• 조형예술학연구
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• 제7권
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• pp.128-149
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• 2005

주사총은 중국의 현대 미술문화를 형성하는 시기에 중요한 영향을 끼친 여성 화가이다. 그는 1939년에 태어나 1996년에 사망하였는데 중국 정치 사회의 격변기를 지나면서 그 영향을 받았다. 그의 실제적인 작품 활동 기간은 중국 '문화대혁명'이 끝나고 1978년부터 약 1990년까지 약 13년밖에 되지 않는 짧은 기간이다. 특히 1985년 이후 류마티스 관절염에 의해 그림을 그릴 수 없을 정도로 사지가 뒤틀리는 고통 속에서도 틈틈이 그림을 그리는 창작렬을 보였다. 주사총의 작품의 변환을 보면 크게 '리얼리즘의 표현시기', '<광공도>의 표현시기', '이족(彛族)의 표현시기', '연화(蓮花)의 표현시기'로 나누어 볼 수 있다. 그의 작품 가운데 <광공도>는 많은 사람들에게 충격을 주었으며, 중국의 현대인물화에 있어서 전환적인 영향을 끼쳤는데 중국의 전통적인 인물화 표현에서 벗어나 화면을 분할하고, 인물을 변형하거나 왜곡시켜 새로운 인물화를 보여 주었다. 주사총 작품세계의 특성은 '전통성', '리얼리즘', '역사성'의 표현으로 볼 수 있다. 주사총은 중국 전통 회화표현을 바탕으로 서양의 표현과 자신의 개성적 표현을 더했으며, '문화대혁명기' 때는 인물의 실사표현을 통한 리얼리즘을 보여 주었다. 그리고 '이족'을 나타낸 작품들에서는 그들 삶의 모습들을 생생하게 그려내었다. 일제 만행의 역사적인 기록을 바탕으로 <광공도>가 이루어진 것에서는 '역사'를 재해석하여 화면을 구성하는 창의성을 볼 수 있다.

• 문화기술의 융합
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• 제7권3호
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• pp.187-195
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• 2021

광복 이후의 한국 화단은 일본화풍의 탈피와 전통회화의 재인식 및 재창조를 통한 한국적 미의식을 확립하고 자 탐구하였다. 조선 후기 호남 화단의 실질적 종조(宗祖)라 불리었던 소치(小癡)의 손자로 태어난 남농(南農) 허건(許楗)(1908~1987)은 이러한 한국 화단의 현실을 직시하고 한국 남종화의 전통을 계승하면서 이를 변유적으로 재인식·재창조하여 현대적 서구양식과 실경을 융합한 파격적 구도로 '신남화(新南畵)'의 새로운 영역을 개척하는 등 한국 남종화를 현대적으로 계승 발전시킨 한국화단의 거목이다. 남농(南農)의 회화세계는 관지(款識)를 근거로 하여 1930년대 '남농산인(南農山人)' 시기, 1940년대 중반~50년대 초반 '남농외사(南農外史)' 시기, 그 이후의 '운임산방주인(雲林山房主人)' 시기 등 총 3시기로 나누어 살펴볼 수 있다. 남농산인(南農山人) 시기는 소치(小癡)와 미산(米山)의 전통 남화의 가전화풍을 온전히 습득하고, 선전(鮮展) 출품을 위한 일본화풍의 반영으로 향토적 실경을 많이 다루어 가전화풍과 일본화풍의 혼재기이다. 남농외사(南農外史) 시기에는 해방 이후 새로운 조형성을 전통 남화풍에서 탐색하였다. 특히 남도의 풍경과 정감을 기반으로 하여 자유분방한 농담 조절과 함께 속필과 독필, 갈필로 대상을 표현하면서 서정성과 향토애 짙은 실경향토화와 산수화에 주력하였다. 운임산방주인(雲林山房主人) 시기는 현대미술의 흐름에 어느 정도 부합하면서도 전통 회화에 걸맞는 사의적 문향이 넘치는 구도로 차츰 생략화되면서 개성적 화법을 강하게 드러낸 갈필, 독필, 속필의 적절한 운용을 통해 수묵담채의 서정적인 산수와 소나무를 많이 그렸다. 그의 산수화와 향토화는 누구에게나 체험적인 친근감과 정감을 자아내게 하는 모습을 담고 있으며 향수애와 자연애를 담고 있다. 남농(南農)은 이를 '신남화(新南畵)'로 명명하였다. 남농(南農)은 '남화연구원'을 설립, 후진양성에 진력하였는데, 이곳에서 임인(林人)의 아들인 許文과 남농(南農)의 장손자인 허전(許塡) 등이 수련하여 5대째 운림산방의 화맥을 계승하고 있다.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2003년도 제18회 발표논문집
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• pp.65-66
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• 2003

• 한국의상디자인학회지
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• 제25권1호
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• pp.15-31
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• 2023

This study aimed to propose a fashion design development method using the external and internal characteristics of the flower and bird paintings in traditional Korean folk paintings. As a research method, external and internal characteristics of folk paintings were examined through previous studies and literature research, and folk painting patterns were developed into digital textile designs. Five 3D digital fashion designs were proposed using the CLO 3D program. The external characteristics of folk paintings were as follows: simplification and planarization of object representation, diversification of viewpoints, ignorance of perspective and symmetrical enumeration, strong colors and contrast effects, and the simultaneous representation of time. The internal characteristics of folk paintings were as follows: symbolic meaning, the beauty of free humor, modest aesthetics, complexity of reality and fantasy, and desire of shamanism. The results are as follows. Firstly, the flower and bird painting was a decorative painting style that emphasized decorative beauty and was suitable for developing fashion designs with Korean originality because of the symbolic and internal meanings. Simple layouts and bold free-spirited representations were effective ways to fill the screen with objects and gave the pattern a decorative effect. Secondly, developing a virtual clothing prototype based on digital design method using the external and internal characteristics of folk paintings and producing realistic fashion designs suggest the integrated use of science and technology, embodying modern fashion through the combination of digital fashion content and traditional cultural content. Thirdly, as a result of the development of 3D digital fashion designs, an eco-friendly and sustainable fashion design methods with virtual clothing can suggest a design development method that saves time and cost in the fashion design process while considering the environment.

• 복식
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• 제60권3호
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• 조형예술학연구
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• 제8권
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• 헤리티지:역사와 과학
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• 제46권3호
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• pp.150-171
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• 2013

흙벽화 보존처리에 있어 가장 중요한 부분은 채색층에 균열이 발생되어 결속력을 잃었을 때, 또는 안료의 분말화가 일어났을 때, 고착제를 주입하여 손실위험에 처해진 벽화를 보존하는 것이다. 그러나 흙벽화 채색층에 사용되는 고착제의 안정성에 관한 연구는 미흡한 실정이라 할 수 있다. 본 연구에서는 흙벽체 시료를 제작하여 총 4종의 합분, 주사, 석록, 황토안료를 채색하고 Paraloid $B-72^{(R)}$, Caparol-$binder^{(R)}$, 우피아교(牛皮阿膠), Hydoxypropyl $cellulose^{(R)}$ 총 4종의 고착제를 도포하여 보존처리 후 발생할 수 있는 환경변화 요인인 온도, 습도, 자외선을 인공적으로 부여하였다. 안료별로 도포된 고착제의 보존환경에 따른 물성변화는 색안정성, 접촉각, 광택도, 접착력, 표면관찰을 통해 다각적으로 관찰하였다. 그 결과, 자외선 및 고온다습한 환경은 합분을 제외한 고착제가 도포된 모든 채색층에서 명도와 채도의 변화가 일어나는 등 색안정성에 많은 영향을 미치며, 고착제의 노화가속에 영향을 주어 결국 분해시키는 요인으로 파악되었다. 그중 전통재료인 아교는 함께 실험한 합성수지들과 비교하여 볼 때, 채색층 표면에 대한 색안정성과 영향력(보존성) 유지, 친수성 면에서 양호한 결과를 나타내었다. 특히 접착력 부분에서는 모든 채색층에서 우수한 특성이 확인되었기에, 흙벽화 채색층 고착처리 시 안정성이 높다고 사료된다.

• 패션비즈니스
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• 제11권6호
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• pp.139-156
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• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• 복식
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• 제51권8호
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• pp.159-170
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• 2001

The culture and society environment plays major role in the development of Fashion and now in the 21st century, interest in Fashion is getting increased along with the rapid progress of advanced media development and information surge. Now it s the time to extend visual efficiency not only transmitting fashion image but also develop a creative product that satisfy the demander s needs. Currently it is very hard to express our subjective Korean "nationalism" in the Fashion since the various expression skill using western fashion illustration are dominant in our society. I have classified two components, fashion illustration and Korean painting in the theoretical circumstance. In fashion illustration circumstance, I examined the concept, usage, expression skill and history referring to historical documents. In Korean painting section, I considered coloring portrait concept, pattern, history, concept, and feature of the four gentlemanly plants. including the basic material of Korean-paper, Writing- Brush, Ink-Stone, Traditional-ink and also the history of itself. I have designed 8 products applying the concept of plum blossoms, orchids, chrysanthemums and bamboos that represent the most important part of the four gentlemanly plants, and also the expression skill of Korean coloring portrait.rait.

• 한국멀티미디어학회논문지
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• 제24권5호
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• pp.736-743
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• 2021

Due to COVID-19, the non-face-to-face content market is growing rapidly. However, most of the non-face-to-face content such as webtoons and web novels are produced based on the traditional culture of other countries, not Korean traditional culture. The biggest cause of this situation is the lack of reference materials for creating based on Korean traditional culture. Therefore, the need for materials on traditional Korean culture that can be used for content creation is emerging. In this paper, we propose a generation model of source data based on traditional folk paintings through the fusion of traditional Korean folk paintings and AI technology. The proposed model secures basic data based on folk tales, analyzes the style and characteristics of folk tales, and converts historical backgrounds and various stories related to folk tales into data. In addition, using the built data, various new stories are created based on AI technology. The proposed model is highly utilized in that it provides a foundation for new creation based on Korean traditional folk painting and AI technology.