• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.160-171
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• 2018

This study aims to find an original form of temple flower decoration patterns, considering floral lattice pattern as a view element composing temple landscape. To that end, we analyzed and interpreted the form and symbol expressed in the floral lattice pattern at Nahanjeon of Seonghyel Temple at Yeongju, Gyeongsangbukdo. The front side of Nahanjeon windows shows a sculpture with 176 pure patterns in a form where two squares are in sequence. The basic concept of main front door (the inner gate of Nahanjeon) frames is considered the design language of lotus pond that symbolizes "square land" in traditional gardens. The four leaf clover and arrowhead are water plants discovered in areas nearby ponds, which are a realistic expression conforming to the water ecology of lotus pond. The lotus, which is the most important plant at the main front door, indicates purity, a non-stained state, and the world of the lotus sanctuary, which is the land of blissful happiness in Buddhism. The lotus expressed in the floral lattice pattern is spread in a diverse form, containing the features of creation and destruction, showing the landscape character of the "One Body of Buddha and Lotus". The expression of flying birds such as kingfishers and egrets is an ecologically aesthetic idea to infuse dynamism and vitality into a seemingly static aquatic ecosystem. The floral lattice pattern contains lotus pond scenery showing symbiosis of animals(i.e., dragons, frogs, crabs, fishes, egrets, wild geese, and kingfishers) and plants(i.e., four leaf clovers and arrowheads), which are symbols of relief faith for longevity, wealth, preciousness, and many sons. The pattern is not just an ecological aesthetic expression but a holistic harmony of ecological components such as growth and disappearance of lotus and its leaves, fitting habitats, symbiosis, and food chain.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• (The)Study of the Eastern Classic
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• no.34
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• pp.207-224
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• 2009

This research is a quest of theories of poetry of Wang Yak-heo who was a literary critic during Chin(金) dynasty in ancient China. Wang Yak-heo left a fine piece of work, dubbed ${\ll}$Honam Yuro Jib${\gg}$ and, in this paper, the author closely reviewed the theories of poetry that is appeared, especially, in the three volumes of ${\ll}$Talks on Chinese Poetry${\gg}$ among the collections of Wang's poetry criticism. In particular, the author investigated the positive and negative aspects of Honam's commentaries on the works by Chinese poets, including his principles of poetics, creative skills, and practical criticism, etc. Wang Yak-heo has not been known much in the history of Chinese literary thoughts, however, his theory of criticism, especially, among the talks on Chinese the works by Chinese poets, his literature criticisms establish unique and distinctive point of views. Wang Yak-heo's poetics, more than anything else, valued nature, meanings, truth, and contents therein. He exhibited realistic view of literature. Meanwhile, he analyzed the methods of expression by Du Bo(杜甫, pronounced, "Du Fu" in Chinese), So Sik, also known as So Dong Pa (蘇軾, Su Shi or 蘇東坡, Su Dong Po in Chinese), and Hwang Jeong-gyeon(黃庭堅, Huang T'ing-chien), and highly evaluated the realistic poems written by Du Bo, Baek Geo-I (白居易, pronounced, "Bai Juyi" in Chinese), and So Sik. Also, he opposed to formalism or externality, however, he never made light of formality of poetry. In his comments on the works by Chinese poets, he highly evaluated the poems sung by So Sik and Beek Geo-I, in the mean time, however, he criticized their works without hesitation. Having set up his own unique criteria for critique, Wang didn't accept other opinions in a seemingly illogical manner, and he presented what he thoughts and other different points of view from others. Specifically, he attached great importance to whether or not modification of words and phrases, grammar, and whole context were congruent to one another and had been well harmonized. However, in his poetics, Wang was so wrapped himself in reasonableness or rationality, he analyzed each and every word in great detailed manner, as the result, he sometimes didn't read the sentiment or mood that the writers intended to express through poems. He excessively restricted himself to the words and phrases, so that he was not able to realize natural emotions and joy of imagination that were presented in the poems, and, in the end, this brought about adverse effects to the poet's thought.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.355-361
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• 2006

In large scale environments like airport, museum, large warehouse and department store, autonomous mobile robots will play an important role in security and surveillance tasks. Robotic security guards will give the surveyed information of large scale environments and communicate with human operator with that kind of data such as if there is an object or not and a window is open. Both for visualization of information and as human machine interface for remote control, a 3D model can give much more useful information than the typical 2D maps used in many robotic applications today. It is easier to understandable and makes user feel like being in a location of robot so that user could interact with robot more naturally in a remote circumstance and see structures such as windows and doors that cannot be seen in a 2D model. In this paper we present our simple and easy to use method to obtain a 3D textured model. For expression of reality, we need to integrate the 3D models and real scenes. Most of other cases of 3D modeling method consist of two data acquisition devices. One for getting a 3D model and another for obtaining realistic textures. In this case, the former device would be 2D laser range-finder and the latter device would be common camera. Our algorithm consists of building a measurement-based 2D metric map which is acquired by laser range-finder, texture acquisition/stitching and texture-mapping to corresponding 3D model. The algorithm is implemented with laser sensor for obtaining 2D/3D metric map and two cameras for gathering texture. Our geometric 3D model consists of planes that model the floor and walls. The geometry of the planes is extracted from the 2D metric map data. Textures for the floor and walls are generated from the images captured by two 1394 cameras which have wide Field of View angle. Image stitching and image cutting process is used to generate textured images for corresponding with a 3D model. The algorithm is applied to 2 cases which are corridor and space that has the four wall like room of building. The generated 3D map model of indoor environment is shown with VRML format and can be viewed in a web browser with a VRML plug-in. The proposed algorithm can be applied to 3D model-based remote surveillance system through WWW.

• Journal of Biomedical Engineering Research
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• v.21 no.6
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• pp.615-621
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• 2000

A social phobia is an anxiety disorder characterized by extreme fear and phobic avoidance of social and performance situations. Medications or cognitive-behavior methods have been mainly used in treating it. These methods have some shortcomings such as being inefficient and difficult to apply to treatment. Lately the virtual rcality technology has been applied to dcal with the anxiety disorders in order to compcnsate for these defects. A virtual environment provides a patient with stimuli which cvokes a phobia. and the patient's exposure to the virtual phobic situation make him be able to overcome it. In this study, we suggested the public speaking simulator based on a personal computer for the treatment of social phobia. The public speaking simulator was composed of a position sensor. head mount display and audio system. And a virtual environment for the treatment was suggested to be a seminar room where 8 avatars are sitting. The virtual environment includes a tracking system the trace a participant's head-movement using a HMD with position sensor and 3D sound is added to the virtual environment so that he might fcel it realistic. We also made avatars' motion and facial expression change in reaction to a participant's speech. The goal of developing public speaking simulator is to apply to treat fear of public speaking efficiently and economically. In a future study. we should get more information about immergence and treatment efficiency by clinical test and apply it to this simulator.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.57-75
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• 2020

This study identifies the symbolism of cross symptoms of different classes during the modernization process based on the imagery of and , both of which are Korean films made in the same era of the 1960s. The study referred to a number of Korean family movie films in the 1960s, in particular and , which are notably different in ways of expression and in social class of the subject matter, and identifies how the films express the mixed aspects of the cross modernization period. The film uses a grotesque expressionist method to voyeuristically look into a newly emerging middle class family, and the deconstructive aspect of a family unit whose excessive desire leads to its own ruin; thus, the film presents a new perspective into the various social issues that emerge in the near future. In contrast, engages realistic depictions to describe in detail the deep conflict of pain and hope within the hardships of life from the urban poor through a deep family conflict. Ultimately, the two films expose the various social issues through the familiar and the unfamiliar that appear from the mixed aspects of the cross modernization period, in other words, the conflicting images of the traditional and the modern.

• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.212-227
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• 2008

Since 3D face can be rotated freely in 3D space and illumination effects can be modeled properly, 3D face modeling Is more precise and realistic in face pose, illumination, and expression than 2D face modeling. Thus, 3D modeling is necessitated much in face recognition, game, avatar, and etc. In this paper, we propose a 3D face modeling method based on 3D morphable shape modeling. The proposed 3D modeling method first constructs a 3D morphable shape model out of 3D face scan data obtained using a 3D scanner Next, the proposed method extracts and matches feature points of the face from 2D image sequence containing a face to be modeled, and then estimates 3D vertex coordinates of the feature points using a factorization based SfM technique. Then, the proposed method obtains a 3D shape model of the face to be modeled by fitting the 3D vertices to the constructed 3D morphable shape model. Also, the proposed method makes a cylindrical texture map using 2D face image sequence. Finally, the proposed method builds a 3D face model by rendering the 3D face shape model with the cylindrical texture map. Through building processes of 3D face model by the proposed method, it is shown that the proposed method is relatively easy, fast and precise than the previous 3D face model methods.

• Child Health Nursing Research
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• v.9 no.3
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• pp.309-322
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• 2003

Purpose: This study was carried out to show the parental child-rearing attitudes perceived by daughters(woman college students), who were in the process of pursuit of resonable values, ethics and preparing for marriage and settling down, and another purposes were to help them to have positive attitudes toward their child-rearing in the future and set up preliminary parenting education program. Method: The subjects were 120 woman college students who were freshmen to junior in one university in Seoul. Using the self-report questionnaire, data were collected from December in 1999 to March in 2000. The contents which subjects wrote down were categorized by content analysis method. Result: 1) The age range of subjects were 19-25 years old and main rearer was mother(85.84％). 2) The perception of parent's child-rearing by subjects were revealed 555 statements and then tied together 50 themes: 'emphasizing on studying hard'(8.3％), 'doing by oneself'(5.6％), 'sternness'(5.2％), 'respect of personality'(4.5％), 'eagerness'(4.0％), 'humanity education'(4.0％), 'moderating in daily living'(4.0％), 'propriety education'(3.8％), 'sacrificing for children'(3.6％), 'expectation'(3.2％), 'concerning'(3.1％), 'parent-centered'(3.1％), 'giving a free hand'(2.9％), 'sharing with'(2.9％), 'consideration'(2.7％), 'over-protectiveness'(2.3％), 'hostile attitude' (2.2％), 'corporal punishment'(2.2％), 'expression of parental love'(2.0％), 'encouragement'(1.8％), 'family-centered' (1.8％), 'treating fairly'(1.6％), 'offering live experiences'(1.6％), 'exacting obedience'(1.62％), 'exemplary parental role' (1.6％), 'sexual discrimination'(1.6％), 'cooperation'(1.4％), 'giving favors'(1.4％), 'indifference'(1.4％), 'understanding' (1.3％), 'confidence'(1.3％), 'intimacy'(1.3％), 'pursuit of health'(1.3％), 'warm-hearted'(1.1％), 'stinginess'(1.1％),'broad-mindedness'(0.7％), 'granting'(0.7％), 'interfering'(0.7％), 'reproach'(0.7％), 'distinction of sex in household affairs'(0.7％), 'help'(0.5％), 'preparing for the future'(0.5％), 'disregarding'(0.5％), 'making environment'(0.4％), 'bringing up a child personally' (0.4％), 'comparing'(0.4％), 'religious life'(0.4％), 'good deed'(0.4％), invasion of privacy' (0.2％), 'controlling desire'(0.2％). 3) 50 themes were categorized by 18 categories once more: 'control' (13.2％), 'crazy for education'(12.3％), 'endeavoring'(8.6％), 'autonomy'(8.5％), 'home education'(7.7％), 'esteem' (6.67％), 'support'(6.67％), 'pursuit of healthy daily life'(5.6％), 'earnestness'(5.4％), 'disregarding personality'(5.4％), 'emotional bonding'(3.2％), 'imposing a burden'(3.2％). 'inhospitality'(3.1％), 'acceptance'(5％), 'discrimination'(2.3％), 'mature parenthood'(1.8％), 'strengthening family tie'(1.8％), 'psychological intimacy'(1.1％). 4) On the basis of this study, 3/5 of subjects(61.2％) perceived their parents had mature and autonomous child-rearing attitudes, and on the other hand 2/5(39.5％) of them perceived controlling, just forcing to work harder and personally disregarding attitudes. Conclusion: So we need to offer them nursing implementation such as preliminary parenting education program and parenting consulting like to strengthen positive perception and help improving in realistic, developmental child-rearing attitudes.

• Archives of design research
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• v.21
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• pp.109-121
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• 1997

The poster in America was considered merely a means of advertising until the late 1880s, and was not thought to have any intrinsic value. During the 1890s, the poster in America came into its own as a medium of artistic expression, and it was recognized anew as an medium of advertising. The production and circulation of posters became active, and it won the popularity of poster collectors. But the American poster renaissance flourished for a few brief years in the 1890s. In this thesis, I paid attention that the art poster in America was mainly a product of the publishing trade, and that it's rise and fall was connected with the circumstances of the publishing business. In chapterII, I discussed the growth of publishing business and the phenomenon of poster craze, and tried to figure out the characteristic of American poster design in 1890s. The American poster boom was formally initiated in Spring 1893, when Edward Penfield published the first of his monthly designs advertising Harper's Magazine. Penfield created a native American tradition of realism in the series of Harper's posters, his figures are realistic though anonymous, and are drawn without distortion or grotesquery, and details are reduced to essentials but not eliminated. In chapterIII, I discussed the change in book cover design in the 1890s. The rapid evolution of book and magazine covers was largely a reaction to the poster craze. Most magazines were issued with the same standard covers month after month at that time. In 1894, when William Bradley was asked to design a standard cover for the Inland Printer, he convinced the publishers to change the cover with every issue instead of designing one permanent cover. With the poster craze at its height, posters became big business, but still they were not very successful as advertisements. Because collectors of the 1890s were more interested in acquiring posters than in buying books. Significantly, this was also the moment when poster like designs began to appear on the covers of books and mass magazines. Publishers took notice of an idea. If the eye-catching design was on the cover itself rather than on a separate poster, the customer who wished to acquire the design would be obliged to buy the magazine. So there was no distinction stylistically between the posters of the 1890s and the magazine covers of the early 1900s. At the same time, the artistic poster was beginning to decline. While the most typical advertisements of the 1890s were the book and magazine posters of Bradley and Penfield, after 1900 advertisements for manufacturers' products played an increasingly prominent role. They would never again assume the leading role that they had played in the 1890s.