• Journal of Digital Convergence
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• v.13 no.2
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• pp.325-331
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• 2015

The purpose of this study is to apply the digital storytelling to the traditional portrait which includes the various historical and personal stories for modern transformation of it. In the general understanding of traditional paintings, there is a oversimplified analysis of the narrative about traditional portrait. Considering the contemporary cultural context, the multi-dimensional study on the various modern meanings of the traditional portrait are very essential. This study examines the digital storytelling application of the traditional portrait of Kim, Hongdo and applies for modern transformation. This research has the implications for modern transformation of traditional art that broaden our understanding of the various traditional portrait includes ideological and aesthetic significances by the digital storytelling.

• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.2
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• pp.193-210
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• 2024

The portrait featuring Jo Ban(1341-1401), a scholar-official from the late Goryeo and early Joseon period, and his wife is the oldest surviving couple portrait in Korea. It is of great value in uncovering the clothing culture of the period given the limited number of historical artifacts and records. This study examines the historical clothing and textile patterns of Jo Ban's wife and reproduces them using 3D fashion design software program CLO. She wears jokduri, chima, and baeja over layers of jeogori, a mixture of traditional Korean and Chinese styles. Her clothing illustrates eight patterns-one flower, five geometric, and two cloud. Records and relics of similar periods show that flower and geometric patterns in her clothing follow the prevailing styles of Goryeo, while the cloud patterns are representative of early Joseon. These details are used to reproduce six different styles of Jo Ban's wife with CLO tools. Various visualizations of textile patterns are applied to materials, generating a more realistic look than her existing 3D character created with the portrait. Results of this study are expected to help promote the use of Goryeo clothing and patterns in numerous designs and enhance intuitive understanding of Goryeo clothing based on 3D visualization.

• Journal of the Korean Society of Costume
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• v.51 no.8
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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.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.114-131
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• 2014

The Portrait of Yang Zhuxi(楊竹西小像) at the Palace Museum in Beijing holds important significance as one of the rare portraits from Yuan Period and as a painting with a definite year of creation in 1363. It is also noteworthy in that it is the only remaining work of Wang Yi(王繹), who was one of the critical portrait painters during the second half of Yuan Period and the author of Xiexiang Mijue(寫像秘訣), the first book on the portrait theories, that it was created in conjunction with Ni Zan(倪瓚), one of the utmost landscape painters of the times, and that it was an early case of landscape and figure painting-format portraits. The figure in Portrait of Yang Zhuxi was originally known as Yang Wu(楊瑀), a high official during Yuan Period, but it was a misunderstanding on the part of Li Rihua(李日華), a literary figure from Ming Dynasty. The actual model was Yang Qian(楊謙), a reclusive literary figure in the Songjiang(松江) region. Yang Qian is estimated as one of the central figures with a high reputation in the literary community of Jiangnan those days. Portrait of Yang Zhuxi was depicted by borrowing the icon of such hermits as Su Shih(蘇軾), which seems like a proper choice to express Yang Zhuxi, a reclusive literary figure. Furthermore, the rocks and pine trees described by Ni Zan reinforced the significance of the portrait through their traditional symbolism of man of virtue and man of letters, respectively. Portrait of Yang Zhuxi used the Baimiao Manner(白描法), thus being differentiated from other portraits from the same period. Even though there is no coloring in the painting, it boasts more excellent realism than colored portraits. It expressed the body with the graceful and controlled Li Gonglin(李公麟) and Zhao Mengfu(趙孟?) style Baimiao Manner, raising its dignity further. In terms of functions, Portrait of Yang Zhuxi is strongly characterized by the appreciative function unlike other portraits focused on the ceremonial function. Being created to be viewed and appreciated by the model himself and his friends, the portrait was very significant to promote their friendship. However, there was a great intention to reflect the emotions of the model himself and his friends in the painting beyond the simple appreciation level.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• Conservation Science in Museum
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• v.16
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• pp.56-81
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• 2015

Ring in the scroll painting is one of the mounting elements which are fixed string and tassel to hang, these differ widely in shape and produce a variety of metals. Most traditional shapes of ring have been lost, because of remount, there are used Japanese style rings in present.Therefore, this study examines to shape, production technique and analyze component traditional style rings of 19 traditional scroll paintings in National Museum of Korea for restoration of original style. Ring has been recorded official names; Wonhwan(Ring), Gukhwadong(Chrysanthemum shaped ornaments), Baemok(Ring-shaped nail) in Uigwe. Result of an optical microscope (Leica, M205A), Wonhwan has two type of production technique; one is cutting and bending a metal rod and other is cast. Baemok is made to forging process after metal rod or plate by casting alloy. Baemok decoration is metal plate cutting shape, and then decorates it with pattern by using kicking line engraving, chasing and so on. Component analysis result from portable X-ray fluorescence found various metals, such as, brass, iron silver-cooper. Brass based on copper and zinc used rings of 17 scroll painting. Baemok of Yun Sidal portrait is used iron and plated with a tin-lead alloy. Yi Seogu portrait is silver-cooper alloy in whole ring.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.342-352
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• 2018

Seongri scholars of the Joseon Dynasty said that portraits were revered as academic teachers, and that the personal meaning was typical. Portraits in the latter phase of Joseon Dynasty have been popular in various contexts, especially in the sense of the texture, the religious church, and the ritual service. The etiquette and written aspects contained in portraits can point out the problems of contemporary society's individualism and attitudes through the expressive and personal approach to the art of painting. The purpose of education is to explore relationships with others, to coordinate myself with others, to have respect for others, and to change the inner workings of individuals. Through this, we can explore and explore personality education elements and find ways to achieve personality education through the exploration of figures using portraits as educational material, the process of making portraits, and the discovery of meaning. Therefore, for systematic appreciation, we are planning to set up an appreciation standard by proposing a 3-step review process applied to the 2015 revised education course.

• Journal of Conservation Science
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• v.28 no.4
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• pp.297-303
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• 2012

Samsebul, the altar portrait behind the statue of Buddha in the main building of Bonghwang temple in Andong, has been designated as Tangible Cultural Property No. 406. These alter portraits have significance as the standard of the research of Samsebul in Joseon period. In this study, fibre of the ground textile is identified using microscopic examination, solubility test, ATR-FT-IR, SEM, XRD. Two samples from Yaksabul(A, B), one sample from Seokgabul(C), and one sample from Amitabul(D), which were collected during the conservation process, were prepared for this study. In previous record, above samples were documented as hemp. Due to severe deterioration and accumulated dust layers on these samples, it was hard to recognize them with naked eyes, but through this study, we could identify that all samples except one from Yaksabul(A) are silk.