• 베이커리
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• no.12 s.449
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• pp.36-41
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• 2005

• 베이커리
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• no.6 s.455
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• pp.121-124
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• 2006

이번 작품은 오래된 소나무에 학이 날아든 풍경을 간결하게 표현해 여백의 미를 잘 살린 작품이다. 장식물 사용을 최대한 줄이고 '나무'와 '학' 두가지 주제만을 강조해 단순하면서도 분위기 있는 작품으로 완성했다. 중심요소만을 섬세하게 표현해 주제가 뚜렷이 도드라지는 '십장생' 작품을 만들어 보자.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.110-111
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• 2005

• Journal of the korean veterinary medical association
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• v.44 no.9
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• pp.831-834
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• 2008

사슴은 민화 십장생도의 소재중 하나로 신성하고 신비스럽게 여겨져 왔던 동물이었는데 근래에는 녹용 등 약재 수요가 급증하고 사슴고기의 소비도 늘어나 사슴들이 점점 순화되고 가축화되어 가고 있다. 그에 따라 좁은 공간에서 집단 사육되어 질병의 발생이 많아지게 되어 사슴사육시 경제적으로나 공중보건학적으로나 질병예방을 위한 위생적 사양관리가 요구된다. 최근에 국내 사육 사슴에서 인수공통전염병인 결핵이 검색되어 양록업의 위생적 사양관리와 질병예방에 도움이 되고자 그 증례를 소개하고자 한다.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.131-139
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• 2010

The ten traditional symbols of longevity are represented as 10 which means perfection in oriental philosophy, the sun, mountain, water, cloud, rock, pine tree, elixir plant, tortoise, crane and deer. each subjects symbolizing longevity had used in isolation. unlike China and Japan, the ten symbols of longevity became a fixed form and was widely used in paintings, household effects and clothes in Korea. therefore, It will be a meaningful study how the ten symbols of longevity, as one of subjects in painting, changed into a pattern on clothes. The ten symbols of longevity was affected by various philosophies and religion. especially, it laid emphasis on order by Yin-Yang and the Five Elements theory. the order was applied to arrange each subjects and use colors carefully. the sun colored with red and was on the upper. the pine tree colored with green meaned tree and was on the left. the earth and the mountain meaned the soil and was on the center. the rock meaned the iron and was on the right. the water meaned the water and was on the bottom. The subjects of the study were embroideries like spectacle cases, spoon cases and pouches. the scope of study was the Latter Part of the Joseon Dynasty because there are more relics in the Joseon Dynasty than any other times.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.39-47
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• 2008

Korean embroidery is the long historical industrial arts of real life and has handed down Korean sentiment up to now. Korean traditional embroidered pattern is designed to wish someone's health and luck, who uses the embroidery on the clothes and the goods in real life. Especially, the ten longevity symbols' design is represented as 10 which means perfection in oriental philosophy, the sun, mountain, cloud, water, crane, rock, turtle, pine tree, the elixir of life and deer; these 10 symbols show how ancient Korean believe and wish perpetual youth. However, fiber material used embroidery relic has difficulty in preserving for long period compared to other relic descended from historical events for long time and their preserved state isn't so good owing to have been used directly in the real life. Therefore, it is essentially embossed to preserve the embroidery relic and pattern, and make DB for the data. With preservation of the pictures about the handicraft, it's necessary to preserve embroidery technique and make DB through digital imagination. Through the process, we can apply Korean embroidery image to cul-duct package and digital image related field, and it will be helpful to make the tradition popular. In this study, through the research for the embroidery technique applied pattern on the embroidery relic of ten longevity symbols, we'll establish the cultural identification of Korean embroidery image and then develop a worldwide Korean image.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• 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.

• Archives of design research
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• v.14 no.4
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• pp.117-126
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• 2001

A new functional meaning has been given as natural resource to bamboo through reanalysis. Bamboo products contributed to creating added-value of pro-environment. In this study, a potential efficiency and vision of bamboo products and crafts are presented. As bamboo plywood and bamboo decorating paper were developed followed by academic and technological support, an activation of markets has been pursued and bamboo pattern tiles for new furniture was developed. This study examined kinds and characteristics of bamboo and processing of raw material and how to express with the material. Through advanced technology, it identified traditional functions and technological mistakes and analysed domestic and overseas applications to enhance utility of plywood made of bamboo. Bamboo pattern tiles were developed for decorating of furniture doors based on bamboo pattern paper. For patterns, 'tortoise, cranes, and deer'meaning eternity and new millenium among Ten Korean Longevity Animals are simply and lively represented. Series of the sun and mountain use effects of bamboo pieces to present bright images and to maximize quality of bamboo. A pattern of '卍'incorporates mystery of the cosmos and meaning of temples together with traditional patched wrapping cloth, Arirang and Chilgyopannori for beautiful ornamentation. Bamboo decorating tiles are made through accumulation of technologies by a cooperation with industries of bamboo equipment and production of furniture in Damyang Bamboo Products Complex. Processing of raw materials is peformed with equipment of Damyang. Development of samples and production and delivery of bamboo goods are handled in Design Venture of Chosun University Chamber. Developed goods decorating doors of furniture are in sale by an order from furniture industries.

• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.