• 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 In fashion illustration circumstance, I examined the concept, usage, expression skill and history referring to historical documents.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.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.205-210
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• 2023

Stone cave paintings are continuous interactions as independent mediums in places such as text, images and stone cave architecture. Unlike Buddha statues, the narrative of the text always fascinates and guides the viewer to the timeliness of the image, that is, the narrative. In particular, in Buddhist art, Buddha statues are never simple images, and murals are never simple paintings. Before the Tang Dynasty, most unknown artists were artisans, and many artists still worked on murals in temples and palaces, and independent paintings such as scrolls and sides became an important form of painting after the Tang Dynasty, changing the mechanism of painting creation. In this paper, the graphic creation process prioritizes dedication and service, but we can still feel the creativity of the painters strongly. The historical resources of how to paint these paintings, the clues to the copies, and the precursor to the foreground, encourage the painters to constantly try to resemble each other and discover problems...Therefore, in this paper, it was confirmed that reinvention and creativity are very important, and that Dunhuang Buddhist art is the basis for artists' creation and the source of vitality.

• Journal of Conservation Science
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• v.33 no.6
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• pp.507-518
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• 2017

Through a combination of scientific analytical methods, the coloring materials used in $20^{th}$ century paintings in historical churches of Baclayon, Dauis and Loay, which are municipalities in Bohol, Philippines, were studied. Inorganic pigments were identified using SEM-EDS and XRD. Iron-based pigments were commonly found in the paintings, yielding dark yellow and brown colors. Zinc oxide was identified as the white pigment in the ceiling paintings of Dauis Church and Loay Church, while titanium dioxide was detected in the column painting in Baclayon Church. Organic analysis showed the presence of Pigment Yellow 3, a synthetic organic pigment. Paint layers, as well as other components of the samples such as grounds and metal leaves, were examined microscopically. It was observed that different types of grounds were applied on different types of surfaces. Moreover, organic pigments were found in combination with white extender materials. Microscopic examination also revealed alterations in the artworks, such as the overpaint layer found in the samples from Baclayon Church cornice and the imitation metal leaf layers applied over the original gilt surface in the Loay Church retablo.

• Journal of Conservation Science
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• v.35 no.6
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• pp.689-700
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• 2019

This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used "cho" as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.

• Journal of Digital Convergence
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• v.11 no.4
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• pp.431-441
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• 2013

The aim of this study is to reinterpret the image on a Korean tradition known as Bang-wee-shin-sang (an image of direction deity), and to revive the image into Jikimee (the guardian). In particular, this research re-analyzed the image and the symbol of Bang-wee-shin-sang and effectively designed the tradition to fit the modern living space. The theoretical study is to explore why it is necessary to redesign Bang-wee-shin-sang to accommodate modern living after examining the background and origin of typical Korean traditions such as Four Deity painting, Chinese Zodiac, and Four Kings' Painting. As a previous study, we examined the procedures of making Jikimee which was based on artists' works that utilized historical artifacts. The study indicated that Bang-wee-shin-sang is a vital resource to disseminate the unique characteristics of Korea and its tradition which played a role in linking the past and the present. Consequently, it is discussed that the utilization of modernized Jikimee in smart environment must be supported by foundation of academic system, the effort of academic and research link, and government funding policy.

• Proceedings of the Korea Contents Association Conference
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• 2005.11a
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• pp.105-110
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• 2005

Painting and writing are exceedingly different in the way they are visually express. However, if one were to trace the roots of both painting and writing, one would discover the two have the same origins. At one time, both painting and writing fulfilled the function portraying mutual or reciprocal messages to the masses. On the other hand, after the time of medieval manuscript and typography, they were separated completely into image and text. Today, the images are interpreted into the text. Meanwhile, the text better communicates its ideas to the masses through additional support of the simultaneous image. The joint use of the shaping of mutual exchanges between literature and visual art is being enlivened between scholars through their tendency to converse or communicate through the media. Moreover, the visual configuration and characters that strike into the new media are one of the various uses and the significantly important methods of deliberative communication that are necessary for hypertext functioning. In the following text, I will expande and develope the historical communication scheme and the process of modification of painting and writing, lead the origination of modern new-pictograph.

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• Journal of Conservation Science
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• v.37 no.4
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• pp.322-339
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• 2021

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John's Fort by the prominent Singaporean artist Liu Kang (1911-2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John's Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John's Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang's painting materials and his working practice.

• Journal of the Korean Institute of Rural Architecture
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• v.7 no.1
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• pp.112-120
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• 2005

The object of this study is one of the traditional houses about Siheyuan(courtyard house) which is one of the most remarkable types of dwelling in China. The purpose of this paper is to examine and analyse the formation process of the Siheyuan. Its organizational formation process are based on historical and natural-geographical background. With the passage of time this house developed into one of the Chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the picture of brick, the earthenware of house type, the painting of cave, the paintings of painters and others.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.