• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.38-48
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• 2006

Paying attention to the fact that Korean traditional ink and color paintings are different in their use of colors this paper was intended to demonstrate outcomes from the difference in their painting style through specific paintings and thereby categorizing a broad range of oriental paintings into 4 types(Indian ink light color, middle color, deep color, present color) in accordance with the method of using colors, suggest directions that oriental color paintings should move toward in the future in the diversity of modem Paintings. Due to the characteristics of materials, oriental ink paintings, in style, are light in color within lines, which in return makes colors confined to a complimentary role in an overall picture, not having their unique color identity Nevertheless, there are some paintings that use dark colors, which is called moderate saturation. For such dark-color based paintings, colors play a key role, together with the characteristics of materials of color painting, as colors are used to express the most part of a picture. This study, thus, discusses the difference in the use of color depending on style on one hand, and examined the diversity of modem color paintings through specific works on the other hand, since a number of color paintings similar to western Painting in style have been created today. In such diversity, works that are being currently created should contribute to taking over the tradition and further develop oriental colors with modem aesthetic sensitivity. This paper is aimed to help to do harmonious works with traditional and modern paintings by studying and classifying varieties of colors

• Journal of the Korean Society of Costume
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• v.18
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• pp.167-181
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• 1992

This study was conducted to clarify the formativeness of Cezanne's painting and it's influence on the Modern Fashion. Recently, fashion was introduced and applied the originality of paintings into the fabric and fashion designing. To go with the current of the times I already discussed about the Modern Fashion under the influence of the color of Impressionism and N대-Impressionism in the previous paper. In this study, Cezanne's painting and it's influence on the Modern fashion was investigated. As one of the original Impressionist, Paul Cez anne had been so adversely affected by the critical attack on his contributions to the 1874 and 1877 exhibitions that he never again showed with the group. That is, he was the first Impressionist to become dissatisfied with the superficial recording of atmospheric effects. When he turned to nature, it was not simply to depict the objects that occupied a given site but rather to consider relationships among those objects. Cezanne attempted to track down the fundamental laws of geometrical prototypes of sphere, prism and corn. Color too, he found, could be employed according to principle, like the tones of a musical scale. Throughout the Modern Fashion, various forms of Bustle style dress and geometrical style dress were reappered under the influence of the Cez anne's painting technique. And the order and the unity of all nature was illuminated on the fashion's pattern.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1608-1618
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• 2008

This research was conducted to define the different conventional meanings of face painting, we can come across easily in recent days, in different times and different cultures. The conclusions of the research are as followed. First, the face painting was mainly done for the symbolic function. Second, in un-cultivated groups, face painting was one way of body art expression and in some cases, the color and the pattern was the tool to give a symbolic massage that was more powerful than a language. The characteristics of the patterning was that they adopted wide range of patterns include geriatrics, abstract, animals, plants and especially the abstract patterns have the groups unique symbolic meanings such as specific pattern appears guard god which was the effort of having a wholeness with the pattern. Third, it is known that in un-cultivated cultures, face painting has a symbolic function whereas in modern society, there is an emphasis on a decorative function. Lastly, the various expressions of modern body decorations are seen as a result of social/cultural states of the settlement ethnic culture and the modern life style of the people who want to have direct and active opinions and individualize and differentiate themselves.

• Journal of Science of Art and Design
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• v.6
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• pp.267-287
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• 2004

The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

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

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• Proceedings of the Korean Society of Computer Information Conference
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• 2010.07a
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• pp.433-434
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• 2010

본 논문에서는 영상처리에서 많이 사용하는 bilateral filtering과 mean shift segmentation을 이용하여 일반적인 사진을 수채화 스타일로 변환하는 기법에 대하여 제안한다. 먼저 bilateral filtering을 이용하여 사진의 외곽선 부분은 보존하면서 고주파 성분을 약화시키도록 한다. 그리고 bilateral filtering된 영상에서 mean shift segmentation을 수행하여 수채화 스타일의 영상을 생성한다. 본 논문에서 제안하는 기법으로 다양한 사진에 대하여 실험한 결과 수채화 스타일로 잘 변화되는 것을 확인하였으며 특히 주광에서 촬영한 풍경 사진들에 대하여 보다 우수한 성능을 보임을 확인하였다.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.184-191
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• 2022

Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.82-97
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• 2009

In this study, it can be identified that drawing style of cartoon and fashion illustration are mutually linked and interchanged. The common background of drawing style between cartoon and fashion illustration, is as follows; 1. A means of image communication through mass communication 2. Similarities as visual signs 3. The borderless of painting, illustration and cartoon. 4. Usage of common drawing expressions such as deformation, distortion, exaggeration, metaphor, metonymy. Drawing style interchanging between cartoon and fashion illustration, is as follows; 1. Similar to figure and face are contemporary style, similar figure, Anime style and humourous style. 2. Similar to the way of express is focusing on the line, simplification, mixed computer graphics with hand drawing, artistic expression, the way of multimedia.

• Journal of the Korean Society of Costume
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• v.26
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.