• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.1-13
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• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.

• Journal of the Korean Institute of Rural Architecture
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• v.7 no.1
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• pp.112-120
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• 2005

The object of this study is one of the traditional houses about Siheyuan(courtyard house) which is one of the most remarkable types of dwelling in China. The purpose of this paper is to examine and analyse the formation process of the Siheyuan. Its organizational formation process are based on historical and natural-geographical background. With the passage of time this house developed into one of the Chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the picture of brick, the earthenware of house type, the painting of cave, the paintings of painters and others.

• Proceedings of the Korean Institute of Building Construction Conference
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• 2001.11a
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• pp.130-135
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• 2001

In this study, I have researched into the causes of defects in apartment house, The results of this study are listed below. (1) Water leakages which result from land sinking and cracks, results of misuse of back filling method, are the main reason of defects in civil engineering work and architectural work. (2) Inexperience and unwillingness are the main reason of defects in plaster work. (3) In windows work and painting work, the main reasons are lacks of precision construction and efflorescence resulting from outdoor air, respectively. (4) Defects in waterproofing work and electric work result from fault construction by low unit Costs. (5) Equipment work requires uses of standardized construction materials and management, and landscape architecture work requires minimizing human mistakes, for instance, degin carelessness. For the reasons stated above, the causes of defects in apartment house are insufficient construction labors, inferior construction materials, urgent construction process time, and conscientiousless industrialists who only seek after a profit margin.

• Journal of Drive and Control
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• v.17 no.4
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• pp.15-22
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• 2020

With the need for efficient maintenance technology to reduce maintenance costs for steel bridges, repainting robots are being developed to automate the work in narrow and poor bridge spaces. The repainting robot is equipped with a blasting module to remove paint layers and contaminants. This study developed a prototype monitoring module to be mounted on the repainting robot. The monitoring module analyzes the condition of the painting surface through a camera installed in the front, guides the direction of movement of the robot, and provides the operator with a video to check the working status after blasting through a camera installed in the back. Various image visibility enhancement technologies were applied to the monitoring module to overcome worksite challenges where incomplete lighting and dust occurs.

• Journal of the Korean Society of Clothing and Textiles
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• v.9 no.2
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• pp.45-55
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• 1985

The main purpose of this study is to investigate the suitability of Boesun (the Korean Socks) to the foot. In order to find the problem of Boesun, I made up the questionnaire. The suitabltity of Boesun to the foot was experimented by 'the replica method', 'the fuse method' and 'the deform painting method'. The pressure of Boesun to the foot was measured by utilizing a human sensitivity as a sensor. The results were as follows. 1. In the questionnaire, the fore part of Boesum was uncomfortable by the pressure. 2. The surface area of Boesun was generally smaller than the surface area of the foot, but the ratio of two surface area related closely to the individual. 3. At the cross-sections from No. 1 to No. 10, the breadth of the worn Boesun was smaller than the breadth of the foot. Because of the smaller breadth of the worn Boesun, the foot was get the pressure at the fore part of Boesun. This result accorded with the result of the questionnaire. 4. The location of the deformation by 'deform painting method' was almost the fore part of Boesun. 5. The pressure of Kwon's Boesun was 2.57$\~$2.99kg, the pressure of Kim's Boesun was 1.31$\~$1.74 kg and the pressure of Lee's Boesun was 3.42$\~$3.88kg. Compared with the distribution chart of the pressure, Kwon's Boesun was involved the back part of 'slightly pressured' and the fore part of 'pressured', Kim's Boesun was involved the fore part of 'slightly pressured' and Lee's Boesun was involved the middle part of 'pressured'.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• Journal of Korea Multimedia Society
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• v.13 no.10
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• pp.1474-1486
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• 2010

In this paper, we propose an algorithm which represents the distance depiction technique of real painting that named "Aerial Perspective" in painterly rendering. It is a painting technique that depicts the attenuations of light in the atmosphere, and the scattering effect is changed by the distance, altitude and density of atmospheres. For the reflection of these natures, we use the depth information corresponding to an input image and user-defined parameters, so that user changes the effect level. We calculate the distance and altitude of every pixel with the depth information and parameters about shot information, and control the scattering effects by expression parameters. Additionally, we accentuate the occluding edges detected by the depth information to clarify the sense of distance between fore and back-ground. We apply our algorithm on various landscape scenes, and generate the distance-emphasized results compared to existing works.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.279-286
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• 2019

Jo, Hee-ryong(1789-1866), who was given the title of "boss of the world handling a China inkt" in the late Joseon Dynasty, was from a noble family, but he claimed to be a yeohang-in himself. The byeoggyesa was formed based on Jong-in and they are engaged in literary activities. Hee-ryong Jo, "I do not follow people's back" is the art spirit of my life. The theory of the Holy Spirit has inspired emotion or inspiration as the essence of art. He pursued original aesthetics of painting with the true nature and personality as important. During his early 60s, the period of banishment for about three years had a profound impact on the identity and direction of his art world. During this period, he wrote four volumes, including "Hwaguamlanmug", "Uhaeagamgo", "Sugyeongjaehaeoejeogdog", "Hanwaheonjehwajabjon" and among his paintings with 19 paintings, eight paintings were produced, including "Hwangsannaengundo", "Bangunlimsansudo", "Maehwaseoogdo". These works reveal the Playful sokmi sprit, the grotesque of manual dexterity, and the aesthetic of painting through the natural divergence of natural nature.

• Conservation Science in Museum
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• v.28
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• pp.35-50
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• 2022

This study explores the results of the research and conservation treatment conducted on two-peony paintings in the collection of the National Museum of Korea. The Jang-ji(障子) resembles a folding screen, but differs in size, shape, and use. A thick sheet of paper was used to attach the paintings to a wall, and traces of the lattice frame and red pigments, which was mainly used for building structures, remain on the back of the paper. It is confirmed that the paper was used as Jang-ji(障子) attached to adorn the walls or doors of a building and specifically decorated the interior of Seonwonjeon Hall in Gyeongbokgung Palace, which was removed in 1867. The paper also indicates that the mounting was made in the 19^th-century Joseon Dynasty, as the peony painting was finished in a different color from Jang-ji(障子) used for the Seonwonjeon Hall in Changdeokgung Palace. Based on the analysis of pigments and literature research, this study attempts to take a new approach to the colored pigments used in royal peony paintings, and it is believed that the conservation treatment used in this study highlights the necessity of continuous research on wallpaper as reference materials for royal paintings of the Joseon Dynasty.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.705-725
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• 2015

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.