• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.493-503
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• 2022

With the rise of epigraphy and textology, and the emerge of many famous outstanding clerical script masters, Qing Dynasty becomes another important innovation period in the development of the clerical script. Jin Nong and Yi Bingshou are two important clerical script masters in the Qing Dynasty. Thus, researches on the courses of their careers as well as a comparative study between these two calligraphers, Jin Nong and Yi Bing, are specially important. The comparative study of Jinnong and Yibingshou's clerical script is a relatively new subject, which is entered from the angel of comparative perspective between their clerical scripts works. Through an in-depth research on different inheritance routes, which are origin from Han Dynasty clerical scripts, of Jin Nong and Yibingshou, it is found that these two calligraphers are different in innovation of clerical script style, theory of calligraphy and of clerical script practice. This paper focuses on a comparative study of the different clerical theories and clerical script works between Han Dynasty, Jinnong and Yi Bingshou. A comparative study of clerical script works of Jin Nong and Yibingshou in Qing Dynasty provides a more comprehensive and in-depth understanding on these two calligraphers; meanwhile, it provides valuable learning paths for later calligrapher in the field of clerical script, and can be regarded as references in the innovation of the official script style.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.427-436
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• 2023

Je Baek-seok, who is well versed in poetry, calligraphy, painting, and sculpture, has established himself as the most outstanding painter and pavilion in the history of modern and contemporary Chinese art. During the Ming and Qing Dynasties, the art of the pavilion was developed greatly during the enlightenment period, with the emergence of many masters of the pavilion, including Jeonggyeong, Hwanghwangseokyeo, Oyangji, Jo Ji-gyeom, Hwang Mok-bo, and Oh Chang-seok. Je Baek-seok formed an original ritual under this social background. Je Baek-seok's tactics were formed by imitating works from the Hanwi period, and he harmonized Jin Kwon, Sopan, and Janggunin while using the penmanship of the Cheonbal Shinchambi based on the "Sasam Gongsanbi." In addition, by boldly using the Danipdo method, it is possible to use the human face as much as possible while fully exhibiting the artistry of calligraphy and adding to the atmosphere of gold stone. This paper mainly analyzed and reviewed the process of Je Baek-seok's transcription transformation and humanities practice from two aspects. First, it is planned to summarize the process of Je Baek-seok's transformation into a Jeonseo. Second, Je Baek-seok's humanities practice was analyzed. This paper will further understand Je Baek-seok's humanistic ideas and practical search by clarifying the originality of Je Baek-seok's engraving art with examples of Je Baek-seok's works, and it is believed that this will provide future scholars with learning paths and rich experiences.

• Child Studies in Asia-Pacific Contexts
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• v.6 no.1
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• pp.31-46
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• 2016

This study explored types and characteristics of South Korean crossover picturebooks that are enjoyed across generations. Participants included three publishers, six critics, six illustrators and three picturebook researchers, and focused on 92 South Korean recommended picturebooks published from 1995 to 2014 as the research material for this study. The majority of Korean crossover picturebook type was story, followed by information and art. There were few wordless books. Common themes of the story picturebooks were contemplation, traditional culture, social changes (such as immigration and redevelopment), reminiscence, social relations, loss and death, family problems, and social incidents. Classic essays and novels were revised for picturebooks as were famous poems originally written for grown-ups. Informational books were about traditions in music, architecture, furniture and special occasions like wedding and ceremonies. The style of the drawings were precise and realistic. Some drawings were done by brush and Chinese ink on hanji (traditional Korean paper) or silk. Some books featured Korean calligraphy as well, enabling adult readers to also appreciate the beauty and delicacy of the books. Art books and wordless books were quite rare and exhibited a playful tone. Adults alone were not presumed to be the primary reading audience of the picture books. Implications were made for picturebook marketing in a society such as South Korea, where the elderly population is rapidly increasing. Various forms of art books and parodies were also welcome. One conclusion of the study was that more experimental and innovative works would be encouraging for the development of South Korean crossover picturebooks.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.21 no.3
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• pp.109-122
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• 2010

This study is to suggest some ideas for improvements of classification and expansion of the arts in the KDC. In order to this study, analysed changes of terminology, auxiliary tables and notes, and expansion of classification number of the arts from 1st edition to 5th edition of the KDC. The arts of KDC did not changed from 1st to 3rd edition and changed in the 4th edition and 5th edition, and errors and problems of previous edition were not improved, and Classification number and expansion of KDC found out poor rather than different classification schedule because had a lot of Including notes. The result of analysis proposed to improved method to solve the problems.

• Journal of Sasang Constitutional Medicine
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• v.32 no.1
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• pp.12-21
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• 2020

Objectives Dongeuisasangchobongueonbimangrok(DSCB) is a 8-paged material which was written in calligraphy. Although Dongeuisusebowonsasangchobongueon(DSSC) was regarded as a manuscript of Dr. Jema Lee, and the prescriptions of DSCB were very similar to those of DSSC, there are few DSCB-related prescription studies until now. The purpose of this study is to perform a precise comparative study between two manuscripts and to make the difference and commonness clear. Methods A comparison of the components, amounts of the herbal medicine, and treatable diseases of each prescription was carried out. Results DSCB contained a total of 41 prescriptions, including 15 for Taeeumin, 12 for Soeumin, 14 for Soyangin, and 34 prescriptions(82.9%) were the same with DSSC. There was one missing component in 2 prescriptions, and the rest generally had the same component and the treatable diseases, but there was a slight difference in amounts of the herbal medicine between two manuscripts. There were a total of seven kinds of prescription, including 2 for Taeeumin, 3 for Soeumin, and 2 for Soyangin, recorded only in DSCB. Conclusions As this manuscript is valuable that shows his initial prescription thoughts of Dongmu Jema Lee along with DSSC, the understanding Lee's prescription is needed to be studied through cross-review with DSSC and DSCB.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.05a
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• pp.1014-1017
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• 2004

The Street of Arts Is a famous site for artists as well as tourists in Gwangju, as it harbors clusters of galleries, antique shops, and dealers of materials for fainting and calligraphy, studded with ateliers and traditional tea huts. It is the mecca of arts which Gwangju-ites, who boast of themselves being in the 'Land of Arts', take great pride in, and it has been deemed as symbolizing the cultural excellence of Gwangju and the Honam area. Recently, however, it has been repeatedly pointed out that its glory has been somewhat tamished, and there have been numerous efforts made to restore its declining image. As a way to restore and enhance the image of the Street of Arts, it was decided to apply a soundscape to the area. As on initial step for designing the soundscape, the following questions were researched: How many kinds of sounds generated in the street were perceived by residents and passers-by\ulcorner How did people feel about the sounds\ulcorner The results were analyzed to determine which sounds would be most suitable for enhancing the image of the 'Street of Arts'.treet of Arts'.pos;.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.20-49
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• 2009

This paper explores the Korean royal tombs steles such as monumental steles and tombstone marks (神道碑, 表石) that are broadly fallen into the following three periods ; the 15~16th centuries, 17th~18th centuries, and 19th century. As a result, the royal tombs steles were built, unlike the private custom, on the heirs to the King's intentions. During the 15~17th centuries the construction and reconstruction of the monumental steles took place. In the late Joseon period, monumental steles had been replaced with a number of tombstone marks were built to appeal to the king's calligraphy carved on stone for the first time. During the Great Empire Han(大韓帝國) when the Joseon state was upgraded the empire, Emperors Gojong and Sunjong devoted to honor ancestors by rebuilding royal tombstone mark. Based on these periodical trends, it would not be exaggerated that the history of establishing the royal tombs steles formed in late Joseon. The type of royal tombs monuments originated from those of the Three Kingdoms era, a shapeless form, the new stele type of the Tang Dynasty (唐碑) has influenced on the building of monuments of the Unified Silla and Buddhist honorable monuments (塔碑) of the Goryeo Dynasty. From the 15th century, successive kings have wished to express the predecessors's achievements, nevertheless, the officials opposed it because the affairs of the King legacy (國史) were all recorded, so there is no need to establish the tombs steles. Although its lack of quantity, each Heonneung and Jereung monumental steles rebuilt in 1695 and 1744 respectively, is valuable to show the royal sculpture of the late Joseon period. Since the 15th century, the construction of the royal tombs monumental steles has been interrupted, the tombstone marks (boulders) with simpler format began to be erected within the tomb precincts. The Yeoneung tombstone mark(寧陵表石), built in 1682, shows the first magnificent scale and delicate sculpture technique. Many tombstone marks were erected since the 1740s on a large scale, largely caused by King Yeongjo's announce to the honorific business for the predecessors. Thanks to King Yeongjo's such appealing effort, over 20 pieces of tombstone marks were established during his reign. The fact that his handwritten calligraphic works first carved on tombstones was a remarkable phenomenon had never been appeared before. Since the 18th century, a double-slab high above the roof(加?石) and rectangular basement of the stele have been accepted as a typical format of the tombstone marks. In front of the stele, generally seal script calligraphic works after a Tang dynasty calligrapher Li Yangbing(李陽氷)'s brushwork were engraved. In 1897 when King Gojong declared the Empire, these tombstone marks were once again produced in large amounts. Because he tried to find the legitimacy of the Empire in the history of the Joseon dynasty and its four founding fathers in creating the monuments both of the front and back sides by carving his in-person-calligraphy as a ruler representing his symbolic authority. The tombstone marks made during this period, show an abstract sculpture features with the awkward techniques, and long and slim strokes. As mentioned above, the construction of monumental steles and tombstone marks is a historical and remarkable phenonenon to reveal the royal funeral custom, sculpture techniques, and successive kings' efforts to honor the royal predecessors.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.2 no.1
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• pp.102-131
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• 1974

The author's thesis is that the types used for the large-sized characters seen in the two metal type-printed books "Kyosik chubopop karyong"(交食推步法假令) and "Yok-hak kemong yohae"(易學啓蒙要解) both printed in 1458 belong to a new metal font hitherto unnamed. The former book was compiled by Yi Sun-ji(李純之) and Kim Sok-je(金石梯) in January of 1458 in accordance to King Sejo's order. A new font was created to be used for the large-sized characters of the book. Several. months after completion of the compilation, the book was printed with mixed use of the new font and the Kabin-ja(甲寅字) for medium- and small-sized characters. The latter book had been written by King Sejo before his accession to the throne. Ascending the throne the king had his scholar-subjects examine the writing to correct it where necessary. The examination was completed in July of 1458 and printing was immediately done with the two fonts the above-mentioned, new font for the large-sized letters and the Kabin-ja for the medium- and small-sized ones. The books were granted to the scholar-subjects and the students of the Sung Kyun Kwan Academy as a royal gift. The matrix seems to have been modeled after the calligraphy of King Sejo. Because the new font was created to print the large-sized letters of the two books in 1458, it may be proper to name it "Muin-ja" using the "kanji"(干支) of the year. The author is happy to identify and include another font in the list of Korean movable types as a result of the present study.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.58-68
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• 2011

With Expo 2012 Yeosu to be held in 2012, this study intends to propose designs for fashion cultural products into which the characteristics of local cultures of Yeosu are fused. Using symbols of Expo 2012 Yeosu and cultural symbols of Yeosu City as motifs, this study will develop patterns and then, apply them to neckties, handkerchiefs, and T-shirts. Adobe Illustrator CS2 and Adobe Photoshop CS2 will be used. This study developed basic motifs so that cultural resources using camellia, Odong Island, and the Turtle Ship, which represent Yeosu City, could be well harmonized with the topic of Expo 2012 Yeosu. This paper set three basic motifs of new formative images, using graphic images that were made by omission of forms, simplification, overlap, repetition, and calligraphy of the name of Yeosu holding the event. Each set motif was expanded to three motifs again through change, conversion, and mixture of colors, and three types of repetitive applied patterns were developed through revolution, symmetry, repetition, and reversal of each motif. The modern and refined image for neckties, to which the developed motif was applied, was made by directly applying the repetitive pattern of each motif or by making $45^{\circ}$ revolution. For handkerchiefs, revolution, enlargement, reduction, and gradation were applied to the motif so the pattern could be highlighted to the maximum and finally, a colorful image was developed. For T-shirts, three designs-a half-sleeved box type, a sleeveless round neckline type, and a sleeveless V-neckline tight type-were developed, through which availability of the design was increased. Through enlargement, reduction, revolution, and repetition of each motif, this paper layout the pattern on the whole part of a T-shirt, pursuing a decorative and casual image.