• Journal of Drive and Control
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• v.12 no.3
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• pp.1-10
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• 2015

In this paper, the authors propose a method to easily recognize and reproduce the robot motion made by an operator. This method is targets for applications similar to painting and welding, and it is based on a process of that identifies a family of plants, by control design and by conducting an experimental evaluation. In this study, the models and controllers for all joints of 3DOF robot system are obtained individually. And a robust control system for motion control of the individual joints is designed based on $H_{\infty}$ control framework. An experimental comparison is made between the proposed control method and existing PID control method. And the results indicate that the proposed designing method is more efficient and useful than conventional method.

• Journal of Conservation Science
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• v.37 no.4
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• pp.391-401
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• 2021

Outdoor sculptures of modern art works are being damaged and deteriorated as they are exposed to the outdoor environment due to the nature of exhibition in the outdoor environment, but secure of basic data through the measures for conservation and advanced researches still remain in the early stage. The surface of "Conversion" which is exhibited in the Busan Cheonmasan Sculpture Park has been exfoliated and deteriorated due to outdoor exhibition for a long time, so systematic conservation and management of works are considered necessary. Prior to the conservation and management, this study conducted observation of cross section, analysis of inorganic components, FT-IR, Raman and Py-GC/Mass analysis to examine the nature and type of paints used for the work through a scientific analysis. As a result of analysis, paints used for the "Conversion" include paint mixed with silvery aluminium powder and white pigment, reddish paint mixed with toluidine red, bluish paint that mixed prussian blue and titanium white and mixture of phthalocyanine blue and titanium white. The result is expected to be used as basic data for selecting materials necessary for conservative treatment of and establishing a plan for conservative treatment of the "Conversion".

• Journal of architectural history
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• v.29 no.6
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• pp.57-65
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• 2020

This study covered the Mulmae, architectural drawing recorded on Yeonggeon-uigwes and Sanleung-uigwes during the late Joseon Dynasty. In uigwes, the term 'Mulmae' was used as a mixture until the 17th century, but from the 18th century, the term 'Mulmae(勿乙每, 勿每, 水每)' was unified into 'Mulmae(水每)'. The paper of the Mulmae was made to be used during the construction period by using a thick oil paper called Yudun. Four Yudun were connected, and its size was 197.4×141cm, which was rather large. The Yingzaofashi(營造法式) of Song Dynasty describes how to draw a longitudinal section on a scale of 1/10. The scale of 1/10 was the maximum when comparing the size of the Mulmae with the buildings in uigwes. A sectional drawing of Gongpo in Geunjeongjeon was drawn on a scale of 1/10. There is a testimony that a senior carpenter drew a cross-section on a scale of 1/10. Therefore, it was determined that the scale of the longitudinal section drawn on the Mulmae paper was 1/10. The term 'the Mulmae' was used equally by carpenter active in Japanese colonial era. The scope of the painting was clarified from pillar to rafter. Uigwes records that the Mulmae was made for wood processing. Through this, it can be understood that the Mulmae painted the entire structure as a longitudinal section.

• Journal of architectural history
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• v.31 no.4
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• pp.45-56
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• 2022

Gachiljang(假漆匠), along with Jinchiljang(眞漆匠), is an important craftsman who cannot be left out during the finishing process of wooden furniture and wooden buildings during the Joseon Dynasty. The current definition of Gachiljang does not properly explain the nature and role of Gachiljang. In many related terminology dictionaries, Gachiljang is defined as "artisan who dose the base paintwork of Dancheong." But an analysis of the Joseon Dynasty's Uigwe(儀軌) shows that Gachiljang appears frequently in works that are not related to Dancheong at all. Therefore the current definition seems to be inaccurate and need to be revised. Gachiljang is a name that contrasts with Jinchiljang, and he makes and paints Myongyu(明油). Just as Jinchiljang uses not only lacquer but also various pigments to paint colorful lacquer, Gachiljang also uses various pigments to decorate buildings or furniture in a fancy way and then finishs with a transparent paint. Even in the Dancheong(丹靑) work of the building, all the base painting and finish coating work will be in charge of Gachiljang, except for the paintings performed by the Whawon(畫員) or the Whasa(畫師).

• Journal of the Korea Safety Management & Science
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• v.25 no.3
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• pp.31-36
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• 2023

The use of hanging scaffolding for exterior wall painting and cleaning in building construction and maintenance carries the inherent risk of fall accidents. While periodic rope replacement is crucial for preventing accidents resulting from rope breakage, current regulations lack specificity in determining appropriate disposal period for fiber ropes. This study analyzed the tensile strength of the most commonly used PP fiber ropes with different diameters (16 mm, 20 mm) in the domestic construction industry. Additionally, the effect of outdoor exposure was examined by measuring the tensile strength of new ropes and ropes exposing to outdoor conditions for 30 days and 90 days. The results showed that the new ropes and those exposed to outdoor for 30 days met the KS (Korean Standards) criteria for tensile strength. However, a significant decrease in tensile strength was observed in ropes exposed to outdoor for 90 days compared to both the new ropes and those exposed for 30 days. Furthermore, the ropes exposed for 90 days did not meet the KS criteria. These findings indicate the degradation of PP fiber ropes due to UV (Ultra Violet) radiation, highlighting the importance of considering this factor when determining the replacement period for fiber ropes used in scaffolding work.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2021.10a
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• pp.290-291
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• 2021

Defects in the coating process of plastic automotive components are caused by various causes and phenomena. The correlation between defect occurrence rate and meteorological and environmental conditions such as temperature, humidity, and fine dust was analyzed. The defect rate data categorized by type and cause was collected for a year from a automotive parts coating company. This data and its correlation with environmental condition was acquired and experimented by machine learning techniques to predict the defect rate at a certain environmental condition. Correspondingly, the model predicted 98% from fine dust and 90% from curtaining (runs, sags) and hence proved its reliability.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.194-198
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• 2024

Beauty is inclusive, which appears everywhere. As classic forms, poetry, calligraphy and painting are a good way to express the beauty of literature and art. In history, literature was almost identical to art. Among them, there is no lack of penetrating judgment about beauty, but which is often forgotten. Since the Qing Dynasty, Yuyang's Notes on Poetry can be said to be one of the representatives. There are many versions, whose common ones are three volumes and two volumes. The three volumes were the first carving copies of Kangxi in the Qing Dynasty. The two volumes are the lithographic books in 1909, with the "Preface of Yongzheng and Yu Zhaosheng" as the base. For details, please refer to the text, which needs no further elaboration here. We it includes too many contents, so some parts are chosen as an example to trigger thought about aesthetics. Wang Shizhen was the literati of the Qing Dynasty who had the greatest influence on the Korean Peninsula in terms of poetry. In Yuyang's Notes on Poetry, he also specifically talked about the poetry diplomacy between the Qing Dynasty and the Chosun Dynasty, whose literature value was extremely high. Art contains both beauty and crafts.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.217-253
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• 2020

This study analyzes the principles of the 'Earthly Paradise' (仙境, the realm of immortals), 'Virtuous Concordance of Yin and Yang' (陰陽合德), and the 'Reordering Works of Heaven and Earth' (天地公事) while combining them with Joseon art. Therefore, this study aims to discover the context wherein the concept of Taiji in 'Daesoon Truth,' deeply penetrates into Joseon art. Doing so reveals how 'Daesoon Thought' is embedded in the lives and customs of the Korean people. In addition, this study follows a review of the sentiments and intellectual traditions of the Korean people based on 'Daesoon Thought' and creative works. Moreover, 'Daesoon Thought' brings all of this to the forefront in academics and art at the cosmological level. The purpose of this research is to vividly reveal the core of 'Daesoon Thought' as a visual image. Through this, the combination of 'Daesoon Thought' and Joseon art will secure both data and reality at the same time. As part of this, this study deals with the world of 'Daesoon Thought' as a cosmological Taiji principle. This concept is revealed in Joseon art, which is analyzed and examined from the viewpoint of art philosophy. First, as a way to make use of 'Daesoon Thought,' 'Daesoon Truth' was developed and directly applied to Joseon art. In this way, reflections on Korean life within 'Daesoon Thought' can be revealed. In this regard, the selection of Joseon art used in this study highlights creative works that have been deeply ingrained into people's lives. For example, as 'Daesoon Thought' appears to focus on the genre painting, folk painting, and landscape painting of the Joseon Dynasty, attention is given to verifying these cases. This study analyzes 'Daesoon Thought,' which borrows from Joseon art, from the perspective of art philosophy. Accordingly, attempts are made to find examples of the 'Virtuous Concordance of Yin and Yang' and Tai-Ji in Joseon art which became a basis by which 'Daesoon Thought' was communicated to people. In addition, appreciating 'Daesoon Thought' in Joseon art is an opportunity to vividly examine not only the Joseon art style but also the life, consciousness, and mental world of the Korean people. As part of this, Chapter 2 made several findings related to the formation of 'Daesoon Thought.' In Chapter 3, the structures of the ideas of 'Earthly Paradise' and 'Virtuous Concordance of Yin and Yang' were likewise found to have support. And 'The Reordering Works of Heaven and Earth' and Tai-Ji were found in depictions of metaphysical laws. To this end, the laws of 'The Reordering Works of Heaven and Earth' and the structure of Tai-Ji were combined. In chapter 4, we analyzed the 'Daesoon Thought' in the life and work of the Korean people at the level of the convergence of 'Daeesoon Thought' and Joseon art. The analysis of works provides a glimpse into the precise identity of 'Daesoon Thought' as observable in Joseon art, as doing so is useful for generating empirical data. For example, works such as Tai-Jido, Ssanggeum Daemu, Jusachaebujeokdo, Hwajogi Myeonghwabundo, and Gyeongdodo are objects that inspired descriptions of 'Earthly Paradise', 'Virtuous Concordance of Yin and Yang,' and 'The Reordering Works of Heaven and Earth.' As a result, Tai-Ji which appears in 'Daesoon Thought', proved the status of people in Joseon art. Given all of these statements, the Tai-Ji idea pursued by Daesoon Thought is a providence that follows change as all things are mutually created. In other words, it was derived that Tai-Ji ideology sits profoundly in the lives of the Korean people and responds mutually to the providence that converges with 'Mutual Beneficence.'

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.577-596
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• 2024

Geometric abstract art has been a persistent form since ancient times and is defined in modernity as a genre of abstract painting. According to previous studies, the geo- metric structure of traditional Korean costume possesses uniqueness based on Korean thought and philosophy. Therefore, the purpose of this study is to first derive the characteristics of Wilhelm Worringer's theory, a theorist of geometric abstraction, and then compare the spiritual similarities between the traditional Korean costume and geometric abstract art, with the aim of examining the artistic competitiveness of Hanbok. Photographic materials from domestic and international museums, as well as books published by museums and government agencies, were analyzed. Further, the characteristics of Worringer's theory of the abstract impulse were derived. The results are as follows. First, the external factors are characterized by a single geometric shape on a flat surface with restrained spatial expression. The internal factors include anxiety, comfort from religion or ideology, and the need for a visual refuge for rest. Second, traditional Korean costume and geometric abstraction share common spiritual contexts of artistry, transcendence, and stability according to Worringer's theory. Third, the study of the spiritual similarities between the traditional Korean costume and geometric abstract art through Worringer's theory reveals that the artistry of traditional Korean costume is expressed in universal forms, transcendence as intrinsic origins, and stability as a unique aesthetic consciousness. These findings provide a framework for reinterpreting the originality and universality of traditional Korean costume as Korean cultural content, infused with the characteristics of modern art.