• 한국디지털건축인테리어학회논문집
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• 제5권1호
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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.

• 대한건축학회논문집:계획계
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• 제36권4호
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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.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2005년도 추계 종합학술대회 논문집
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• pp.100-104
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• 2005

수묵담채화에 대한 대부분의 연구들은 브러시, 종이, 잉크 번짐 효과 등과 같은 물리적인 모델링에 집중되어 왔다. 이 모델들은 그림을 잘 그리거나 타블릿 펜을 잘 이용하는 사용자들에게는 효과적이지만 툴 사용에 익숙하지 않은 사용자들에게는 만족감을 주지 못한다. 본 논문에서는 수묵담채화를 자동으로 생성하는 기법을 제안하고자 한다. 수묵담채화에서 주로 사용하는 테마인 풍경이미지를 사용자로부터 입력받아 이미지 처리 기법들을 이용하여 수묵담채화를 생성하는 방법을 제안하고자 한다.

• 한국조경학회지
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• 제30권5호
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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.

• 한국게임학회 논문지
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• 제19권3호
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• pp.33-42
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• 2019

본 논문은 가상현실(Virtual Reality)속 입체 공간에서 동양화 중 '산수화'를 표현할 수 있는 방법에 대해 연구한 결과이다. 그림 속으로 들어가 교감하며 감상하는 동양화의 특성과 가상현실이라는 매체가 가진 '몰입성'의 유사점을 중심으로 동양화의 대표적인 특징 세 가지(여백, 시점, 그림자)를 정리하고, 디지털 콘텐츠 속에서 구현하는 과정을 연구했다. 자연스러운 수묵기법의 표현을 위해 산, 나무 텍스쳐를 제작했고 콘텐츠 환경으로 여백, 그림자를 표현했으며, 동선 스토리텔링으로 시점을 재현했다. 단순히 동양화의 표현유형을 적용시킨 콘텐츠가 아닌, 체험자가 실시간으로 시점을 변환하며 감상 할 수 있는 차별화된 콘텐츠라는 점에 의의를 둔다.

• 헤리티지:역사와 과학
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• 제56권2호
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• pp.172-203
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• 2023

<청담도(淸潭圖)>는 겸재 정선(謙齋 鄭敾, 1676~1759)이 영조 32년(1756)에 삼각산(三角山) 청담(淸潭) 지역을 유람하고 그린 병풍도(屛風圖) 형식의 진경산수화(眞境山水畫)로 본 연구를 통해 발굴되었다. 와운루(卧雲樓)와 농월루(弄月樓)로 구성된 청담별업(淸潭別業)은 노론 낙론계(洛論系) 문회와 백악시단(白嶽詩壇)의 시회가 열린 당대 문화예술 활동의 거점이며, 정선과 그림의 주문자 홍상한(洪象漢, 1701~1769)의 연결점이 된다. <청담도>는 1756년 가을비가 내릴 당시, 정선이 그의 제자 김희성(金喜誠, 1723~1769)과 청담에 막 도착하여 홍상한과 만났을 때를 회상하면서 그린 그림이다. 인수봉(仁壽峰)부터 동구(洞口)까지 굽이쳐 흐르는 골짜기를 주안에 두고 그려졌으며, 청담 지역의 전경을 담으면서도 동(洞)의 유래가 되는 경물(景物) 청담(淸潭)을 강조하는 중의적인 화제를 사용하였다. 과감한 쇄찰(刷擦)과 습윤한 피마준(披麻皴), 부드러운 미점(米點)의 표현, 세밀한 필선 등은 정선 노년의 절정에 이른 원숙함을 보여준다. 특히, 암산(巖山)과 토산(土山)의 대비와 개수의 대칭을 고려하여 음양(陰陽)의 조화를 꾀한 점은 『주역(周易)』에 능통했던 정선이 유람의 최종단계에서 보였던 특유의 진경술(眞境術)로 보았다. 어유봉의 「청담동부기(淸潭洞府記)」는 정선이 청담의 진경을 파악하고 별업정원에 설정된 주요 경물의 물성(物性)을 이해하는 것에 영향을 주었다. 정선이 현장과 차별되도록 그린 별업정원의 특징으로는 수구막이 바위를 변용하고 과장하여 수구를 억눌렀고, 비보림(裨補林)을 치밀하게 조성하여 별업을 가렸으며, 특정 경물의 기능이 발휘되도록 새로운 물체를 창안하였다. 또한, 두 그루 나무를 기울여 대문처럼 정원을 닫고 있으며, 외원과 내원의 경계가 되는 인공의 조산대(造山帶)를 긴 담장처럼 견고하게 조성하여 내청룡과 내백호를 연결하였다. 이는 정선이 청담별업의 부족한 입지를 명당으로 만들기 위해 구사한 비보염승술(裨補厭勝術)로, 풍수적인 묘책으로 고안된 진경술의 일단으로 해석되며, 현실에서는 이루기 어렵지만 그림으로는 가능했던 이상적인 전통조경의 도상학적 구현을 잘 보여준다.

• 한국지형학회지
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• 제27권4호
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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.

• 건축사
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• 통권607호
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• pp.138-155
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• 2019

• 한국산림과학회지
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• 제103권4호
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• pp.687-695
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• 2014

아름다운 자연풍경의 유형을 구분하고 특성을 가늠할 수 있는 새로운 방편으로 선조들이 남긴 산수화에 주목하였다. 자연풍경(수산(山水))을 그림의 주대상으로 하고 있는 조선시대 산수화 629매를 수집, 그림에 그려진 주대상에 의해 유형을 분류하였다. 산수화는 그림이 그려진 장소에 의해 산, 강, 바다, 도시로 구분되었다. 산에서 그려진 그림은 연봉형(蓮峯型), 다봉형(多峯型), 독립봉형(獨立峯型), 산기암형(山奇巖型), 산계곡형(山溪谷型), 산수변형(山水邊型)으로 구분되었다. 강에서 그려진 그림은 강산형(江山型), 강수형(江水型), 강변형(江邊型), 강기암형(江奇巖型)으로 분류할 수 있었다. 바다에서 그려진 그림은 해변형(海邊型), 해기암형(海奇巖型)으로 구분되었고 도시에서 그려진 그림은 시가지(市街地)파노라마型으로 한 개의 유형이 되었다. 한편 그림이 그려진 장소, 시점(視點)을 통합하여 보면 산수화에 그려진 자연풍경은 산봉우리의 모습, 산 강 바다 어디에 있던지 기암의 모습, 산 강 바다 모두 물과 뭍이 만나는 곳(강변(江邊) 해변(海邊) 산(山)의 수변(水邊)/계곡 폭포 담)의 모습으로 요약할 수 있다. 각 유형과 유사한 자연풍경을 갖는 장소는 이미 널리 알려진 곳이거나 또는 아름다운 자연풍경의 창출이 가능한 곳으로 자연풍경지의 가치에 주목하여 보존과 관리에 유의하여야 할 것으로 판단된다.

• 한국조경학회지
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• 제30권1호
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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.