• Journal of Digital Convergence
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• v.13 no.2
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• pp.325-331
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• 2015

The purpose of this study is to apply the digital storytelling to the traditional portrait which includes the various historical and personal stories for modern transformation of it. In the general understanding of traditional paintings, there is a oversimplified analysis of the narrative about traditional portrait. Considering the contemporary cultural context, the multi-dimensional study on the various modern meanings of the traditional portrait are very essential. This study examines the digital storytelling application of the traditional portrait of Kim, Hongdo and applies for modern transformation. This research has the implications for modern transformation of traditional art that broaden our understanding of the various traditional portrait includes ideological and aesthetic significances by the digital storytelling.

• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• 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.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.