• 보존과학연구
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• s.20
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• pp.175-206
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• 1999

In 1972, the mural painting of Kuknakjon, which is National Treasure No. 15, at Pongjongsa was taken to pieces. From 1999. 9. 8 to 1999. 9. 15,we were precisely investigated with infrared vidicon television, video camera and so forth. The result of investigation shows that contents of the mural painting consisted of paintings of flowers and birds, paintings of Taoist hermits with supernatural powers and old historic figure paintings (In the investigated mural paintings, there were paintings about pheasant or magpie on splendid peony, figures such as Lee tae baek(이태백) and Baek lakchon(백악천) known as old chinese poets, Chang yang(장량) and Hwangsok kong(황석공) known as old historic figures and Paebok(백복), and Choksongja(적송자) known as Taoist hermits.)It is noted that the mural painting was under the influence of the later Choson culture included Taoistic and folk artistic than buddhistic contents such as painting of Bodhisattva, Arhat and apsara. Later, each mural painting will be more investigated in respect of Buddhism art historic value, and we'll make conservative treatment plan based on its result.

• Korean Journal of Childcare and Education
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• v.12 no.3
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• pp.99-119
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• 2016

The purpose of this study is to develop art activities using famous painting parodies in hopes of enhancing the creativity of 5-year old children. A total of 11 program activities were developed consisting of a preliminary activity (understanding the notion and ideas behind parody), introduction (view and analysis of famous paintings), development (theme selection, idea construction, and parody production), and conclusion (view and review of parody). Participants were 50 (24 in the experimental group and 26 in the comparative group) 5-year old children from a kindergarten located in G city. TTCT of Creative Thinking (TTCT: Figure A and B) was used as a research tool, and the listening abilities paintings test tool was applied to teachers of the groups. First, excluding accuracy, which is considered to be an unimportant factor in determining one's creativity, results showed positive effects on fluency, originality, abstractness, and persistence. Second, the program also showed positive effects on children's overall ability in appreciation of paintings as well as the sub factors including observation and expression, understanding painter's intention, atmosphere, materials and techniques, art elements, and attitude towards art piece.

• Industry Promotion Research
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• v.6 no.1
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• pp.87-93
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• 2021

Qi Baishi is a prolific master of modern Chinese painting in the 20th century and a profound influence on modern Chinese painting. With a lifetime of diligence and pursuit, he brought the development of traditional Chinese literati painting to the palace of world art. Qi Baishi's paintings have very different styles and rich connotations. There is a childlike "Plantain Crowd", which is childish but full of interest. There is also a simple and old-fashioned "Peony" in the late years, vigorous and powerful, moving heartstrings. There is also the irony of the present world, refuting the ugly "Tumbler", which is thought-provoking. Of course, the most worthy of study is Qi Baishi's landscape paintings. His landscape paintings surpassed their era and have unique historical value in the transformation of modern Chinese landscape painting. He was one of the pioneers of the transformation of Chinese landscape painting in the 20th century. In this article, through the research and collation of Qi Baishi's landscape paintings, the characteristics of Qi Baishi's landscape paintings and their surpassing of the times are discovered.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.79-98
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• 2015

This article studied women's headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women's headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: (1) square cloth worn on the top of the head; (2) a kind of small cap; (3) Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women's scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• Conservation Science in Museum
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• v.1
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• pp.43-51
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• 1999

This is a brief study on the influence of fumigation (using mixed gas of methyl bromide and ethylene oxide) on old paintings. Fumigation is principally used to prevent biological damage of objects. Thirteen objects, including old colored map from Chosǒn Dynasty and some paintings, were selected for this research. Before and after fumigation, color measurements were made and changes of pH value were measured. The result is that the fumigation did not affect on discoloration of colored area and acidity of paper, as far as the standard of application(such as concentration of gas, exposing time and ect.) of fumigation was kept.

• Korean Journal of Child Studies
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• v.26 no.3
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• pp.97-110
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• 2005

This study of the effectiveness of various art programs took place in Gwangju with asample of 60 four- to five-year-old children from three kindergartens. The children were assigned to one of three experimental groups : 20 children in the picture book group(experimental group 1), 20 children in the famous paintings group(experimental group 2), and 20 children in the traditional group(control group). Data were analyzed by ANCOVA using the scores of the pre-test as covariance. Results showed that the picture book and the famous painting art programs affected young children's art ability more positively than the traditional art program. The picture book art program showed particularly high educational effectiveness.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• 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.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.