• The Journal of Art Theory & Practice
• /
• no.8
• /
• pp.59-87
• /
• 2009

This thesis started from the attempt to make it clear that 80's American artist Keith Haring(1958-1990) had conducted social intervention of criticism, resistance, and participation through his works, and so pursued public value. Haring of graffiti fame left popular and familiar cartoon style pictures on the street wall, the billboards, the posters and so on. Popular and playful works was explained as his unique characteristics, but Haring's creative way at the field has more value than just being grasped as artist's personal characteristics. Haring's work pieces became everyday art by joining with people's life, and are working as a social speaking place. So I think that these Haring's art works possess characteristics of 'the public sphere'. 'The Public Sphere' means that is independent and free from the government or partisan economic forces, so that is not connected with the interested relations, and that is the sphere of rational argumentation without 'disguise' or 'fabrication', and that is the sphere where general public can participate in and is inspected by them. The public sphere between the sphere of public authority such a nation and a market and the private sphere of free individual, it is mutually connected with them and works as the space forming public opinion. Private individuals communicate with this public sphere and perform a role of direct and indirect check, balance, and social criticism way off from power. Openness that should include the voice of not only leading power but also the socially weak such as citizens, women, homosexuals, minority races, and so on, and alienated class, is an index of the public characteristics. The public sphere is not working just with speech and mass media. Many artists as well as Haring open their mouth and act through an art at the center of society, and create another public sphere by an art. I understood that the real participatory and practical characteristics on the Haring's work is a phenomenon and current of a part of the art world including Haring. Such current started from 1960s is the in-depth effort to be connected with the life more closely, to communicate with people, and to improve problems of life. And it has pursued public value on the different way from the nation or public power. Artists have intervened in the society with strategic and positive ways in order to raise pushed-out value and sinked rights as the public agenda, and labored to accept the value of variety and difference at the society. The aspect of such social intervention is the notable features, findable on the Haring's works and process. Haring's works include art historical meanings and are expressed with familiar and plastic language, so they were able to communicate with various classes. And he secured various customers at the field and the street. This communicative and public approach factor raised the possibility much for his works to work as the public sphere. Haring presented critical and resistant speech toward society with his works based on this factor. He asserted his position and justice of gender identity as a sexual minority. And his such work continued to movement for alienated class and social week over his own rights. His speech and message on the wall painting, poster, T-shirts, billboard of the subway, and so on worked as a spectacle and pressed concern with social issues and consciousness shift. And he's been trying to protect and care people who is injured by HIV and drug and to realize social justice through social week protection. Haring's works planned to meet many people as much as possible performed its role of intervening in society through criticism, resistance, speech, and participation, and controlling and checking social issues. These things considered, Haring's works show his consciousness about public attributes of art, and obviously include public value seeking. And also we can find the meaning of such his work as that an art is working as the public sphere and shows the possibility to discuss and practice public issues.

• Korean Journal of Heritage: History & Science
• /
• v.50 no.4
• /
• pp.104-121
• /
• 2017

The present study attempted to produce the floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace of the Late Joseon Period through the use of rubber sheeting transformation based on the drawing principles of "Donggwoldo(東闕圖)". First, the study compared the actual sizes of the major buildings that have existed since the production of "Donggwoldo(東闕圖)" with the sizes depicted in the picture to reveal that the front elevation of the buildings was produced by reducing it by approximately 1/200. However, the study could not confirm the same production proportions for the side elevation. Only the lengths of the side elevation were depicted at around half of the actual proportions, and as the diagonal line angles were found to be at an average of $39^{\circ}$, the study confirmed they were drawn in a manner similar to cabinet projection. Second, the study created an obliquely projected floor plan by inversely shadowing the drawing principles of "Donggwoldo(東闕圖)" and produced a floor plan of the surroundings near Geumcheongyo Bridge in Changdeokgung Palace through the use of rubber sheeting transformation. Projective transformation was confirmed as most suitable during the transformation, and with standard error of 2.1208m, the relatively high accuracy of the transformation shows that the production of a floor plan for "Donggwoldo(東闕圖)" is significant. Furthermore, it implies the possibility of producing floor plans for various documentary paintings produced using the paralleled oblique drawing method in addition to "Donggwoldo(東闕圖)". Third, the study evaluated the accuracy of the spatial information provided by the produced floor plan by comparing the three items of Geumcheongyo Bridge location, Geumcheongyo Bridge and Jinseonmun Gate arrangement, and Geumcheon stone embankment location. The results confirmed the possibility of utilizing the floor plan as a useful tool which helps understand the appearance of the surroundings at the time of "Donggwoldo(東闕圖)" production because it is parallel to the excavation results of the Geumcheongyo Bridge and its context. Therefore, the present study is significant in that it seeks the possibility of producing spatial information recorded in "Donggwoldo(東闕圖)" by applying rubber sheeting transformation and consequently in that it presents a new methodology for understanding the appearance of the East Palace of the Late Joseon Period.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.2
• /
• pp.78-97
• /
• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.100
• /
• pp.112-138
• /
• 2021

This paper mainly analyzes the records titled 'Shijujil(施主秩)' from the Bokjangs of each of the Rocana and Shakyamuni statues enshrined as wooden seated Vairocana Buddha Triadcomposed of Vairocana(center), Rocana(right), and Shakyamuni(left) at the Daeungjeon Hall of Hwaeomsa Temple in Gurye. The Shijujil from the Shakyamuni statue was recovered through Bokjang investigation in September 2015 and has been kept in the museum of Hwaeomsa as an undisclosed relic. After the discovery of the Shijujil from the Rocana statue through an Bokjang investigation in July 2020, both of the Shijujils were only officially released through the special exhibition 'Grand Hwaeomsa Temple in Jirisan Mountain' in September 2021. Existing documents recording on the creation of Buddha statues in the 17th century are in the form of sheets or rolls. However, the Shijujils take the form of simple stitched booklets. The Shijujil from Rocana consists of 19 chapters and 38 pages in one book, and the Shijujil from Shakyamuni consists of 11 chapters and 22 pages in one book. The contents of the Shijujils consist of the purpose of the Buddha statue creation, the creation date, the year and place of enshrining, the names of the statues, the people in charge and their roles, the sculptors, the list of items donated, and the list of the contributors. In addition, the list of monks who were staying at Hwaeomsa Temple at that time are also recorded, so the Shijujil is like a time capsule that tells the situation of Hwaeomsa Temple about 400 years ago. According to the records of the Shijujils and the Writing on the wooden pedestal of Rocana, the Vairocana Triad began to be in March 1634(12th year of King Injo) and was completed in August of that year, and was enshrined in the Daeungjeon Hall in the fall of the following year. It is very important to confirm that the Vairocana Buddha Triad of Hwaeomsa was created in 1634. Since studies on the reconstruction of Hwaeomsa Temple in the 17th century and the roles of Byeokam Gakseong have been mainly based on 『湖南道求禮縣智異山大華嚴寺事蹟』 written by monk Haean in 1636, it has been estimated that the wooden seated Vairocana Buddha Triad was created in 1636. However, it is now known that the Virocana Buddha Triad was created in 1634. The Shijujils are also a good source of information about Byeokam Gakseong who played a pivotal roles in the reconstruction projects of Hwaeomsa Temple in the 17th century. He played leading roles in rebuilding the East Five-story Stone Pagoda(1630), in creating the wooden seated Vairocana Buddha Triad(1634), and in producing the Yeongsanhoe Gwaebul(1653, Hanging Scroll Painting depicting the Shakyamuni preaching). It is also very important that the Shijujils are records that can reveal the relationship between Byeokam Gakseong and royal family of Joseon Dynasty in the 17th century. The Shijujils from Rocana and Shakyamuni are the first documents ever discovered in which the names of royal family members, such as Uichanggun(Gwang Lee, son of King Seonjo), Ikseong Shin(son-in-law of King Seonjo), and Crown Prince Sohyeon(son of King Injo) are recorded in detail in relation to the production of Buddha statues. The Shijujils from Rocana and Shakyamuni contain specific information about the production of the wooden seated Vairocana Buddha Triad in the 17th century, such as the year of production of the Buddha statues, the role of Byeokam Gakseong, and the relationship between Byeokam Gakseong and the royal family, so it is of great value not only for art history but also for historical studies of Hwaeomsa Temple.