• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.4
• /
• pp.1-7
• /
• 2023

Chwibyeong is a hedge made into a folding screen shape by setting up supports and placing plants on it. Traces of chwibyeong can be found in various paintings, such as the 『Donggwoldo painting of Changdeokgung Palace』, 『Gyujanggak painting』, 『Munhuimyo painting』, and 『Hwaseong Temporary Palace painting depicting Suwon Hwaseong Temporary Palace』. However, since the Chwibyeong has not survived to this day, the whereabouts of the Chwibyeong were estimated through ancient documents, old paintings, and photographs. In the case of a manned Chwibyeong using a support, a picture related to the composition of the Chwibyeong using a base can be Winnow willow. Methods for creating intoxicants using coniferous trees such as Chinese juniper and Rigid-branch yew have been studied. In existing old paintings, only the supports, parts of leaves, and branches were depicted, so the location of the Chwibyeong could not be confirmed through the drawings. However, in the 『Jungli-Euiguae』, written around 1797, a manned type of Chwibyeong using a support was depicted as the material of the Chwibyeong. By being able to confirm the type of tree used, it was possible to confirm the method of creating a Chwibyeong using Winnow willow introduced in the 『LimwonGyeongjeji』. However, in the 『Jungli-Euiguae』, written around 1797, a manned type of Chwibyeong using a support was depicted as the material of the Chwibyeong. By being able to confirm the type of tree used, it was possible to confirm the method of creating a Chwibyeong using Winnow willow introduced in the 『LimwonGyeongjeji』. Therefore, the purpose of this study is to suggest a method of using Chwibyeong to restore by analyzing old literature. For this purpose, first, the process of change in the material of the Chwibyeong was analyzed through the analysis of old documents showing the method of forming the Chwibyeong. Second, the material and composition method of the Chwibyeong were analyzed through the analysis of the picture of "Seongyeok-do" in 『Jungli-Euiguae』, which allows us to understand the form of the Chwibyeong

• Journal of Conservation Science
• /
• v.37 no.4
• /
• pp.322-339
• /
• 2021

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John's Fort by the prominent Singaporean artist Liu Kang (1911-2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John's Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John's Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang's painting materials and his working practice.

• Journal of Science of Art and Design
• /
• v.6
• /
• pp.140-202
• /
• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• IE interfaces
• /
• v.14 no.2
• /
• pp.120-126
• /
• 2001

Virtual manufacturing is a technology facilitating effective development and agile manufacturing of products via sophisticated computer models representing physical and logical schema and behavior of real manufacturing systems including manufacturing resources, environments, and products. Based on these models, virtual manufacturing supports decision making and error checking in the entire manufacturing processes from design to mass production. At first, we analyzed manufacturing preparation activities of the four major production shops such as press, body assembly, painting and final assembly, of a Korean automotive company. We then developed the workflow models out of the analysis by the IDEF methodology, and generated a strategic plan for the systematic application of the virtual manufacturing technologies. We identified many manufacturing preparation activities that can be improved by the application of virtual manufacturing technologies. Finally, we estimated the effect of improvement including time savings in car development processes and corresponding cost savings.

• Journal of information and communication convergence engineering
• /
• v.16 no.4
• /
• pp.235-241
• /
• 2018

Recently, deep learning has been actively studied and applied in various fields even to novel writing and painting in ways we could not imagine before. A key feature is that high-performance computing device, especially CUDA-enabled GPU, supports this trend. Researchers who have difficulty accessing such systems fall behind in this fast-changing trend. In this study, we propose and implement a library called Emulearner that helps users to utilize Emulab with ease. Emulab is a research framework equipped with up to thousands of nodes developed by the University of Utah. To use Emulab nodes for deep learning requires a lot of human interactions, however. To solve this problem, Emulearner completely automates operations from authentication of Emulab log-in, node creation, configuration of deep learning to training. By installing Emulearner with a legitimate Emulab account, users can focus on their research on deep learning without hassle.

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

• Conservation Science in Museum
• /
• v.5
• /
• pp.43-47
• /
• 2004

The five pieces (Bon 4054, 4074, 4077, 4096 and Bon 4097)of the Central Asia murals housed in the National Museum of Korea were conserved for approximately 2 years. The Central Asia murals conserved for this time have undergone the processes of cleaning, reinforcing pigment layers, facing to protect the pigment layers disassembling, separating wooden frames reinforcing the wall layers, attaching supports to the wall layers, removing facing and making picture frames. They were conserved with emphasis placed on reinforcing the peeled pigment layers and the weakened walls and on improving the structural problem of the exhibit frames.

• Journal of the Korea Society of Computer and Information
• /
• v.17 no.11
• /
• pp.173-177
• /
• 2012

This paper proposes a service which searches goods by images and finds a shopping mall site that offers referral services. In the service, images are obtained in various types. For example, paint function, images search based on pattern and shape. For this shopping mall system, it will be modeled using UML use case and class diagram. Also it will be implemented in JSP. It supports functions that searched various types of images by pattern and shape. In addition to features which were mentioned above, we aim to implement a shopping mall system to search and buy goods by improved information searching techniques, ultimately providing a space that realizes user's painting.

• Korean Institute of Interior Design Journal
• /
• v.21 no.3
• /
• pp.40-49
• /
• 2012

The purpose of this study is to look into an articulation between architecture and site of Le Corbusier's works. The first of his principals, "piloti" shown in "5 principals in new architecture" represents the articulated relationship between architecture and site. It certainly works as a driving force of new architecture Le Corbusier pursued. The study presumed that this is the constructive application of "Modernity" with new technology and materials during the turn of century. It also seems to be a tool for visual presentation of implied "Will of Form" for his paintings and architecture as well. In this perspective, this study suggests an assumption of a certain connection between the principal of spatial articulation on his purism paintings and the architectural spaces created by piloti. The study finds evidences that supports the above mentioned assumption; first, the inter-relationship between the interval spaces on his paintings and lifted box, second, the movement of space as overlapped spaces, and finally, overlapped volume which is represented by intersection.

• Journal of Conservation Science
• /
• v.6 no.1 s.7
• /
• pp.71-78
• /
• 1997

Oil painting shows a wide variety of damages due to differentcohesiveness between materials and different responses to temperature and humidity. The deforming flatness of canvas is a major cause of deterioration. The heat, pressure and moisture, and classical materials which had been traditionally used to correct the deformation of supports have caused damages to the paintings. In modern restoration of paintings, new methods have been developed to avoid the use of such potentially harmful elements. In this paper the correcting of deformed support with the use of low-pressure table, deformation correction frame and new materials, which has been developed both to protect the works and to maximize the effect of restoration.