• Conservation Science in Museum
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• v.8
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• pp.13-24
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• 2007

The Department of Fine Art requested the conservation science team to examine the technique of painting with gold powder on the gold painted porcelains, which were made in Korea and China, among the items possessed by National Museum of Korea in order to publish it in the research paper collection of the Exchange Exhibition of Korea and China Porcelains. Among the items possessed by National Museum of Korea, such items were included as, an item of Koryo inlaid celadon (No. Gaesung 106), called the celadon with inlaid work (Korean name: Cheongjasanggam suhawonmun geumchaepyunho), which was decorated in the layer of glaze using gold power, an items of tea cup called "Temmku da wan" (No. Bongwan 10011), which was manufactured in the time of Song dynasty of Chinese history, an items of gold cup called "Siyuchohwamun hwageumwan" (No. Bongwan 2027), and an items of a porcelain called "Siyuwan" (No. Duksoo 3322). As the result of the examination, the stabilizing method of baking the decorated porcelains is similar, after they are painted with the pigment mixed with fine gold powder and the glaze solvent, but the treatment method of the colors is a little different among them. In other words, there is a big difference between them, for example, in the case of Koryo celadon, because the gold coloring was painted carefully one by one on the splendid decorations of inlaid works, while in the case of Chinese porcelains, butterflies or arabesque designs are decorated on the layer of the glaze in the porcelains of no decoration, using the stencil skill. According to the result of this examination, the part of the porcelain, whose layer of gold color was peeled off, could be restored, and as the result of the restoration, it was confirmed how beautiful and splendid the gold porcelain had been at the time of being manufactured.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.2
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• pp.1-13
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• 2018

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.

• Journal of Broadcast Engineering
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• v.16 no.1
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• pp.33-43
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• 2011

Recently, 3D displays are supplied in the 3D markets so that the demand for 3D stereoscopic contents increases. In general, a simple method is to use a stereoscopic camera. As well, the production of 3D from 2D materials is regarded as an important technology. Such conversion works have gained much interest in the field of 3D converting. However, the stereoscopic image generation from a single 2D image is limited to simple 2D to 3D conversion so that the better realistic perception is difficult to deliver to the users. This paper presents a new stereoscopic content production method where foreground objects undergo alive action events. Further stereoscopic animation is viewed on 3D displays. Given a 2D image, the production is composed of background image generation, foreground object extraction, object/background depth maps and stereoscopic image generation The alive objects are made using the geometric transformation (e.g., translation, rotation, scaling, etc). The proposed method is performed on a Korean traditional painting, Danopungjung as well as Pixar's Up. The animated video showed that through the utilization of simple object transformations, more realistic perception can be delivered to the viewers.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.78-86
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• 2005

Marek(말액) is the headgear, which is a form of hempen hoods[Geon(건)] and the origin of it is Pa(파) of band form. A history book of an old Chinese country Post-Han $\ll$ History of HouHan (후한서)$\gg$ had recorded that a soldier wore a red band around his head that was called Pa(파). In the Han dynasty(한대), Pa had been transformed into Chaek(책) or a kind of a hemp rap(건) while e headgear had still remained as the band form and called Marek from e Tang era(당). The literatures of the Tang era had referred the red Marek of soldiers, and other literatures of the later period had recorded that of the previous headgears of the band form were related with Marek. Since the Tang era, white or yellow Marek except red one fer soldiers had been were by soldiers, musicians, dancers and singers in Yuan(원) and Ming(명) of China. The colors was recorded in red on documents mostly, this red implicated soldiers for symbol of terror. This fart was documented in an old history book $\ll$The history of 25 Eras(이십오사)$\gg$, On the other side, a wall painting in Princess Jeonghyo(정효공주)'s tomb of the Parhae(발해) period described the portraits of twelve persons, and among them, two Siwui(시위) put on the red Marek. Quoted from the record of a history book of the Tang era system , a history book of Three Kingdoms(삼국시대) of ancient Korea $\ll$Samguksaki(삼국사기)$\gg$ described that four dancers of Kogryo(고구려) wore Marek on their heads with the costumes of Koguryo, one of those Kingdoms. In consideration that the book of $\ll$Tongjun$\gg$ was the literature of the Tang era so that Marek mentioned in this book was followed by their name, the Marek of Koguryo dancers shown in the history book $\ll$Samguksaki(삼국사기)$\gg$ might be a kind of Koguryo style hemp cap[Geon(건)]. The Marek of Parhae had succeeded to the headgear of Koguryo and the identity was on Koguryo.

• Korean Journal of Child Education & Care
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• v.18 no.2
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• pp.147-165
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• 2018

The purpose of this study was to investigate how to develop of pre-service childcare teachers' perception about the image of childcare center teachers and self-image. In this study, participants' self-analysis method and in-depth interview were adopted to analyze the aspects of pre-service teachers' teacher image. Also, the narrative of pre-service teachers' a famous painting analysis were reported. The results of this study were divided into nine categories. Findings indicated that participants' self-image analysis work made pre-service teachers more enabled them to expend the significance of teacher's image of role in relation to their career decision and future their teacher's job. Moreover, through the experience of self-analysis work the pre-service teachers recognize their own ability to build up unique and healthy image. To foster the ability of pre-service teachers' self- image, special class teaching methods for pre-service teachers should be developed focusing on evoking them to have more positive self-image. This study suggested that self-image analysis work experiences should be emphasized in university class for pre-service teachers.

• Journal of the Korean Wood Science and Technology
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• v.46 no.5
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• pp.449-470
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• 2018

A review of research trends on wood surface protection for exterior use obtained the following conclusions: It has been reported that inorganic compounds such as chrome and copper used as wood preservatives can protect wood from weathering. It has been shown that precoating with hydrophobic substances such as wax and oil, UV absorbers, and HALS (Hindered Amine Light Stabilizers) enhances weathering resistance on the surface of ACQ-treated wood. Opaque coatings of paint/stains and semitransparent stains on the surface of preservative treated wood can increase the synergistic effects on prevention of weathering deterioration. Also the need for repainting periodically for the protection of the preservative treated wood surface has also been suggested. ZnO or $TiO_2$ of fine particles, metal ions such as Co, Cr, Fe, Mn, Ni and Ti, and UV absorbers such as tris-resorcinol triazine derivatives, triazine and benzotriazole were introduced as additives for preventing UV in the transparent coating on wood. Several reports showed that chemical modification such as methylation, acetylation, or alkylations have made some increases the effects of preventing weathering with the increasing weight gain of chemical formulas. In heat-treated wood, there were various contradictory reports on the resistance of weathering, and there were some other reports emphasizing the necessity of painting with UV resistance, which leads to the necessity of more advanced studies.

• Journal of the Korean Society of Food Science and Nutrition
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• v.43 no.3
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• pp.349-354
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• 2014

Elevation of intracellular calcium ($Ca^{{+}{+}}$) triggers degranulation of mast cells by bypassing receptor activation. Flos Sophora japonica L. has been used as a natural dying source and has been reported to have biological activities such as anti-inflammatory and anti-allergic effects through $Fc{\varepsilon}RI$ and IgE crosslinking. In the present investigation, we report the regulatory effect of ethanolic extract of Flos Sophora japonica L. (S.F) on allergic mediators produced by $Ca^{{+}{+}}$ ionophore activation in mast cells. S.F significantly inhibited calcium ionophore (A23187)-induced interleukin (IL)-4 and tumor necrosis factor (TNF)-${\alpha}$ production as well as mast cell degranulation. Furthermore, administration of S.F suppressed allergic reactions in a 2,4-dinitrofluorobenzene (DNFB)-induced allergic dermatitis mouse model. Both oral administration and ear painting using 50 mg/kg of S.F significantly reduced levels of cytokines such as IL-4, TNF, and interferon-${\gamma}$ in ear tissues compared to the DNFB alone-treated group. Serum IgE level in the S.F-treated group also decreased compared to the DNFB alone-treated group. Weights of spleens and lymph nodes in the S.F-treated groups also decreased compared to the control group. Considering the data, we conclude that S.F mediates its anti-allergic effects not only through $Fc{\varepsilon}RI$ stimulation but also $Ca^{{+}{+}}$ influx in mast cells.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Journal of the Korean Society of Costume
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• v.13
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• pp.51-72
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• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.