture. The requirments of culture and socity leads to the innovation of technology, and which satisfy the requirments in turn. The paper analysis the affect of east asia culture by block printing in five section through the developing of it: ⅰwhich spread the chinese characters, ⅱ which accelerate the accepted of buddhism, ⅲ which expands the affect of confucianism, ⅳ which promote the communication of ideology, ⅴwhich reveal the feature of east culture. In five cultural zones which consist of east asia cultural zone, west europe cultural zone, east europe cultural zone, middle east cultural zone and India cultural zone, the formation of east asia cultural zone effected by many factors such as region, ethnic group and culture. In this progress, the contribution of block printing should not be neglected. The block printing has gone through 1500 years from birth, developing, mature, glamour to decline, it is in accord with the period of important east asia culture expansion. The block printing was always trying hard to adapt and satisfy the needs of culture and socity in the progress of self-improvement, and it act as irreplaceable role in cultural spreading, cultural integration, cultural identity and bureaucracy forming and which ensures the characteristcs of east asia cultural zone directly. It worth to be studied by futurity.

论雕版印刷术对东亚文化的影响

袁淮 동아대학교 석당학술원 2014 石堂論叢 Vol.0 No.58

It may be firgure out from the history of block printing that the produce and developing of block printing are closely related to the requirement of socity and culture. There’re two essential conditions for the birth of block printing: technology and culture. As early as Qin and Xi Han dynasty, the technology of metal, bamboo even bricks printing has been mature. Until Dong Han dynasty, the soft and portable carrier of writing, which called paper, is invented, the produce of block printing had ingredient of necessary conditions of material. However, It is not certain of produce with which mentioned above, It needs appropriate culture conditions too, only a large number of requirments for knowledge and reading can inspire the produce of block printing, which is appling simply, cost inexpensive and high capacity. It also satisfied the need for thinking and culture. The requirments of culture and socity leads to the innovation of technology, and which satisfy the requirments in turn. The paper analysis the affect of east asia culture by block printing in five section through the developing of it: ⅰwhich spread the chinese characters, ⅱ which accelerate the accepted of buddhism, ⅲ which expands the affect of confucianism, ⅳ which promote the communication of ideology, ⅴwhich reveal the feature of east culture. In five cultural zones which consist of east asia cultural zone, west europe cultural zone, east europe cultural zone, middle east cultural zone and India cultural zone, the formation of east asia cultural zone effected by many factors such as region, ethnic group and culture. In this progress, the contribution of block printing should not be neglected. The block printing has gone through 1500 years from birth, developing, mature, glamour to decline, it is in accord with the period of important east asia culture expansion. The block printing was always trying hard to adapt and satisfy the needs of culture and socity in the progress of self-improvement, and it act as irreplaceable role in cultural spreading, cultural integration, cultural identity and bureaucracy forming and which ensures the characteristcs of east asia cultural zone directly. It worth to be studied by futurity.

트랜스컬쳐 담론에 기반한 서아프리카 문화의 이해

윤유석 충남대학교 인문과학연구소 2024 인문학연구 Vol.63 No.1

이 글은 식민지 시대 형성된 서아프리카 문화의 일면을 탈식민 시대인 오늘날 어떻게 인식하고 이해해야 하는가의 문제를 왁스 프린트를 통해 고찰하고 있다. 반강제적으로 타문화가 이식된 식민지 시대의 문화에 대한 해석은 기존의 서구 중심적 해석과 다른 인식의 전환이 필요한데, 트랜스컬쳐 이론은 중심부 문화에 대한 주변부 문화, 지배문화에 대한 종속문화에서 식민지 로컬의 문화적 주체성과 역동성에 주목함으로써 이러한 인식의 전환을 가능하게 한다. 이에 우리는 탈식민주의 문화이론의 관점에서 트랜스컬쳐 담론을 살펴보고 이를 토대로 서구 중심적 시각으로 가려졌던 아프리카 문화의 요소를 확인하고, 나아가 그것이 탈식민주의 텍스트로 어떻게 변용되고 창조적으로 활용되는가를 왁스 프린트를 통해 살펴보고자 하였다. 왁스 프린트는 식민지 시대 유럽에서 만들어진 날염직물이지만 아프리카 전통문화가 결합하여 아프리카성을 갖게 되었고, 탈식민 시대에는 탈식민주의 담론의 소재로 변용되었다. 트랜스컬쳐 담론을 통해 우리는 서아프리카의 식민유산의 혼종성 속에서 아프리카 문화의 생존력을 찾아내고 그것을 변용하고 역이용하는 방식으로 문화적 생명력과 창조성을 만들어 가는 현대 아프리카 문화를 이해하게 된다. This article examines the issue of how to perceive and understand the culture of Africa, shaped during the colonial era, in today's post-colonial context through the wax prints. The interpretation of the culture formed during the colonial period necessitates a shift in perception away from the conventional Western-centric cultural interpretations. In this regard, the theory of transculturation facilitates such a shift by offering an understanding of cultural domination, cultural subordination, and cultural interpretation in terms of cultural imposition and acculturation. Therefore, this study explores the concept of transculturation as a discourse of decolonization. By interpreting wax print textiles through the lens of transculturation, we aim to unveil elements of African culture that were obscured by a Western-centric perspective. In this research, we affirm that the Africanness of wax print is constructed in the process of consumption, and there is a connection to the enduring traditions of African fabric culture that persisted during the colonial era. In the post-colonial period, this cultural vitality has been repurposed as material for discourses on decolonization. Through the discourse of transculturation, we can discover the resilience of African identity within the hybridity of colonial-era African culture and understand how contemporary African culture continues its cultural vitality by transforming and adapting it.

한복 문화를 활용한 3D 프린팅 패션 소품 및 교육 콘텐츠 개발 연구 - 뒤꽂이를 중심으로 -

권유미 ( Yumi Kwon ) 한국디자인트렌드학회 2022 한국디자인포럼 Vol.27 No.4

Background 3D printing, a core technology of the quarternary sector of the economy, is gradually expanding in terms of its scope of application for manufacturing. Due to the high value of applying 3D printing in the fashion industry, it is now necessary to systematically establish 3D printing education methods for fashion majors. Thus, the purpose of the present study is to develop 3D printing fashion accessories and education content applicable to 3D printing education by understanding traditional hanbok culture and focusing on traditional accessories that can be recreated using 3D printing. Methods After investigating documents and museum artifacts of the highly practical dwikkoji as a research subject from among many traditional accessories, the study analyzed the types and design characteristics of dwikkoji. On this basis, the study attempted to reproduce traditional designs and recreate them into modern designs using 3D modeling. In this way, the study examined the educational value of applying dwikkoji produced through 3D printing. Result After creating various designs using 3D modeling and 3D printing with dwikkoji as a research subject, the study found dwikkoji to be an item appropriate for teaching 3D modeling because it involves the use of various tools necessary to 3D modeling. Furthermore, the application of dwikkoji as education content for 3D printing not only improves the level of understanding for traditional culture and traditional accessories but also creates a cultural uniqueness with distinguished levels of modern accessories and designs. Conclusion At a point where there is an emphasis on the convergence education of cutting-edge technology, the development of 3D modeling and 3D printing accessories using dwikkoji becomes valuable because it can serve as educational material for 3D printing education methods for fashion majors.

한국 출판정책에 대한 분석적 고찰 - 제1기(2003-2007) 출판ㆍ인쇄문화산업 진흥발전계획을 중심으로 : 한국 출판정책에 대한 분석적 고찰

이용준(Lee Yong-Jun) 한국출판학회 2006 한국출판학연구 Vol.0 No.50

본 논문의 목적은 참여정부에 들어와서 시작된 제1기 출판인쇄문화산업 진흥발전계획의 성과와 문제점을 점검하고, 앞으로 수립될 한국출판문화정책의 효율적인 방안을 모색해 보는 것이다. 이러한 연구가 필요한 이유는 〈출판 및 인쇄진흥법〉의 제정으로 그 어느 때보다 출판진흥을 위한 획기적인 전기가 마련되었고, 또한 이 법에 의해 매 3년마다 문화관광부 장관이 출판진흥정책을 수립하여 시행해야 하기 때문이다. 연구결과, 현재의 출판문화정책은 전반적으로 진흥을 위한 노력이 돋보이며, 문화산업 영역에서 가장 큰 규모를 가지고 있는 출판영역에 대한 다각적인 지원정책이 이루어지고 있음을 알 수 있었다. 따라서 이러한 출판진흥정책의 기조는 앞으로 계속 발전시켜 나가야 한다는 결론을 얻었다. 그러나, 가시적이고 즉각적인 효과가 나타나는 사업의 지원에 초점이 맞춰진 점, 종합적이고 장기적인 로드맵이 부재한 점, 생산자 중심에서 수요자 중심으로의 출판정책이 방향을 선회해야 하는 점, 문화적 차원의 고려가 미비된 채 출판정책이 추진되는 점 등은 향후 보완되어야 할 측면으로 나타났다. 또한, 앞으로 출판문화정책이 효율적으로 추진되기 위해서는 근본적이고 장기적인 관점의 접근이 필요하고, 전문가 집단의 포괄적인 의견 수렴, 독서진흥정책 등이 수립되어야 함을 알 수 있었다. 또한, 이러한 업무를 총괄적으로 담당하는 출판산업과의 조직과 업무도 조정되어야 효율적인 정책의 집행이 이루어질 수 있다. The aims of this paper are analysing the Korean Government"s policy for publishing culture, and exploring suitable policies on expansion of korean publishing culture. The Korean Government has been starting the first developing plan for publishing and printing industries from 2003. Some results of the plan are showing successful and the conditions of korean publishing culture become higher. From now on, the Ministry of Korean Culture and Tourism makes plan for developing publishing and printing industries by the publishing promoting law every three years. The results of the study are as follows. The Korean Government"s basic policy for publishing culture is pertinent, and should be continued toward developing korean publishing culture. But it should be gradually reformed that the policy focuses on the visible immediate effects and the industrial areas to the exclusion of cultural sides. In addition, It is essential that the Korean Government follows professional group"s opinions, proceeds the policy with a long term point of view, and starts a campaign for reading book. The Ministry of Culture and Tourism, undertaking the policy for publishing culture, should be changed in organization and roles for successful pursuing developement of the Korean publishing culture.

Literary Wars on the Bookshelf: Women Authors and Print Culture in Eighteenth-Century England

( Young Seon Won ) 한국18세기영문학회 2017 18세기영문학 Vol.14 No.2

Mr. Darcy’s concern about “the neglect of a family library in such days as these” in Pride and Prejudice invites us to question what implications the family library had for him and what contexts he refers to in connecting the condition of the family library directly with his society, or, more exactly, with the print culture during the late eighteenth and the early nineteenth centuries. Beginning with the question raised by Darcy’s picturing of his days, this study first attempts to re-examine the conflicting landscapes of the period’s print culture(s) that have been offered by the recent scholarship of the last twenty years. At the very opposite of the gentlemen’s libraries were commercial lending libraries. The circulating libraries were an emanation of the rapid growth in the book industry and the increased commercialization of literary production, thereby serving as one of the most important forces behind the new generic recognition and popularity of the novel, particularly of those authored by women. Women novelists thus made significant, if not dominant, contribution to popular reading culture, and the rate of their rapid increase in the proportion of the market share made women authors one of the most visible features in print culture during the time. Countering both with critical and commercial pressures of the time, these women authors assumed the role of literary agency to promote the readerly culture, which, this study suggests, was nurtured in their reading of the novel. Many women authors show their awareness of literary and cultural power as readers who could affect readers’ choice of reading as well as ways of reading, and Austen’s literary formulation of the readerly culture in Northangger Abbey is an exemplary instance that illustrates her sister authors’ participation in the formation of print culture.

Literary Wars on the Bookshelf: Women Authors and Print Culture in Eighteenth-Century England

원영선 한국18세기영문학회 2017 18세기영문학 Vol.14 No.2

Mr. Darcy’s concern about “the neglect of a family library in such days as these” in Pride and Prejudice invites us to question what implications the family library had for him and what contexts he refers to in connecting the condition of the family library directly with his society, or, more exactly, with the print culture during the late eighteenth and the early nineteenth centuries. Beginning with the question raised by Darcy’s picturing of his days, this study first attempts to re-examine the conflicting landscapes of the period’s print culture(s) that have been offered by the recent scholarship of the last twenty years. At the very opposite of the gentlemen’s libraries were commercial lending libraries. The circulating libraries were an emanation of the rapid growth in the book industry and the increased commercialization of literary production, thereby serving as one of the most important forces behind the new generic recognition and popularity of the novel, particularly of those authored by women. Women novelists thus made significant, if not dominant, contribution to popular reading culture, and the rate of their rapid increase in the proportion of the market share made women authors one of the most visible features in print culture during the time. Countering both with critical and commercial pressures of the time, these women authors assumed the role of literary agency to promote the readerly culture, which, this study suggests, was nurtured in their reading of the novel. Many women authors show their awareness of literary and cultural power as readers who could affect readers’ choice of reading as well as ways of reading, and Austen’s literary formulation of the readerly culture in Northangger Abbey is an exemplary instance that illustrates her sister authors’ participation in the formation of print culture.

독일의 인쇄 문화와 교양 시민계층의 형성

최선아 한국세계문화사학회 2015 세계 역사와 문화 연구 Vol.0 No.37

Culture in Europe including Germany was based on the Christian theology and the Greek․Roman philosophy. An abbey and a church played a role of delivering it to the next generation by transcribing and annotating the Greek․Roman classics. Accordingly, education in Europe was occupied by an abbey and a church. The medieval Europe was influenced by the Greek․Roman classical civilization, thereby having been developed logic and theology. An ardor for study, which was highlighted in Europe at the end of the middle ages, brought about the emergence of new education facility called university. The university, which began to be founded around the end of the 12th century, was grown up to about 50 pieces around the year of 1400 and became the center of study and research on European culture. The Renaissance movement, which was begun for the first time in Italy and then was expanded into the whole Europe, raised a human being's interest in education ability and demand for the Greek․Roman classics. And Luther's ‘religious reform movement’ in Germany, which happened in the inside of a church, required more synthetic knowledge on the Bible. Accordingly, the religious reformation and the Renaissance movement increased a desire for a new book. This would become the demand for producing books through Gutenberg's typography in Germany, which is faster and more economical than the conventional transcription or wood block printing method. The printing business in Europe at that time was at the stage of having been positioned as an emerging industry. The custom in the artisan world, which proceeds with settling with moving many cities after finishing an apprenticeship since the medieval times, brought about a result dubbed the diffusion of the letterpress printing technology into all over Europe. This led to the fetal movement of capitalism in modern society of Europe, to the growth in bourgeoisie, to the settlement of university culture, which started from the middle ages, to the rise in the reading population, and to the appearance of liberal citizen class. The supply of typography became the political impetus that the absolute power society changes into the modern civil society in the Western society. This can be considered to be a fact of having greatly influenced the collapse in authoritarianism and the advent in liberalism in Europe down the road. In this way, the typography paved the way for the propagation of education, for the religious reformation, and for the Renaissance in European society and further functioned decisively as forming modern civil society. In other words, typography could lead to widely spreading a thought or ideology into Europe and could proceed with forming liberal citizen class by expanding and reproducing knowledge and information into citizens through preserving and transmitting the existing culture. The printing technique made it available for the standardization of a linguistic or intellectual concept, could economically supply books through decreasing labor hours for producing a book and largely reducing cost of production, and proceeded with securing the liberal citizen class in European society at a fast speed. And it can be considered to be a case of civilization history that greatly developed a human being's cognitive ability with the supply of new thought and knowledge. 독일을 포함해서 유럽의 문화는 기독신학과 그리스․로마 철학에 기반을 두고 있었고, 교회의 수도원에서 성서와 그리스․로마 고전을 필사하고 주석을 달아 다음 세대로 전달하는 역할을 담당하였다. 따라서 유럽에서 교육은 수도원과 교회가 담당하였고, 그리스․로마 고전 문명의 영향을 받아 중세 유럽에서는 논리학, 신학 등이 발달하였다. 중세 말 유럽에서 고조된 학구열은 대학이라는 새로운 교육시설의 대두를 낳았다. 12세기 말 경에 창설되기 시작한 대학은 1400년경 50여개까지 늘어났고 유럽문화의 학문과 연구의 중심이 되었다. 이탈리아에서 처음 시작되어 유럽 전체로 확산된 르네상스운동은 인간의 교육 능력에 대한 관심과 그리스․로마 고전에 대한 수요를 증대시켰다. 그리고 교회 내부에서 일어난 독일의 루터의 ‘종교 개혁 운동’은 성서에 대한 보다 종합적인 지식을 필요로 하였다. 따라서 종교 개혁 운동과 르네상스 운동은 새로운 서적에 대한 욕구를 증가시켰고, 이것은 당시 기존의 필사나 목판인쇄 방법보다 좀 더 빠르고 좀 더 경제적인, 독일 구텐베르크의 활판인쇄술을 통한 서적 생산에 대한 수요가 되었을 것이다. 당시 유럽에서 인쇄업은 신흥 산업으로 자리 잡은 단계였고, 중세 이래로 도제 수업이 끝난 후 여러 도시를 옮겨 다니면서 정착해가는 장인계의 관습은 유럽 전역으로 활판 인쇄기술의 확산이라는 결과를 낳았다. 이것은 유럽 근대 사회에 자본주의의 태동과 중세에서 출발한 대학 문화의 정착, 독서인구의 증가, 그리고 교양 시민계층의 등장을 낳았다. 유럽에서 활판 인쇄술의 보급은 서구사회에 절대왕권사회가 근대시민사회로 바뀌는 정치적 원동력이 되었다. 이것은 후에 유럽에서 권위주의가 붕괴되고 자유주의가 도래하는데 큰 영향을 끼친 사실이라고 볼 수 있다. 이처럼 활판 인쇄술은 유럽사회에 교육의 보급과 종교개혁 및 문예부흥의 길을 잇게 하였으며, 나아가서는 근대 시민 사회를 형성하는데 결정적인 작용을 하였다. 즉, 활판 인쇄술을 통해서 유럽에 사상이나 이념을 널리 전파할 수 있었고 기존의 문화를 보존하고 전승시킴으로써 지식과 정보를 시민계층에게 확대, 재생산시켜 교양 시민계층을 형성해 나갈 수 있었던 것이다. 인쇄술은 언어나 지적 개념의 표준화를 가능하게 했으며, 책을 제작하기 위한 노동시간의 감소와 생산비를 크게 절감시켜 서적을 경제적으로 공급할 수 있었으며, 유럽사회에 교양시민 계층을 빠른 속도로 확보해 나갔다. 그리고 새로운 사상과 지식의 보급으로 인간의 인지능력을 크게 계발시킨 문명사적인 사건이라고 할 수 있다.

동일시와 차별화의 지식 체계, 문화 그리고 문학 -1920년대 초기 문화론 연구 -

박현수 상허학회 2004 상허학보 Vol.12 No.-

1920년대 초기 조선에는 신문, 잡지 등 많은 인쇄매체들이 등장했으며, 이들 대부분은 ‘문화’를 하나의 화두처럼 내세웠다. 이러한 문화에 관한 논의는 특정한 사유 방식을 창안하고 유포하는 역할을 했으며, 문학 역시 같은 자장 속에서 배태되었다. 당시 문화에 대한 강조는 개조론이라는 세계사적 흐름과 연결되어 있었다. 문제는 그것이 조선에 어떻게 유입되고 어떠한 역할을 했는가 하는 점이다. 거칠게 말해 당시 문화는 예술, 도덕, 종교 등 정신적 매개를 통해 인격을 완성하는 것을 의미했다. 유기체론에 기반해 인격이 민족으로 치환되자, 문화는 민족을 조형하는 역할을 맡게 되었다. 문화를 통해 새롭게 조형되어야 할 민족은 열등, 병폐로 집약되는 전통과 반대편에 위치하는 것, 곧 일본과 동일 정도의 것이었다. 요컨대 문화는 동일시와 차별화의 이중회로 속에 위치하는 것이었다. 이와 같은 논의의 근간에는 일본이 위치하고 있었다. 당시 일본에서 문화 역시 동일시와 차별화의 매개로 제기되었다. 그리고 이는 1930년대 후반 일본을 맹주로 하는 대동아공영권의 이데올로기로 손쉽게 전용되었다. 1920년대 초기를 전후로 해 조선에서 문화의 중심 범주로 부각된 문학, 예술 역시 앞선 두 가지 역할을 충실히 계승했다. Most of the printing-media(newspapers, journals etc.) appeared at the early 1920s in Korea emphasized ‘Culture’. At that time, the discussion of literature was located in the inside of the specific episteme made by the argument of culture. The discourse of the culture at that time was related to the theory of reconstruction. But important thing is the role of the discourse of the culture in Korea. The meaning of culture was that an individual was willing to perfect personality by means of art, ethics, religion etc. Personality changed to the nation based on the theory of organism. Consequently the culture played the role of casting the nation. The nation made by the culture was antagonistic to tradition, hooked on to Japan’s. After all the culture is the intermediation of the assimilation and discrimination. At that time literature was located in the center of the argument of culture. Literature also substantially played two roles of the culture.

『직지』의 문명사적 의미와 『직지』문화의 발전 방향

박희(Park, hee) 서원대학교 직지문화산업연구소 2015 湖西文化論叢 Vol.24 No.-

As is well known, 『Jikji』is originally consisted of two books printed from the metal blocks and has been evaluated as the first and oldest book made by movable metal printing methods in the world. It is assumed to be published in 1377 at the Heungduk Temple located in Cheongju, Chungbuk Province. As the results, UNESCO, after investigating some evidences, declared in 2001 that the metal blocks used to make 『Jikji』 were the world"s oldest metalloid type. But none of 『Jikji』 are remained in Korea, one of which was disappeared and the other has been preserved in Louvre Museum in Paris. In recent years all the people and government authorities in Korea have poured every efforts in rediscovering the book lost, and in promoting "『Jikji』 related Printing Culture" by opening "World Crafts Festival" every year. But the result was very poor, or in some cases all the efforts came to nothing. In this paper, I have argued that "『Jikji』 related Printing Culture" should be reinterpreted as enlarging the means for the accumulation and mass delivery of knowledge and informations in human society. And it was a forgone conclusion that spotlight should be turned on in two directions, one on the so-called "『Jikji』 Educational Culture" and the other on the "『Jikji』Arts related Cultural Area". Of course, I have suggested some measures for each directions in relocating the "『Jikji』Culture".