• Journal of Science of Art and Design
• /
• v.6
• /
• pp.100-118
• /
• 2004

Mi Fu, who was associated with Wen Tong, invented the Mijoem Technique (Dotting Technique) in landscape painting with his son Mi Youren. His landscapes, which referred to Dong Yuan's landscape technique and was inspired by the scenery of Jiang Nan, illustrate the mood of a cloud-covered foggy landscape by liberally applying dots with ink. 'Chunsansoesong' which is considered done by Mi Fu, clearly shows the virtues of ink painting's spreading, absorbing and omission techniques. This simply rendered landscape - whose mountains and hills are wrapped in both clouds and fog - displays exquisiteness by using small dots. In 'Chunsansoesong', the characteristics of Song painting: a 'vital energy', a 'poem within the painting', a 'beauty of margin', a 'beauty of one brush stroke, and a 'display of inner meanings' are implicatively expressed This is because it's simple but connotatively delineative. There is the characteristic of a 'poem within the painting' when analyzing the both fragmented and combined 'Chunsansoesong'. The margins support an imaginative space as the height of the mountains get higher which result in deepening both the width and depth of the landscape space. Furthermore, the soft thickness of ink, clouds, pine trees, and pavilion evoke delineative feelings and a desire to write a poem Every thing in 'Chunsansoesong' is enveloped in both clouds and fog regardless of its distance and this delivers boundless feelings of Oriental mystery and urges a desire for 'writing a poem'. The pavilion that faces the cloud and fog-bound mountains especially flames the poetic urge further by inducing viewers' poetic imaginations. As we reviewed above, 'Chunsansoesong's cloud and fog-covered landscape is a good example that clearly showcases the characteristics of a 'Poem within the Painting'.

• Journal of Fashion Business
• /
• v.18 no.4
• /
• pp.66-79
• /
• 2014

Unlike other body arts, body painting illuminates the value of art using eco-friendly formative activity and natural environment and highlights the need of eco-friendly activity. However, although body painting has focused on forming right relationship between human beings and nature, there are few researches which are linked with nature art. Therefore, the purpose of this study is to argue the need to study body painting as nature art in connection with natural environment and analyze body painting according to nature art types. The study methods included both theoretical review and empirical review. The theoretical review examined the concept and characteristics of nature art through previous researches and literature and the empirical review looked into the types and works of nature art and applied them to body painting works. The results were as follows. First, an installation type was possible by arranging and attaching certain materials to the body. Second, a physical type was possible by representing body itself as the part of nature. Third, a symbolic type was possible by making body appearance as a some symbol based on artist's idea. Fourth, a sound type was possible by stimulating auditory hallucination using the nature of objects and sensing a sound. Fifth, an ecological type was possible by conveying the message of living things in nature to the body. Sixth, an interior type was possible by inducing indoor installation of works. Seventh, a poetic type was possible by making one feel a poetic inspiration expressed in nature using the mystery of the sea and a simple sequential pattern of floral leaves. Eighth, a drawing type was possible by adding artist's intentional hand with a pictorical technique. Ninth, a indigenous type was possible by reproducing South American indian's primitive style. The review of this study suggests that body painting works have been expressed in experimental and temporary arrangement like nature art in nature and can be applied according to nine types of nature art.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.4
• /
• pp.115-135
• /
• 2010

Regarding the figure painting of the T'ang period, by Yeomipbon, a representative painter of the early T'ang period, shows a traditional painting style. Figure paintings of the Prosperous T'ang period, influenced by Odoja's painting style, are characterized as illustrating the lives of noble women delicately with brilliant colors. They include Janghwon's and in which Chinese traditional and Western painting styles were combined. , and , which were painted by Jubang in the mid T'ang period, were the developmentally succeeded the figure painting style of the previous times, illustrating even the psychological and emotional states of painted figures in a sophisticated way. Skin make-ups shown in figure paintings of the T'ang period are mostly baekjang in type. Besides, other different types of the make=up such as bihajang, dohwajang and juwoonjang can be seen. The paintings, show that the tone of skin got more and more red as the times moved from the early to the late T'ang periods because rouge was more and more used as the times passed between the periods. As a type of forehead make-up, aekhwang is found in Janghwon's and of the late T'ang period. Hwajeon is seen in lots of figure paintings made between the Prosperous the late T'ang periods. Most eyelid make-ups shown in the figure paintings are round-shaped wolmi and yuhyeopmi in type. Besides, other creative types like gyeyeopmi, paljami and iljami are found. Lips are found made up clearer and more red as the times went from the early and the late T'ang periods. The types of cheek make-up like sahong and jangyeop can't be found in figure paintings of the T'ang period.

• Journal of Environmental Science International
• /
• v.29 no.5
• /
• pp.479-494
• /
• 2020

This study analyses the characteristics of volatile organic compounds (VOCs) emissions from the painting and printing facilities, as well as ambient VOCs at industrial complexes in Gwangju. The major components of VOCs emissions from painting facilities were toluene, acetone, 2-butanone, ethyl acetate, ethyl benzene, o-xylene and m,p-xylene. The printing facilities mostly emitted ethyl acetate, 2-butanone, acetone and toluene. Aromatics (49.9%) and oxygenated VOCs (43.6%) were dominant in painting facilities, while oxygenated VOCs (92.7%) were the largest group in printing facilities. The total hydrocarbon concentration (THC) in printing facilities was approximately six times higher than in the painting facilities. The painting and printing facilities use many solvents. Their THC concentrations differed considerably depending on the type of prevention facilities. To reduce THC, it is necessary to improve the prevention facilities and operating conditions. The dominant species of ambient VOCs in industrial complexes were investigated with toluene, ethyl acetate, 2-butanone, ethyl benzene, m,p-xylene, butyl acetate, o-xylene, hexane and acetone. Factor analysis of ambient VOCs showed that the main sources of the VOCs were organic solvents used in painting, coating, and printing, as well as automobile emissions.

• IE interfaces
• /
• v.16 no.2
• /
• pp.211-221
• /
• 2003

This paper introduces a simulation study regarding the design for the installation of Color Rescheduling Storage (CRS) in an automobile factory. In the painting shop the colors of vehicles are changed frequently according to the assembly schedule. When the color of a vehicle is changed from one to another, the cleaning process of painting-gun is necessary and it generates costs. Therefore many of the automobile manufacturers equip the CRS in front of the Top Coat Booth of the painting shop. The major objective of CRS is to reduce the change over cost in the painting process by grouping vehicles having same color. In this paper the configuration of CRS and the input/output algorithms are explained. The suggested system is verified using simulation models and experiments are conducted. Finally the best alternative is suggested by sensitivity analysis and evaluation of investment feasibility.

• Journal of KIISE:Computing Practices and Letters
• /
• v.14 no.8
• /
• pp.818-822
• /
• 2008

The purpose of this study is to develop realistic painting simulation in real-time as well as to represent the thickness of the deposited paint on the surface. The Gaussian model is used for a painting deposition model to calculate the thickness of paints. For a painting simulation, rather than implementing particle systems, we propose a new heuristic algorithm for painting process based on a few number of rays. After we find the collision points of the rays with an environment, we compute the painted area using flood-fill searching method on the texture map and visualize paint effects. We analyzed time complexity of our method to verify that our system is suitable for real-time VR applications.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.1
• /
• pp.15-31
• /
• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• Journal of Fashion Business
• /
• v.6 no.1
• /
• pp.71-82
• /
• 2002

The purpose of this study was to correctly understand the costume of Qing dynasty in the court painting. The starting point of this study was that the painting typically reflects the cultural values, social significations, costume and aesthetic outlook of that period when the paintings were done. Based on this regard, this study analyzed the costume of figure paintings in the court painting of the Qing dynasty that complied and edited by the Palace Museum. The court dress of Qing dynasty represented not only the spiritual world of Manchu tribes but also the influences of Chinese traditional culture. The court dresses of Kangxi and Qianloug showed definitely the luxury of life of Qing court. The everyday dress of Qing dynasty reflected the nomadic environments and it was very simple. The hunting dress of Qing dynasty was very developed and also represented horse riding and hunting activities of their traditional life. The ladies of Qing dynasty enjoyed to dress the costume of old Chinese style. The appearance of noble women was fragile and slim.

• Journal of Korean Society of Occupational and Environmental Hygiene
• /
• v.9 no.1
• /
• pp.156-172
• /
• 1999

Potential chemical hazards encountered in painting operation of four shipyards and a ship-repair shop were investigated through the material safety data sheets (MSDS). Material safety data sheets (MSDS) for 307 paints, 50 thinners and 34 binders were collected and reviewed. It was shown that various organic solvents such as aromatic hydrocarbons, aliphatic hydrocarbons, ketones, alcohols, glycols, glycol ether acetates and esters were contained in painting materials. Of these solvents, xylene was found in the largest number of painting materials. sixty percent of the thinners contained xylene in the contents of 20-100%. Other most frequently found solvents were 1-methoxypropanol, 1-methoxypropyl acetate, n-butanol, methyl isobutyl ketone, toluene, isopropanol, and n-butyl acetate, etc. Glycol ethers such as 2-methoxyethanol (2-ME), 2-methoxyethyl acetate (2-MEA), 2-ethoxyethanol (2-EE), 2-ethoxyethyl acetate (2-EEA) and 2-butoxyethanol (2-BA) were regarded as having the potential to cause adverse reproductive effects, embryotoxic effect and hematotoxic effects, and were found in some epoxy panting materials. Coal tar pitch was included in some paints(13%) where polynuclear aromatic hydrocarbons (PAHs) could be contaminated. Inorganic pigments such as lead chromate and zinc potassium chromate were found in some paints (8%). The epoxy resin based paints, which may contain isocyanates such as toluene diisocyanates and hexamethylene diisocyanates causing potential sensitization and asthma to upper respiratory organ, were mostly used in the shipyards. The constituents in the MSDS were significantly different from the results analyzed using gas chromatography/mass detector: minor constituents or impurities were omitted in many MSDS. In conclusion, xylene was the most frequent organic solvent in painting materials, and glycol ethers, including 2-ME, 2-MEA, 2-EE, 2-EEA and 2-BA, were found some products. Also, painting workers may be exposed to PAHs, lead, chromate, isocyanates, organic tin and other various chemicals. The compositions of chemicals in painting materials were variable significantly, and the hazards were changed. These facts should be considered in environmental monitoring and control of the hazards.

• Journal of Science of Art and Design
• /
• v.10
• /
• pp.183-218
• /
• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.