• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.13 no.6
• /
• pp.1234-1240
• /
• 2009

Culture is not only a factor of a life worthy of man, but also that of beauty and fluency of life,so it works as a key to show differences in the quality of life. Paying attention to culture, which plays a role to create new things, is a source of high-added value. The term of cultural contents was derived in21C, combining digital skills with art. We are going to reconstruct and develope cultural properties such as remains, pottery, pictures, as a way of restoration for cultural contents with the view of reinterpretation. In this paper, we reinterpreted the pictures which were based on three particular elements in Chosun Dinasty- poetry, handwriting, and picture, and we produced 3D objects after analyzing texts and images in multimedia works applied with source pictures. As a highlighted method of restoration for cultural contents, we produced the work which can be interacted and has three dimensional objects getting out of appreciating of plane images. We presented a method of informing our culture with 3D Mong-yu-do-won-do, which used traditional paintings by being improved user friendliness and accessibility.

• Journal of the Korean Society of Food Culture
• /
• v.18 no.6
• /
• pp.536-543
• /
• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.65-75
• /
• 2015

The findings of basic study on the awareness of falls in terms of Gwanpokdo(Paintings of Viewing Falls) were drawn as follows. First, there is a difference in an esthetic sense that water brings depending on the ratio of falls, and Gwanpokdo(Fall Landscape) in which falls take up more than 20% of the canvas focuses more on falls so that it brings about the awareness of landscape through direct communication with nature. Second, the diagonal composition of the canvas has symmetry between falls and a person viewing the falls, which makes view point even clear. In addition, margins of the canvas were missing due to the effect of True-View Landscape Painting during the late Joseon Dynasty, and overall composition of using the entire canvas became popular. This overall composition is stable and disposed with lopsided composition, so this heightens sense of balance and the meaning of falls. Third, Gwanpokdo(Paintings of Viewing Falls) of Josoen Dynasty showed various types of viewing falls in distant view, but as the distance between falls and persons got closer in the latter part of Joseon Dynasty, falls were no longer utopia but it expressed a sense of beauty and aesthetic contemplation through direct communication with real nature. Fourth, Gwanpokdo(Paintings of Viewing Falls) of Joseon Dynast had many drawings of a person viewing falls and viewing behaviors such as Supyeong gyeong(level landscape), Amgang gyeong(lower landscape), Bugam Gyeong(higher landscape), and glimpse viewing. Fifth, rocks out of landscape elements make falls vivid and are so expressed as yin and yang that falls and rocks are well contrasted with each other, maximizing beautiful scenery of falls. Sixth, woody plant of Gwanpokdo(Paintings of Viewing Falls) was mostly pine trees which symbolized the literati's fidelity and integrity at that time and emphasized the firm meaning of transcending the nature, matching with symbolization of falls.

• Archives of design research
• /
• v.15 no.4
• /
• pp.47-56
• /
• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• The Research Journal of the Costume Culture
• /
• v.6 no.2
• /
• pp.109-126
• /
• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• Journal of the Korean Society of Costume
• /
• v.24
• /
• pp.143-155
• /
• 1995

Unlike pure art such as painting and sculpture, dressmaking , a field of special plastic art, is characterized by its physical and functional nature. Having an inseparable relation with form, it is a field of art expressiion the human innersense of beauty in correlation with other various fields of art. In this respect, I think it should be necessary for us to study the forms of art from the past in order to study the forms of art from the past in order to study the correlations and mutual influencies between forms of pure art and dressmaking and to understand modern dressmaking from the standpoint of art. In this context, this study is an attempt to analze how the form and characteristics of OP ART , which represents the trends of the 1960's is embodied in modern dresses. The results are as follows : Fist , the expression of OP ART in dresses have visual effects harmonizing with bodily movements and , also, expanded the range and dynamics of expression which resulted from the introduction of visual phenomena in a fresh new sense by not limiting itself to the suggestion of patterns of OP ART. Second, OP ART paintings expressed the mobility and rhythimicity of a body in a limited space in a two-dimensional plane way of expression . When a dress is worn, however, it expands such mobility and rhythmicity in a cubic , three-dimensional way, maximizing the effects of , and boldly expression, OP ART, it can also create a new silhuette and ability of formation by seeking an open expression of OP ART rather than an expression of OP ART it self , due to the infinite possibility and unpredictability by the dynamics of movements and the elements principle of designs. Third , by applying the patterns of OP ART to dresses, we can obtain special visual effects of design, cover up the body's weak points, and create a desired three -dimensional sense by highlighting the beauty of the body's curved lines. Although modern dresses and OP ART are different genres of art, both have something in common in their pusuits. Since there is a infinite possibility in OP ART, there should be continuous attempts to combine dresses and art satisfying the sense of the times, which will lead dressmaking to a higher-dimensional dressmaking plastic art.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.235-240
• /
• 2022

Donggang Su-ho Jo(1924-2016, hereinafter referred to as "Donggang") was a calligrapher and literarti painter who was active in recent times. When he survived, he was called the first teacher respected by all in the field of world calligraphy. His perception of beauty is due to the art view embodied by human instinct. In particular, he considered writing and painting as art of contact(接), which means connecting. Therefore, the meaning of contact(接), is recognized as a kiss between men and women or love affair(雲雨之情). In this way, his literarti painting originated from a wide range of concerns and quests for art. He recognized the principle of art creation from a universal and general perspective on beauty. Based on this, the significance of true artistic spirit and art philosophy was established. If you observe the literarti painting of the Donggang with bamboo's literati painting and orchid's literiti painting, his bamboo's literati painting has the aesthetics of lusterless(無潤), and difficulty obscurity(苦澁). His orchid's literati painting is appreciated refinement(雅) and harmony(韻) made vulgar appearance(俗). His character and scolarship became his literarti painting.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• The Journal of Korean Philosophical History
• /
• no.32
• /
• pp.309-336
• /
• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.81-89
• /
• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.