• Cartoon and Animation Studies
• /
• s.39
• /
• pp.111-132
• /
• 2015

Although Rotoscoping technique has been used for a long time to mimic the natural and smooth motion since the early 20th century, its artistic value was devalued as tricks because it traces the already recorded images. But the fact that the rotoscoping images can cross the boundaries between animation and live action in an infinite integral freedom in the digital era became rather expansive new aesthetic possibilities of representation of the reality. In addition, Jonas Odell's animations such as (2010), (2008), (2006) are good example to prove that the rotoscoping images also can serve as means to enhance its narrative. This study is to analyze how rotoscoping images act as a unique role in relation with the narrative based on the said person's real stories and realistic images. I argue that his animated films constantly contain these three characteristics -Images to mediate Auditory sensitivity as a record of inner metaphysical reality, anonymous images to represent a specific existential character, and images that act as physical representation that holds the physical space/time and related memory. This reveals that rotoscoping images in this digital era went beyond reproduction for natural movements or special type of style. It rather suggests new layers of experience, and acquires new value in animation. I hope that this study could serve as a foundation to rediscover and re-position the value of rotoscoping images as well as good opportunity to introduce very talented swedish animation artist who already received global attention with his unique philosophical and aesthetic style.

• Korean Journal of Environment and Ecology
• /
• v.27 no.5
• /
• pp.625-641
• /
• 2013

This study is analyzed the environmental ecological status of Suncheon Bay and its applicable possibility to the selection criteria of UNESCO World Natural Heritage (hereafter Criteria). The study shows that the formation process of the tidal-flats in Suncheon bay could apply to the Criteria VIII, "to be outstanding examples representing major stages of earth's history." The landscape pattern of Suncheon Bay is deduced various patterns based on 5 biotope types: tidal-flat, rice-paddy, field area, coniferous natural forest, and broadleaf natural forest. Its landscape characteristic is a harmonized composition of various landscape including mountains, rivers, fields, and tidal-flats. It is judged that the unique landscape of Suncheon Bay falls under the criteria VII, "areas of exceptional natural beauty and aesthetic importance." In addition, Suncheon Bay, the habitat of the Hooded Crane as internationally endangered species, comes under the criteria X, "the most important and significant natural habitats for in-situ conservation of threatened species." The study shows, however, that any other designation for protected area including national park or biosphere reserve is a prerequisite for designation of World Nature Heritage. In particular, it could evaluate whether it is qualified of the Criteria after the integrated conservation and management to the Sucheon bay as well as the southwestern tidal-flat is preceded.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.81-89
• /
• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.36 no.5
• /
• pp.94-107
• /
• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• Industry Promotion Research
• /
• v.8 no.3
• /
• pp.163-174
• /
• 2023

Simgok Seowon was established to honor Jo Gwang-jo, who is a scholar and politician in the mid-Joseon period. It is located in a propitious site based on Feng Shui. Its Jusan is Mugokeumseongchae(武曲金星體) with Wonhwahyul(圓窩穴), and its Ansan is Tamrangmokseongchae(貪狼木星體). It is a Jehyang(祭享)-centered Seowon that sets a Jehyang place in Hyeolcheo. Around the Sadang(祠堂), the Four gods including Jwacheongryong(左靑龍) Woobackho(右白虎), Jujak(朱雀), and Hyeonmu(玄武) protect the Hyeolcheo(穴處) well. It is a typical central axis symmetrical spatial arrangement where everything is located centered on Sawoo(祠宇). It is a type of Jeonhakhumyo(前學後廟) that arranges the main hall at the front of buildings and places the Sadang that is a Jehyang place at the back of Sadang. To the left side of the Sadang, Yeonji(蓮池) was created by applying the principles of Cheonwonjibang(天圓地方), which serves as Yusik(遊息) area with functions to adjust microclimate and to extinguish fires. Feng Shui plays an important role when determining orientation, direction, and location of the buildings. Therefore, it could be regarded as realizing the aesthetic spirit of Cheoninhabil(天人合一) to compose the Feng Shui-oriented spatial arrangement by recognizing accurately the relationship between nature and human being depending on topography, wind, water flow, and point of the compass.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.4
• /
• pp.44-55
• /
• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Journal of Science of Art and Design
• /
• v.13 no.1
• /
• pp.11-21
• /
• 2008

It seems to be difficult to bridge between human and nature. All depictions of nature are not necessarily reflections of reality. Thoughts are projected into nature, then nature will reflect us. The world is composed of natural and cultural environment. There are differences between depiction of nature based on correspondence and construction of world. Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Allen Carlson, a pioneer in environmental aesthetics, provides challenges as well as a wealth of resources for those who would appropriate his ideas in the service of environmental protection. Carlson's positive aesthetics, his focus on the functionality of human environments, and his integration of aesthetics and ethics have great import for those seeking to use aesthetics to assist in addressing environmental controversies. Environmental ethics would benefit from taking environmental aesthetics more seriously. Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but fully integrated and continuous with us, Arnold Berleant explores the aesthetic dimensions of the human-environment continuum in both theoretical terms and concrete situations. Aesthetic experience is always contextual. The aesthetic aspect of any human habitat is an essential part of its desirability. The aesthetic perception of environment shows us the reciprocity that constitutes both person and place. The genuine beauty lies in the coexistence and harmony with natural environment.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.2
• /
• pp.90-103
• /
• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Journal of the Korean Geographical Society
• /
• v.51 no.1
• /
• pp.1-21
• /
• 2016

The objects of this study are to identify values of criterion(vii) and to consider a possibility of application of criterion (vii) of UNESCO World Heritage to Mt. Seoraksan Natural Reserve based on the analysis of the concept of criterion (vii) and justifications of World Heritage sites under criterion (vii). According to the analysis results of 114 Natural Heritage sites under criterion (vii) listed between 1978-2015, detailed values of the criterion and their applied cases were categorized into 10 values. Based on this category, values were drawn that could be applied to Mt. Seoraksan and support the justification of criterion (vii) in three aspects. First, the value of visuality could be applied to Mt. Seoraksan due to its abundance of Scenic Sites, which means it has been recognized as an area with natural beauty by government. Second, the value of comprehensiveness of geomorphological landscape could be applied to Mt. Seoraksan in that it shows all kinds of granite landform in a relatively limited area. Finally, the value of comprehensiveness of geomorphological landscape could be again applied due to its overall mountainous river landscape.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.29 no.12 s.148
• /
• pp.1582-1594
• /
• 2005

The purpose of this study is to rediscover the value of form in fashion design by developing a new perspective of design appreciation. By examining and modifying the theories of Wolfflin and Belong, this paper tries to of for a new perspective for analyzing the characteristics of form in fashion designers' works. The three new perspective, Flat & Rounded, Closed & Opened and Part & Whole, can be used to analyze the formative aesthetic character of Vionnet's and Dior's works. Ten of Vionnet's and eleven of Dior's representative works selected and applied Delong's visual priority diagram to analyze their character. Vionnet and Dior, emphasized form and construction in their design and applied geometric shapes in their works. The main differences between Vionnet and Dior is that Vionnet's work transforms from geometric shapes in 2-dimentional space to drapery shapes in 3-dimensional space, Dior's work displays geometric shapes in 3-dimensional space. Vionnet created new formative art through the relationship between the clothes and human body. Vionnet's work has distinctively different qualities depending on whether the space is 2-dimensional or 3-dimensional showing transposition of form. In 2-dimensional space, Vionnet's works consist of triangles, rectangles and circles which are 'flat' and 'closed' in quality. These transform to solid forms by draping bias fabrics, which have a 'rounded' and 'open' quality. Dior tended to show artificial form rather than the natural lines of the body which is very different with Vionnet. Dior created clothes by using solid geometric form such as spheres, prisms, cylinders, pyramids and cubes in 3-dimensional space, which were visualized through constructive technique such as dart manipulation, boning, gathering, tucking, pleating, shirring and layering. Dior's works have their own form which does not relate with body shape. So his Works have a 'rounded' and 'closed' quality.