• Journal of Science of Art and Design
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• v.4
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• pp.147-171
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• 2002

Dieser Aufsatz ist ein Versuch, Konrad Fiedlers Theorien der bilden Kunst von ihrem kunstphilosophischen Ansatz her systematisch zu rekonstruieren und ihre Bedeutung fur die Entwicklung der modernen abstrakten Malerei klar darzulegen. Fiedler $z\"{a}hlt$ zwar zu den theoretischen Wegbreitern der abstrakten Malerei, aber in dieser Beziehung linden sick bisher nor wenige $zusammenh\"{a}ngende$ $Er\"{a}rterungen$ seiner Arbeiten. Yon der Ansicht ausgehend versucht der Verfasser die Kerngedanken seiner kunstphilosophischen Lehren in semen Haupschriften, <$\"{U}ber$ den Ursprung der kunstlerischen $T\"{a}tigkeit$>, <$\"{U}ber$ die Beurteilung von Werken do, bildenden Kunst> sowie $k\"{u}nstlerische$ Wahrheit> usw., kritisch zu analysieren und zosammenfassend darzustellen. Dabei handelt es sich letztlich darum, in seiner Bestimmung des Wesens der bildenden Kunst als 'freier Gestalting der reinen Sichtbarkeit' den Anhaltspunkt $f\"{u}r$ abstrakten Malerei herauszufinden, die in der gegestandslosen ihren $H\"{o}hepunkt$ erreicht.

• (The)Study of the Eastern Classic
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• no.50
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• pp.261-294
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• 2013

The purpose of this paper lies how the original text of Chinese classical literary works have been implemented in the paintings of China and Korea, and inspect the ways how of these original text interpreted in paintings. It is an experiment of trying to analyze through literature with painting and read again painting through literature. Qu Yuan(屈原) Prose Poem of Fisherman("漁父辭"), Tao Yuanming(陶淵明) Prose Poem of Returning Home("歸去來辭") and the prose with a poem on the peach blossom spring("桃花源記幷詩"), Du Fu(杜甫), Song of Eight Drunken Celestials("飮中八仙歌"), Su Shi(蘇軾), Odes on the Red Cliff("赤壁賦"), Ou Yangxiu(歐陽脩), Odes of the Sounds of Autumn("秋聲賦") and the paintings which based on these texts were the target of examination. These literary texts shared by Chinese and Korea have been compared in the aspects of acceptance and enjoyment. And on the basis of this process the characteristics of korean paintings expressing the ideas of classical literary works was induced. As a result, the following facts are derived. First, By the emergence of the typical style which was formed historically in China at the korean painting shows that korean painters not only actively embraced the art style of China also did not lose the international sense. Second, through the profound study for chinese painting, they transformed it in accordance with korean aesthetic view and finally revealed typical korean characteristics. Third, the results as described above showed the difference of perception and interpretation of literary works between China and Korea.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.98-110
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• 2011

Seochon('West Village') is located in the west side of Gyeongbokgung(Gyeongbok Royal Palace) inside the old city wall of Seoul. Seochon has beautiful scenic view surrounding Mt. Inwang and has been known as the representative historical and cultural landscape region in Korea that historical and cultural resources are rich. But when the figure of Seochon which has repeated the changes with the ones of the times is considered, values of beauty of natural landscape that Seochon had and its own placeness have not been gradually recognized as it has been swept away in logic of the development on the strength of economics. This study tries to examine the original form of landscape on Seochon which can be the standard of landscape change, the causes and process of its change and possibility to conserve and restore it to recognize potential value about historical culture of Seochon landscape and conserve and protect it. For this, this study compared and analyzed literature including poems and Yusangi, paintings and names of the scenery of the seasons as the landscape texts with the current status. The study result has found that Pilwundae should rehabilitate cultural assets to secure the prospect right and protect neighboring bedrock, Suseong-dong should expand the restoration areas focusing on the projects to make parks which are now being restored, Cheonghwigak and Cheongpunggye areas should restore waterways including historicity which is connected to figures and Seshimdae and Baekun-dong green zone should set the protective area for conservation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.2
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• pp.35-45
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• 2023

First, The spatial distribution characteristics of old big trees were analyzed using ArcGIS figures by combining basic information such as species and ages of old big trees in Handan City, which were compiled by the local bureau of landscaping. The types of species, distribution by ages of trees, ownership status, growth status, and diversity status were comprehensively analyzed. Statistically, Styphnolobium, Acacia, Gleditsia, and Albizia of Fabaceae accounted for the majority, of which Sophora japonica accounted for the highest proportion. Sophora japonica is widely and intensively distributed to each prefecture and district in Handan city. According to the age and distribution, the old big trees over 1000 years old were mainly Sophora japonica, Zelkova serrata, Juniperus chinensis, Morus australis Koidz., Dalbergia hupeana Hance, Ceratonia siliqua L., and Pistacia chinensis, and Platycladus orientalis. Second, as found in each type of old big tree status, various types of old big tree status were investigated, the protection management system, protection management process, and protection management benefits were studied, and the protection of old big tree was closely related to the growth environment. Currently, the main driving force behind the protection of old big trees is the worship of old big trees. By depositing its sacredness to the old big tree and sublimating the natural character that nature gave to the old big tree into a guiding consciousness of social activities, nature's "beauty" and personality's "goodness" are well combined. The protection state of the old big tree is closely related to the degree of interaction with the surrounding environment and the participation of various cultures and subjects. In the process of continuously interacting with the surrounding environment during the long-term growth of old big trees, it seems that a natural sanctuary was formed around old big trees in the process of voluntarily establishing a "natural-cultural-scape" system involving bottom-up and top-down cross-regions, multicultural and multi-subjects. Third, China focused on protecting and recovering old big trees, but the protection management system is poor due to a lack of comprehensive consideration of historical and cultural values, plant diversity significance, and social values of old big trees in the management process. Three indicators of space's regional characteristics, property and protection characteristics, and value characteristics can be found in the evaluation of the natural characteristics of old giant trees, which are highly valuable in terms of traditional consciousness management, resource protection practice, faith system construction, and realization of life community values. A systematic management system should be supported as to whether they can be protected and developed for a long time. Fourth, as the perception of protected areas is not yet mature in China, "natural sanctuary" should be treated as an important research content in the process of establishing a nature reserve system. The form of natural sanctuary management, which focuses on bottom-up community participation, is a strong supplement to the current type of top-down nature reserve management in China. Based on this, the protection of old giant trees should be included in the form of a nature reserve called a natural monument in the nature reserve system. In addition, residents of the area around the nature reserve should be one of the main agents of biodiversity conservation.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.102-109
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• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.95-105
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• 2014

Dosangugok is located at Dosan-myeon, Andong City, Gyeongbuk and its original landscape was analyzed based on Valley4 Buncheon among Dosangugok. In order to estimate original landscape of Dosangugok, landscape elements were extracted after investigating ancient literatures including 'Nongamjib' and poetry/prose relevant to Dosangugok, landscape elements that could be confirmed at local site survey were suggested and arrangement of Buncheon village was estimated based on painting works. In analysis of poetry/prose, 29 landscape elements were extracted and as a result of local site survey, 6 places including Jeomam (Jari-bawi), Nongam (Gwimeok-bawi), Sajaseok (Saja-bawi), Sangam (Elephant rock), Dae and Bungang were confirmed to be existed at present and in painting works, Rocks such as Aeildang on the rock adjacent to Bungang, Buncheon Seowon at its backyard village, Bungang Byeoneui Gwimeokbawi, Jeomam were confirmed to be expressed even though not expressed in detail. Survey was performed based on ancient site of Nongam head house in parallel with interview with 17th eldest grandson(Ph.D. Lee, sung won)of Nongam Lee, Hyeon Bo and local site survey and original landscape was reproduced by making its result as a drawing and preparing an estimated map around this area.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.5
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• pp.71-86
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• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Food Science and Preservation
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• v.24 no.1
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• pp.1-7
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• 2017

This study was conducted to investigate the effects of egg shell calcium treatments on short-term storage of cut Kimchi cabbage. Egg shell ash powder (ESP-2) had the greatest calcium contents. Calcium solubility was greater in citric acid than acetic acid and ascorbic acid. Cut Kimchi cabbages ($3{\times}3cm$) were treated with 0.5%, 1.0%, and 2.0% egg shell powder (ESP-1), and egg shell ash powder (ESP-2), and 0.5% citric acid, put inside polyethylene (PE) bags, and stored at $5^{\circ}C$ for 6 weeks. Weight loss was about 99.85-99.90%, and the ratio was the lowest upon 0.5% ESP-2 treatment (p<0.05). The reduction ratios of soluble solids were 21.3-43.4%, and decreased in the order of 1.0% ESP-2 treatment and 0.5% ESP-1. The $L^*$ values decreased, whereas $a^*$ and $b^*$ values of Hunter colorimetry increased in all treatments. ${\Delta}E$ values were lowest upon 0.5% ESP-2 treatment. 0.5% ESP-2 treatment showed better quality characteristics than other treatments. Thus, egg shell calcium treatments could effectively enhance the shelf-life of cut Kimchi cabbage.