• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.162-169
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• 2023

With the diversified development of modern art, the application of mixed media in painting has become increasingly prominent, which not only provides artistic creators with new creative ideas, but also magnifies the creators' emotions and re endows the media with meaning and value. This paper systematically introduces the definition, features and connotation of mixed media painting, and expounds three aspects of the aesthetic function of multimedia in oil painting creation, the embodiment of painting individuality, and the combination and application of materials and technique to demonstrate that mixed media presents different understanding and expression in Chinese oil painting, no longer constrained by traditional oil painting materials, which promotes more development possibilities of the art expression form of Chinese oil painting, enhances its international influence, and bring new vitality to the creation and development of Chinese oil painting.

• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.108-115
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• 2024

Contemporary Chinese "micro-perspective" painting is an artistic phenomenon that we cannot ignore. It is the young artists who focus on themselves and their communities, record their stories and emotions in their life fragments into the coming history, and diary paintings as "micro-perspective" paintings allow "marginal people" to find their place. Based on the analysis of the aesthetic form and aesthetic characteristics of Chinese contemporary art, this paper explores the three aesthetic dimensions and their inherent aesthetic value, and explains its significance from the perspective of "micro-view" aesthetics. In the contemporary context, "micro-perspective" painting has become a unique cultural phenomenon, a consciousness situation. However, this phenomenon has a very unique artistic value and cultural value for the youth art group and even the formation of aesthetic culture and zeitgeist in China's current society.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.291-301
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• 2023

The purpose of this study is to examine the perception of early childhood teachers on ecological art activities oriented to education for sustainable development. The research results are as follows. First, Early childhood teachers recognized the visual art of natural media, the pursuit of community values, and the participation and communication of social members as educational significance of ecological art activities. And difficulties in practicing ecological art were recognized as lack of educational environment, lack of ecological art teaching materials and specific examples, and teachers' lack of understanding of ecological art. Also, they recognized that ecological art activities foster core competencies in art experience area, such as nature-friendly communication skills, eco-friendly sensibility, and creative convergence skills. Second, regarding ecological art activities and sustainable development education, early childhood teachers considered the difficulties in practice as lack of awareness about sustainable development, lack of play meia and materials, lack of educational policies and support, and insufficient teacher training programs. Also, regarding the SDGs that can be practiced in ecological art activities, teachers were found to be highly aware of 'grow affordable and clean energy', 'improve clean water and sanitation', 'provide quality education' in the order. In the contents of education for sustainable development that can be practiced in ecological art activities, teachers are given the order of 'climate change response', 'clean energy', 'water and sanitation', 'quality education', 'health and well-being' and 'marine ecosystem'. was highly recognized. If an ecological art activity program is developed, the rate of responding that it will be used is high, so it is considered that the development of an ESD-oriented ecological art activity program is urgent.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.36-47
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• 2003

The purpose of this study is to examine the present problems relating to the legislation and execution of adornment of buildings in the provinces, and to explore ways to improve the role and function of adornment of buildings in terms of public art. In order to do that, the related national law and enforcement decree and the local regulations and rules were analysed. In addition the catalogues on the adornments of buildings that are managed by 31 cities and counties of Gyeonggi-Province were also compared and analysed. As a result of our survey, it has been determined that the reform of the adornments of buildings must be executed on the national and local levels. On the local level, the revision of regulations must occur simultaneously with the changes of national law and enforcement decrees. In many local self-governing bodies, there are quite a lot of discrepancies between their regulations and the upper law. Therefore, people can be confused regarding the sensitive problems such as the types of buildings that are required to display adornments and the proportion of the cost to the construction cost. In addition the effects of the improvements to national laws are often delayed. For example, the updated national law requires committee members to be appointed on the basis of merit, the announcement of the deliberation results, and the establishment of provisions regarding the management of existing structures. Unfortunately, improvements to the national law are not followed through on a local level. Concerning national legislation, the following improvements are necessary to minimize these problems. First, the western concept of‘public art’must be imported to Korea and applied to future legislation regarding adornment of buildings. Second, the perception of the purpose of adornment of buildings must be changed from‘art promotion’to‘improvement of the urban environment’Third, it is impractical to require private citizens to fund public worts of In. Korea requires an organized federal funding system for the commission of public art, which is to be controlled by committee. Finally, the definition of public artwork must be enlarged to include a more broad range of art, such as landscape architecture. In addition, continuing care of existing public worts of art must be managed systematically and strengthened.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.131-137
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• 2019

The purpose of this study is to draw the factors that makes the visitors decide to visit the art-museum and verifying the influence of visit determinants on recommendation intention and revisit intention. Visitors to Gwangju Museum of Art and Gwangju Biennale in Gwang-ju city were chosen for this study. Data were collected for 30 days from September 15 to October 14, 2018. A total of 350 visitors were attended in this research and finally 315 samples were used for the empirical analysis. The result of this study showed that 4 determinant factors(Escape from the ordinary, self-development, novelty, culture experience) of visiting art-museum were identified which all influences on behavioral intention(recommendation intention, revisit intention). Particularly, 'novelity' is the major factor influences on recommendation intention followed by 'escape from the ordinary' factor. Moreover, 'escape from the ordinary' factor influences the most on revisit intention among all determinants of visiting art-museum.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.215-222
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• 2022

This study summarizes the basic concepts of NFT art and analyzes trends in the domestic and international NFT market to provide a better understanding of the art form to suggest various ways to utilize the art in near future when social interests in technologies such as metaverse, block chain, and NFTs are continuously increasing. In addition, by examining the rapid development and process of blockchain technology in overseas markets, and confirming cases of information transfer to various metaverses such as cryptocurrency and NFT technology, the aim is to present a foothold for the future direction of national arts in general. To this end, in order to analyze consumers' perceptions and preferences, and to draw conclusions about current NFT arts at home and abroad, a survey was conducted on NFT awareness among participants of an art fair in Gwangjin-gu, Seoul. It is hoped that this study will become a cornerstone of research on NFT works and NFT art industry, which is becoming a global issue.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.268-276
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• 2023

Ukiyo-e, a pivotal facet of Japanese art, had a profound impact on Western art during the 19th century, contributing to the emergence of Impressionism and Post-Impressionism. Notably, Katsushika Hokusai's "Great Wave" remains an enduring masterpiece. Ukiyo-e's historical trajectory is intricately linked to the socio-cultural context of its time. Japan's early artistic influences derived from China, evolving through the Nara and Heian periods. Ukiyo-e emerged from the Yamato-e tradition, characterized by its transition from religious themes to secular subjects. Zen Buddhism's influence during the Muromachi Shogunate shifted focus to ink wash painting, which eventually became accessible to the masses. The Azuchi-Momoyama period introduced lavish, colorful works. The Edo Shogunate upheld Kano School for the elite, while folklore painting gained popularity among the commoners, leading to the creation of Ukiyo-e. Ukiyo-e diversified its subjects, including beauty, geisha, sumo, landscapes, and more. The Asakusa district's "Shin-Yoshiwara" added to its vibrant themes. By the late 19th century, Ukiyo-e transcended its roots, encompassing landscapes, wildlife, and beyond. I explore Ukiyo-e's aesthetics and its influence on Impressionism, focusing on "The Three Masters of Ukiyo-e" - Kiyotagawa Komaro, Katsushika Hokusai, and Utagawa Hiroshige.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.64-72
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• 2023

This paper discusses the technical exploration of Ang Lee's cinematic works and the unique visual beauty he presents. Ang Lee has successfully tackled various themes and genres, creating films that harmoniously blend Eastern and Western cultural sensibilities. These films are technologically innovative and show the interaction between technology and art, industry and culture. Therefore, this paper analyses the correlation between film technology and visual beauty in Ang Lee's works, and explores the discourse on how the relationship between film technology and art has changed with the development of film. Furthermore, this paper aims to provide insights into how technological innovation can enhance artistic creativity. The contribution of this study lies in the in-depth exploration of the relationship between film technology and art, with a focus on technological innovation and the visual beauty in Ang Lee's works. The research findings reveal that Ang Lee's films showcase the application of advanced technologies, captivating audiences with their unique visual aesthetics. The utilization of emerging technologies enables his films to possess not only visual impact but also convey profound emotions and themes. We conclude that technological innovation in film not only provides artists with more creative tools and expressive techniques but also, when combined with artistic sensibilities, creates captivating and visually expressive cinematic works. This discovery offers a new perspective for film production and opens up greater possibilities for collaboration between artists and technology experts.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.197-202
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• 2021

This paper focuses on the situation in which, as pluralistic democracy spreads globally from the mid-20th century, the concept of publicness, the reason for the existence of traditional public art, is not limited to the physicality of occupying public space or the conditions for creation by public funds, but is seeking a new direction and examine the social significance of these changes. For this purpose, the main body of this paper analyzes the major public art projects of Freee Art Collective who were active in the UK in the early 2000s. Freee performed various public art projects in which individuals constituting a community critically reflect on political, social, and economic issues related to public goods and provide a discourse space for democratic discussion. Their practice suggested a methodology for socially-engaged public art that resists the "Third Way" cultural policy of the New Labour administration. Therefore, this paper argues that Freee's public art seeks alternatives to publicness in that it allows one to resistively think about problematic aspects of hegemonic cultural production of neoliberal cultural policy that pursues political consensus and social harmony. This research about Freee's public art would be significant in that it can serve as an opportunity for critical reflection on the contemplative form and public role of contemporary public art.