• 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.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.4
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• pp.113-121
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• 2020

The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu's architectural practice in calligraphy's way. Lastly this study furthered study of Wangshu's architecture combined with landscape paintings' features. The results state these following. 1) For calligraphy, he used the "modular composition" of Chinese characters to architectural composition, which included architectural form and materials. The "similarities" and "space creation" of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with "gardening consciousness". The "view method" of paintings was used to his architectural pedestrian flows, and Wangshu also based on the "space creation" of landscape painting to do architectural space design with creating the similar atmosphere.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.100-104
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• 2005

Researchers of oriental color ink painting have concentrated on physical models such as brushes, papers, and ink diffusion. These models can be effective when painter depict a painting by tablet pen. If a painter has poor skill to use tablet pen or drawing ability, result should be not satisfied. In this paper, we propose an automatic painting method for oriental color ink painting. We use a computational approach to abstract landscape image and reproduce a painting by oriental color ink painting method. The reason why we use landscape image, landscape painting is a major theme of oriental ink painting.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.5
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• pp.1-15
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• 2002

The purpose of this study is to consider the relationship between point of view and prospect behavior occurring in the experience of a painted landscape. This study analyzes one hundred scenes from the 'real landscape painting' by Kyumjae, one of the most famous landscape painters in 18th century Korea. The results of the study are as follows: 1. It clarified that Kyumjae's real landscape painting's 100 scenes have many view points such as roads, bridges, pavilions, mansions, towers, terraces, hillsides, bases of mountains, broad flat roots, brooksides, and ferries that are apt to occur in the experience of a landscape. The spatial characteristics of view points are expanded fields of vision, evening and night scenes, edges of landforms and structures from which to improve ones vantage point. 2. It showed that 99 out of real landscape painting's 100 scenes depict a view point'to look'and 79 of 'to look through', 73 of 'look around'and 24 of 'to look over'. 3. It showed that real landscape painting's 100 scenes depict that the view point 'to look' is mainly upon a road from which people are looking over an elevated landscape such as the top of a mountain or rockwall. The view behaviors of looking down are depict 15 pavilions, 14 mansions, 2 broad rocks and 10 mountain tops on which people experience landscapes such as fields, rural communities and streams. The view behaviors to look depict 33 ships, 24 roads, 24 pavilions, 19 mansions and 12 terraces on which people experience landscapes such as distant views of mountains, rivers and landscapes. The view behaviors to look around to obtain orientation of landscape are depict 16 pavilions, 10 mountaintops. To glimpse on the way of journey depict 33 ships and 29 roads. To look over depict 11 mansions and 6 pavilions on which experience borrows the landscape. To look through landscapes such as rivers, mountains and rockwalls depict 15 roads, 14 pavilions and 11 mansions. To exchange looks depict 30 ships, 14 roads, 12 pavilions and 12 mansions. We expect that these results might give clues toward the experience of landscapes and the practice of landscape design methods which select viewpoints, and in the design of view points suitable to prospect behaviors.

• Journal of Korea Game Society
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• v.19 no.3
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• pp.33-42
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• 2019

This paper is the result of research on how to represent 'Landscape' of Oriental painting in 3D space within virtual reality. Based on the similarities between the characteristics of Oriental painting and virtual reality put together three features of painting and put them into the digital content. For the expression of painting style, we produced texture, represented spaces and shadows as a content development environment, and the view point with helper storytelling.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Journal of The Geomorphological Association of Korea
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• v.27 no.4
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• pp.53-70
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• 2020

Silgyeong sansuhwa (Realistic landscape paintings) are drawn in Korea since 17th century. It has characteristics of more realistic description of landscape than painting from previous periods. Kim Hong Do's 'Haedong Myeongsan docheop (The album of paintings of famous mountains in Korea)' has been recognized as fine example of realistic description of geomorphic landscapes. Kim Hong Do and Kim Eung hwan did official travel to Gwandong and Geumgangsan area by order of King Jeongjo in 1788. As a result of that travel they draw about 100 piece of landscape painting. About 60 pieces of the paintings are still remaining. These are open to public by Korea National Museum in 1996. 14 pieces of painting, Daegwanryeong and Gangneung, Gyeongpo-dae, Hohae-jeong, Gahak-jeong, Cheonggan-jeong, Mun-am, Mangyang-jeong, Wolsong-jeong, Neungpa-dae, Naksan-sa, Mureung-gye, Gyejo-gul, and Hyeonjong-am, are analysed in this study. Coastal depositional landforms, like lagoon, sand beach and spit or barriers, erosional forms, like sea stack, sea cliff and sea cave, depicted in the paintings are analysed. In addition, structural landforms, colluvial landform and bedrock incision form by the running water in mountain area were analysed and weathered forms of granite and excursion to karst cave also discussed. It is found that sea arch in the printing destroyed since 1788, though exact position and reason is still unknown. There are strong need for discovery and identification of geomorphic landscape resources, for applied geomorphological studies and for prepare educational materials for non-face-to-face education. It also be emphasized that it can be used of the course work materials for future education using augmented reality and virtual reality technology.

• Korean Architects
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• s.607
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• pp.138-155
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• 2019

• Journal of Korean Society of Forest Science
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• v.103 no.4
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• pp.687-695
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• 2014

The purpose of this study is to identify landscape paintings of our ancestors in types and characteristics of beautiful natural scenery. In this study, 629 landscape paintings targeted natural scenery of the Joseon Dynasty period are used and classified into types of natural scenery by main target of paintings. As the results of this study, landscape paintings are classified into mountain, river, sea, city by place drawing painting. The paintings drawn in mountain are classified into a few mountain peaks, many mountain peaks, one mountain peak, curious rock of mountain, valley and waterfall. The paintings drawn in river are classified into river and mountain, river water, scenery of riverside and curious rock of river. The paintings drawn in sea are classified into scenery of seaside and curious rock of sea. And the paintings drawn in city are classified into panoramic view of the town. The type of natural scenery in landscape paintings can be summarized in 3, scenery of mountain peaks, scenery of curious rock peaks and waterspace when combine place drawing painting.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.1
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• pp.44-51
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• 2002

The objective of this project is to improve the environment of the estuary dike on the Youngsan-River through Re-landscaping. An estuary dike of the Youngsan-River, the largest in the Orient, was constructed in 1981 and connects Mokpo City and Youngam-Gun province. Twenty years ago, when this dike was completed, this place was one of the famous tourist attractions of Korea. It symbolized the development and growth of Korea. But this dike at present is only a dreary sight as a huge concrete construction element. Therefore, a wall painting on the estuary dike was planned to improve this image. The site, an estuary dike of the Youngsan-River, is located in Mokpo City and its length is about 1,360m. The planning focus of this re-landscaping, which is a proposed improvement design through the analysis of characteristics and problems in conventional facilities, is as follows: (1) Introduction of a wall painting that is a symbol of the sea and river (by the creation of an illusion), (2) Production of the wall painting which is under consideration to create a friendly atmosphere of the circumference view and (3) Preparation of a design to establish an approach to the waterfront. By following these steps, an estuary dike can function as a tourist attractions and can be transformed in to cultural space for civilian. This project is good example of environment design that is completed with the regional residents participation through community input in the planning and initiation of a wall painting. The concept of environment design which involves the residents participation and re-landscaping in Korea has not been established up to now on. However, as this projects has proven, consideration for regional residents is a very important factor for the administrative office and planing specialist to address. In the future, it will have a direct influence on the development of design planning. If the establishment of space that can be accepted by residents with love, affection and self-confidence is possible, environment design in which residents participate actively, can be realized.