• Journal of Science of Art and Design
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• v.13 no.1
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• pp.61-86
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• 2008

Buddhism and Buddhist art originated in India, but when they were introduced to different countries, they created an international environment. Buddhism was introduced as cultural package, with written texts, visual images, rituals, and the organization of monasteries. Buddhist art originated in India during the reign of King Asoka and then was developed under the political, intellectual, artistic, religious, social and natural environments of the regions. The stupa and the chaitya halls create monastic environment. The natural environment of the trade routes and caravans in the Central Asian deserts preserved brilliant-colored murals and helped spread tram India to China. When Buddhism and Buddhist art were introduced to China, Korea, and Japan, Buddhism became a part of government institution and social organization. Gigantic statues were carved in caves in mountains for political purposes. The Chinese transformed the stupa into a square pillar and created pagodas with tiled roofs in tower forms. Koreans not only transmitted the Buddhist art from China to Japan, but it also changed it with originality in the iconography of the pensive bodhisattva images and in the architecture of Seoggulam. The official ideology of Neo Confucian philosophy brought the rise of Chan Buddhism. Zen monasteries in Japan created unique environments by establishing the Zen Buddhist garden. to prompt believers to meditate. An important development in Buddhist art is the Esoteric Buddhist art in China and Tibet. This category belongs to the intellectual, religious as well as artistic environments. The Tibetan deities with consorts in their embrace symbolize the union of the god and the devotees. Buddhist art created a unique environment that was spread out to many nations and changed greatly over time.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.81-88
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• 2013

Foundation Beyeler museum located near Basel, Switzerland is one of the most-visited art museum of the world. Although the entire volume of the museum is not huge, its art collection as well as the well-known museum building designed by Renzo Piano deserve to attract many visitors. The initial design was started in 1991 when the city of Basel decided to fund and support the project. Through a couple of design stages, the museum was finally opened to public in 1997. There have been various research papers dealt with general design issues of Beyeler museum such as composition of exhibition spaces, and natural lighting. However, this paper aims to study the design methods and relationship between art, architecture and nature. Although the museum building is located on the site quietly, there are various specific design solutions to create unique spatial experience of art and nature at each parts. This study focuses on 4 parts of the museum that are located on the main circulation. How art, architecture and nature are integrated together is the main target of the analysis. The analysis is based on visual-perceptual experience and spatial configuration. In chapter 2, general background of the project was studied. In chapter 3, characteristics of the site's natural environment and Piano's design concept's were examined. In chapter 4, each parts were analyzed in detail with diagrams. In chapter 5 & 6, the spatial characteristics were compared together and the fundamental role of the museum architecture was concluded.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.299-304
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• 2020

This paper considers the research content and its historical significance of the Study of Nature conducted by John Ruskin(1819-1900) who had a profound influence on art, architecture, social reformation, and preservation of natural environment in Great Britain. Because Ruskin's Study of Nature would be the key to understand totally the implicative meaning of his various academic trials for integrating a wider contexts among human, culture, and society, without being bound by the rules of conventional disciplines. For Ruskin, 'Nature' is defined as 'a system' governing every aspects of human and non-human beings, formulating certain laws of composition. This system has an ecological quality to form a state of harmony by internal interaction and process. Such organic quality of nature worked as 'a metaphor' in Ruskin's research practices. Therefore, Ruskin's Study of Nature would be the conceptual basis for organizing and connecting its various elements of Ruskin's spiritual world.

• The Journal of the Korea Contents Association
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• v.7 no.11
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• pp.175-181
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• 2007

Design prototype is described from the stately aspect as a principle of formative art, and from the shapeable aspect of physical feature. The prototype can be a common denominator which is contained in one nation's culture, art and life, as the thing which corresponds to the daily industrial craft, architecture and art's production intention and activity with the thought and background of the culture. We have formed the design prototypes with time and space in the process which absorbs and integrates the new culture. Modern Korean design's prototype can be seen in the late Chosun. As the upper culture and sub-culture were combined, the active culture was developed. Nobody can deny that Chosun's culture and art becomes a basis of today's design and Korea's beauty. In creating the design prototype, the natural environmental factors such as topography and climate are the most important. Such natural environmental factor led the design recognition of art and craft art, as well as an architecture and indoor environment's form. Korea design produced the artisan sprite which is devoted to a moral duty and instinct as our nation's nature and emotion, and ensured the emotional process not the rational process. So, it created naturalism which accepted the material and shape. Our design prototype's path tracking as an energy of future society's new design identity, can be the important theme for our design development.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.901-907
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• 2024

The desire to be beautiful naturally focuses on aesthetics, and the beauty industry is growing significantly accordingly. Among them, art makeup is developing in the beauty field as a creative and experimental art field that breaks away from the fixed framework centered on color and expression. Art makeup is a field that requires research on a new artistic form of art makeup that applies formative principles through design ideas based on integrated arts such as fashion, architecture, and art according to formative principles. Formative principles were classified into balance, unity, emphasis, and rhythm, and practical cases based on his applied integrated arts were divided into landscaping, architecture, flowers, painting, fashion, and interior design, and art makeup design using formative principles was analyzed. Accordingly, we aim to contribute to the development of new designs by explaining how makeup design forms that apply formative principles are being applied in the field of art makeup, exploring expansion into creative areas, and providing academic theoretical foundations and basic materials for the development of art makeup.

• Journal of the Korean Wood Science and Technology
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• v.33 no.3 s.131
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• pp.1-10
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• 2005

Tree-ring chronologies can be used to date historical buildings or furnitures by matching them with chronologies of living trees. Tree-ring dating gives a calendar year to each tree ring and produces the cutting dates of logs or woods. In this study, we intend to extend our tree-ring dating applications to Korean furnitures. As a case study, we examined two traditional furnitures, one cabinet 'Jang' and the other chest, 'Bandaji'. The cutting date of the cabinet woods was A.D. 1839. The date of the outmost ring in the chest was A.D. 1904. Due to no bark present, the cutting date of the chest was only estimated as $1930{\pm}10$ by 'sapwood rings' estimation method. Ring-width pattern of the latter one also indicated that the origin of the chest must be Kangwon province. This case study suggests that tree-ring dating would be a useful and accurate method to identify the critical dates for the chronicles of Korean traditional furnitures.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.88-105
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• 2020

This study examined existing theories of the characteristics of the abandoned tumulus site located at the east side of the Silla era Hwang Bok Sa (皇福寺) site and attempted an archaeological approach based on the derived facts, combining both the results of this study and those of a recently conducted excavation survey. The results of this investigation exhibited the following outcomes. First, the excavation survey revealed that the huge rounded stones discovered on the surface of a rice paddy field located at the east side of the Silla era Hwang Bok Sa were all protecting stones, processed on the front side in the form of a bow, designating a royal tomb. Most of these protecting stones had deviated from their original positions due to subsequent farming practices and some had been re-cycled for construction purposes as fences or foundations for structures built in the Silla era. Considering the prevailing belief in the concept of reincarnation, the bone rank system, and royal authority in the Silla era at that time, it would seem likely that the royal tombs were not intentionally destroyed. Therefore, it is speculated that the stones in this royal tomb were abandoned during construction of the tomb of the King at that time and then naturally re-cycled as building components used in construction sites in later years. Second, this study comparatively analyzed the scale and quality of the supporting stones at the royal tomb site in Guhwang-dong. The analysis results verified that those supporting stones were the same stones from the royal tomb used as supporting stones for statues symbolizing the twelve earthly branch spirits that were restored at the site of the tower at the royal tomb. This confirmed that the statues of the twelve earthly branches spirits sitting at the Hwang Bok Sa site were the protecting stones from a different royal tomb. Accordingly, the conclusion that has been generally accepted to date-that the protecting stones of the statues of twelve earthly branches spirits sitting at Hwang Bok Sa site were probably moved from the royal tomb site in Guhwang-dong-must inevitably be modified. Third, based on the structure of the protecting stones and type of the royal tomb, it is speculated that the individual buried in the royal tomb at Guhwang-dong is one of the kings who followed King Heungdeok and similar times of the buried person of the tomb that was considered as King Gyeongdeok, and who was before the buried person of the tomb that was considered as Kim Yu-sin. In addition, when considering the historical art patterns on the supporting stones of the statues that symbolize the twelve earthly branches spirits, which were moved to the site of the tower at the royal tomb, it is reasonable to believe that the person buried at the royal tomb at Guhwang-dong is likely one of the Kings of the late Silla era of the 9^th century.