• Korean Journal of Oriental Medicine
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• v.18 no.3
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• pp.31-38
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• 2012

Jo Taek-seung(曺澤承, 1841-1907), who devoted himself to medical science mostly living in Haenam, and his son Jo Byeong-hu(曺秉侯, 1869-?) are significant in the history of Korean oriental medicine. The medical science of Jo Taek-seung appointed as Jusa(主事) of Hyeminwon(惠民院) in 1902 was handed down to his only son Jo Byeong-hu, who succeeded to his father's medicine and polished up the medicine, and recorded the results "Sanghangyeongheombangyochwal(傷寒經驗方要撮)" in 1933. Jo Taek-seung's portrait has been handed down to Jo Taek-seung's descendents' house in Munane-ri, Haeman. Not only does Jo Taek-seung's portraits well present the features of portrait mode of Joseon Dynasty period in the 19th century in their front view, exposure of two hands, expressive mode, background articles, etc, but also praises, poems, etc. giving information on manufacture intent, etc. to give prominence to the authors recorded by Jo Taek-seung, time of manufacture and position of medical official appears in one screen. In this paper, through disaster-removing poetic sentence showed in Jo Taek-seun'sg portraits, it was found that the author of the portrait is Choi Byeong-uk who worked mostly staying in Seoul and the present portrait was the one re-painted in 1907 by revising the portrait painted in 1894 when Jo Taek-seung was 54 years old, after Jo Taek-seung died. With regard to revised portion, presuming through records on the picture and comparative analysis of mode with portraits of doctors in the 20th century, it seems that the clothing of Confucian scholars in the first version was revised into the clothing of medical officials showing the position of Jo Taek-seung who took office as Jusa of Hyeminwon at the time of re-painting the portrait. Jo Taek-seung's portrait not only becomes important materials in the oriental medicine and historical world in the aspect of manufacture process, mode, etc. of Korean portraits including an aspect of medical official's portraits, but has significant meaning from the aspect of fine art history or clothing history.

• Human Ecology Research
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• v.55 no.1
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• pp.67-80
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• 2017

This study develops an the ideal portrait of a human being pursuing in home economics education from a critical science perspective. The practical problem is 'what should the ideal portrait of a human being pursuing in home economics education with a critical science perspective be?' was addressed through a practical reasoning research method with the stages of valued ends, context, alternatives, consequence, and a final plan. The sequential flow of understanding values and contexts established the setting of three valued ends by organizing issues and categorized areas of individuals, families, society, and cultural from a critical science perspective. The ideal portrait of human being was specifically stated, in the self-formation, independent, inter-subjectivity, social participation, and enculturation according to subcategories; in addition, the stated ideal portrait of human being was modified through expert consultations. Alternatives and consequences were reexamined for the validity of the statement and restated as a comprehensive statement of ideal portrait of a human being that included a restatement of the five areas. An ideal portrait of a human being pursuing in home economics education from a critical science perspective was made from alternative ideal portraits of the proposed human being and stated as 'a person who can continually act autonomously in one's life-world.'

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• The Journal of Art Theory & Practice
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• no.15
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• Journal of Conservation Science
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• v.32 no.1
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• pp.51-61
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• 2016

'Eojin', king's portraits, had been produced during the Joseon dynasty. The portrait of King Taejo, the founder of the Joseon dynasty, remain at National Palace Museum of Korea and Gyeonggijeon portrait hall in Jeonju and Junwonjeon portrait hall in North Korea that has been recorded in original glass plate photo in 1911. Many replica of Eojin have been made since it is important to preserve and protect original one. In this study, the portrait of King Taejo, which is possessed by National Palace Museum of Korea, was researched for making replication standard version of the original form. It was focused on derivations of each artefacts and drawing lines those had been described on the picture including comparison among three portraits of King Taejo. Producing the replication standard version of King Taejo's portrait, the digital restoration techniques by the method of partition area scanning was applied. Accurate and precise detail result that is taken by digital imaging technique gives additional information regarding the relations among three portraits of King Taejo.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.57-64
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• 1994

This study investigates the costumes of the Most Reverend Priest, which shows a portrait of the Buddhist monk in Koryo dynasty, owned by SONG KWANG Temple. A surplice and a long sleeved Buddhist robe was chiefly shown up a portrait of a Buddhist monk. The purpose of this study find out the color, form, pattern, material, adornment of the costumes which is appeared a portrait, and also seek to changing process according to the times. the finding in this paper are ; * A surplice - color : red, green, yellow etc. form' big size surplice, provision surplice. pattern : no. material : unstriated silk. adornment' bolt, ribbon. * A long sleeved Buddhist robe- color : grey, blue, dark blue, pink, green, chestnut .etc. pattern : no. In comparison with a survery of previous studies of Buddhist comstumes, the color and type of the Koryo dynasty are more brilliant various color. In other words, the social status of monk in the Koryo is higher than present day.

• Korean Journal of Computational Design and Engineering
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• v.4 no.1
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• pp.19-31
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• 1999

One of the non-photorealistic rendering method, a drawing technique which uses only fine curves and dashed line, is widely employed in an knots and post stamps printing. Engraving of the curves and lines are traditionally performed by human engravers which leads to low productivity in printing preparation. As an effort to improve productivity and quality, a drawing automation method which can easily produce a portrait composed of vector data for laser or chemical engraving is proposed. The method shows that it is possible to draw a portrait by controling the width and length of predefined fine lines according to the gray scales a the end points of each fine lines. A gradually controled weighting factor method is proposed in addition to the author previous works to prevent undesirable boundaries in an identical texture region. User interface functions of a commercial CAD system are heavily employed to exploit the presented method.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.12
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• pp.1409-1417
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• 2011

This study examines King Louis XVI costumes and his portraits according to symbolic meanings. This study analysis of costumes comes from portraits related various domestic and overseas literature, preliminary study papers, and web sites. Omnipotence, activity, nobility, openness and benevolence were distinguished in the symbolic meaning expressed in the portraits of King Louis XVI. Louis XVI in a portrait was drawn with god or expressed as a martyr and symbolically showed the omnipotence of god. Louis XVI was symbolized as almighty god by maximizing the authority and dignity of the king through the hands of justice that were used as a background or portrait accessory and a costume with the symbol of House of Bourbon. Kings of many generations were expressed as authoritative through portraits. However, Louis XVI showed a proletarian aspect in ordering portraits to reflect the daily working image of communicating with citizens. Active images such as the king riding a horse or administering the state affairs were emphasized in a political and military perspective; in addition, the benevolence of the king was symbolically presented through a family portrait. This symbolically signified that the king is a warm-hearted person who passionately takes care of state affairs and loves the people through a noble element coming from pastel colors and attributes of red colors. Historically, the political incompetence and indifference of kings was fragmentally emphasized; however, these portraits considered the king as one who tried to fulfill duties as the true king with a great interest in politics and the people.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Journal of Korean Library and Information Science Society
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• v.44 no.1
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• pp.333-355
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• 2013

This paper is to examine the issues of the right of portrait and to suppose practical guideline for performing arts archives. The right of portrait protects external looks of the human beings based on the constitutional human dignity, privacy of a secret and freedom. But sometimes these rights are limited in case of the right to know of the public shall have precedence to the interests of the privacy of individuals. It is hard to regard Performing Arts as a private life in two respects: first, Performing Arts is just one of societal expressions, two, performers are conducting a given role as a performing character. Producing database with the photos and videos under the reasonable agreement from the performers and making it available as a service can be disclaimers of the right of portrait. It is hard to be acknowledged, however, as disclaimers in case of being undermined sameness in the course of using the portraits of the performers.