• Title/Summary/Keyword: 한국회화

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The Newly changed Painting's Aesthetic of Seonbi painter Yoon DeokHee and Yun Yong Father and Son (선비화가 윤덕희(尹德熙)·윤용(尹愹) 부자(父子)의 변유적(變維的) 회화심미(繪畵審美) 고찰)

  • Kim, Doyoung
    • The Journal of the Convergence on Culture Technology
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    • v.7 no.2
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    • pp.199-206
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    • 2021

  • The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a 'NogUdang' painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting.

  • https://doi.org/10.17703/JCCT.2021.7.2.199 인용 PDF KSCI

Gold Recovery from Cyanide Solution through Biosorption, Desorption and Incineration with Waste Biomass of Corynebacterium glutamicum as Biosorbent (생체흡착, 탈착 및 회화를 이용한 시안 용액으로부터 금의 회수)

  • Bae, Min-A;Kwak, In-Seob;Won, Sung-Wook;Yun, Yeoung-Sang
    • Clean Technology
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    • v.16 no.2
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    • pp.117-123
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    • 2010

  • In this study, we propose two methods able to recover different type of gold from gold-cyanide solutions: biosorption and desorption process for mono-valent gold recovery and biosorption and incineration process for zero-valent gold recovery. The waste bacterial biomass of Corynebacterium glutamicum generated from amino acid fermentation industry was used as a biosorbent. The pH edge experiments indicated that the optimal pH range was pH 2 - 3. From isothermal experiment and its fitting with Langmuir equation, the maximum uptake capacity of Au(I) at pH 2.5 were determined to be 35.15 mg/g. Kinetic tests evidenced that the process is very fast so that biosorption equilibrium was completed within the 60 min. To recover Au(I), the gold ions were able to be successfully eluted from the Au-loaded biosorbent by changing the pH to pH 7 and the desorption efficiency was 91%. This indicates that the combined process of biosorption and desorption would be effective for the recovery of Au(I). In order to recover zero-valent gold, the Au-loaded biosorbents were incinerated. The content of zero-valent gold in the incineration ash was as high as 85%. Therefore, we claim on the basis of the results that two suggested combined processes could be useful to recover gold from cyanide solutions and chosen according to the type of gold to be recovered.

  • https://doi.org/10.7464/ksct.2010.16.2.117 인용 PDF KSCI

A Study on architectural act and attitude by Korea landscape painting - Focus on the real view landscape painting - (한국회화(韓國繪畵)에 나타난 건축적(建築的) 행태구성(行態構成) -진경산수화(眞景山水畵)를 중심(中心)으로-)

  • Cho, Nam-Du;Lee, Jae-Kook
    • Journal of The Korean Digital Architecture Interior Association
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    • v.5 no.1
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    • pp.40-47
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    • 2005

  • As we know usually architecture of Korea landscape painting inside, pavilion(Jung-ja) and many-storied building(Ru-gak) have painted mainly. But besides general building that home, mountain fortress wall, temple, royal palace was expressed by a real view landscape painting. The main purpose of this research is to enhance the basis that can understand well tradition architecture by korea landscape painting. To achieve this goal, Even if it is same kind of building, a lot of differences become by material of roof, position of building, expenditure of building. Division of inside and outside is precious data that can know life physiognomy of general peoples. In Structural side, Expression of fabrication and value as data that can know composition and arrangement of plane are important.

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