• Cross-Cultural Studies
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• v.29
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• pp.25-53
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• 2012

The attitude of observer in the painting of history is to exclude a prejudice and a subjective view of an artist and to introduce a photograph, which is a record of objectivity, in the process of painting. Its ultimate intent is to redescribe the fact of an event's image intactly without any prejudice and to represent the event as a proven evidence that it was. The representation of history based on fact had already been conceived in imagination of renowned artists such as Francisco Goya or $Th{\acute{e}}odore$ $G{\acute{e}}ricault$ even before cameras were invented. What they portrayed was their own truth of reality which is gained through their observation, not a history that have corresponded to political ideologies, for all reliance on a limited tool of representation, painting. Furthermore, history was necessary for 19th century impressionism artists to be represented under proven fact in a neutral perspective excluding all subjective prejudice, not based on the representation with imagination. Edouard Manet in particular reconstited an instant moment on the basis of real proof of photograph without personal prejudice or opinion as if today's photojournalism. The catastrophic series by Andy Warhol and the photographic painting by Gerhard Richter show another role of painting in the realm of art, each of them implying information distortion and abuse by current media and intentional deformation toward history as Manet's painting of history. Today, the representation of an historical event that we experience in the era of the Internet and social networks having a great deal of information already came to be the exclusive property of the cutting edge mass media. Nevertheless, the attitude of observer which is realistic and contemplative in the realm of art is the crucial point in terms of artists' act as ever.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.33-45
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• 1999

The essence of Chinese landscape architecture is realization of a space that embraces nature and human integrating the openness and encloseness. The concept of landscape architecture that artificially furnishes natural elegance into urban areas coincides with the spiritual basis of Chinese literati-painting which subjectifies the scenery of objective world and entrusts personal feelings on that. In other words, the ultimate ideal of Chinese landscape architecture is embodying the Utopia of confucian intellectual in a city. This paper has tried to shed a light on inter-relationship of literati-painting theory and Chinese landscape architecture theory through comparing them. It is the identical spiritual basis they shared harmoniously that made landscape architecture, poetry and painting possible to meet.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.204-211
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• 2023

Chinese figure painting is the earliest type of painting to be mature in the history of Chinese painting. After its peak in the Jin and Tang dynasties, Chinese figure painting turned into a low tide in the Ming and Qing dynasties. Under the influence of the May Fourth New Culture Movement's concept of "introducing the Western culture into China", realistic ink wash figure painting emerged, which was different from traditional painting. Realistic ink wash figure painting is a new kind of painting that combines traditional Chinese painting methods with concepts of Western scientific painting. With the mutual reconciliation of realistic modeling and traditional Chinese painting, it makes up for the shortcomings of traditional Chinese figure painting in reproducing life, thus forming the diversified development of Chinese figure painting. Through an in-depth interpretation of the fusion of Chinese realistic ink figure painting with Chinese and Western, this paper accurately grasps the characteristics of the painting language, which is an important guide to the creation of Chinese realistic ink painting today.

• Journal for History of Mathematics
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• v.29 no.4
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• pp.233-242
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• 2016

The painter Leon Battista Alberti insisted that mathematics was very important in painting in his famous book "Della Pittura(On Painting)" at 15th century. At the first part of the book, he explained about points, lines, and planes mathematically. And he emphasized that the proportion was very useful for accurate description of objects. This is the perspective that Alberti showed by using visual pyramid. In this paper, we investigate the Alberti' s method and the background of Alberti's perspective.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.212-220
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• 2023

The meticulous figure painting is one of the wonders of traditional Chinese painting and has blossomed in art history with its unique and interesting style. The period from the Warring States period to the Song and Yuan dynasties was a glorious period in its history, after which it tended to decline due to changes in painting materials and many socio-historical reasons. The extensive cultural exchanges in the world today, the penetration of Western values and the expansion of information technology have brought a huge impact on Chinese meticulous figure painting, which has developed an active way of thinking and expression after absorbing certain elements of Western culture and thought on the basis of inherited tradition. Contemporary Realistic Figure painters continue to explore new developments in meticulous figure painting in the contemporary context, and give contemporary meticulous figure painting a new cultural and ideological connotation, forming a new look that meets the requirements of the times, with richer and more lively content, subject matter and formal language. Traditional meticulous figure painting is characterised by a highly refined use of line and coloring composition. Contemporary meticulous figure painting focuses on the use of purely formal language and the expression of the personality of the creative subject, with a new outlook on the world of painting. In the contemporary multicultural context, new formal language and methods of expression are constantly being explored to create a new look. In the process of development, contemporary meticulous figure painting has merged the best qualities of traditional and contemporary culture, making it an art with a subtle language, rich in meaning and with the charm of the times and oriental characteristics. The author in the form of contemporary fine brushwork figure painting language as the research object, explore new form of fine brushwork figure painting, and in the contemporary society and multicultural context factors. Innovation, enrich and develop new forms of art language of contemporary social form and aesthetic temperament and interest.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.232-240
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• 2023

The ecological expression of art in modern society takes the harmonious developmental relationship between man and nature as an element and combines it with the various manifestations of painting as an expression of ecological artistic development. The necessary relationship for the harmonious development of nature is accurately articulated, and the ecological changes in people are expressed in integrated materials that inspire human reflection. In the pursuit of material pleasures, mankind is neglectful and indifferent to the environment. The development of composite painting in art and ecology is a process that more reveres the harmony between man and nature as well as satisfying the creative value of the work. After systematic evaluation and research, people have engaged in various structural forms of composite art painting development in the long history of art development, focusing on the integration of environmental and ecological culture. In the process of nature education going through development, the comprehensive practical development of nature education is enhanced and efforts are made to feel new ecological art ideas and new ways of valuing environmental protection. In this paper, an observational study of eco-art will be carried out, starting from the theory of hierarchical division and analyzing the contradictory relationship between man and nature. Recognize nature, understand it and feel it through eco-art painting. The analysis of the contradictory relationship between man and nature is combined with the identification of various types of information that give value to the environmental protection public, and the combination of ecological painting and nature art to achieve an upgrade of the environmental protection idea of the value of painting. In the development of artistic ecological comprehensive painting, it is necessary to put forward technical requirements and standards that meet the development of modern industry according to the characteristics and methods of ecological painting. The author of this paper discusses the necessity and social value of artistic ecological painting creation from the artist's point of view, expounds the practical achievements of ecological painting from the perspective of the history and present situation of the development of ecological aesthetics at home and abroad, and gives the concept and creative method of contemporary art comprehensive material painting in combination with his own actual situation.

• Journal of the Speleological Society of Korea
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• no.92
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• pp.1-7
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• 2009

The Altamira Cave painting which Spain which is a world-wide cave painting will know, France Grotte de Lascaux painting, observes the France Chauvet Cave and sees and about Choungryongdo with the Sangyoungchong which are an ancient tomb mural of Korea introduces. This paper provides an overview of the rock art of the Northern Mariana Islands and particularly as the rock art discovered to date predominantly pertains to ancestor worship within the Chamorro cultural group. For centuries, the Western world has categorized the ancient Chamorro inhabitants of the Marianas Archipelago as a "prehistoric" people; a people without a written history. In addition to providing an overview of the rock art of the Northern Mariana Islands, this paper also emphasizes the fact that the ancient Chamorros did indeed have a recorded history and that this chronological record exists in the pictographs and petroglyphs that they painted and carved.

• The Journal of Art Theory & Practice
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• no.2
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.38-43
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• 2009

The Chinese Ink Painting is an art with long history in Chinese culture. Painters can obtain various kinds of scenery by mixing water and ink properly. These papers provides a colorization technique that can transfer gray scale paintings to color paintings. Various colorization techniques for photorealistic images have good results. But these techniques are uncertainly suitable for Chinese Ink Painting. In our method, users only provide a gray scale Chinese Ink Painting and a similar color Chinese Ink Painting subjectively, system can automatically transfer the color from color painting to gray scale painting. We also provide a method for users to refine the automatically generated result.

• Journal of the Korean Society of Costume
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• v.28
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• pp.169-186
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• 1996

Wangeja Chulgungdo (The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) for this study which is held by the Korean university Museum is a kind of documentary paintings which not only have the value of art history but also give a glimpse of the court ceremonies for a Crown Prince. This painting offers various historical clues to understand the procedure for a Crown Prince's official entrance of Sungkyunkwan participants of the ceremony and other ceremony-related items$\ulcorner$Wangseja chulgungdo$\lrcorner$ was the painting drawn for a series of court procedures of Crown Prince Munjo's official en-trance of Sungkynkwan. When he was old enough to begin learning Sohak on March 11. 1817 that is ; he held Heonjakrye(a ceremony for offering drinks to the ancestors) at Munmyo passed Iphakye(a ceremony for en-trance of school) at Myungryundang and received Suharye the next day. $\ulcorner$Wangseja Chulgungdo$\lrcorner$ had the strong char-acteristics of documentary paintings in terms of art history which was intended to leave the historical event of a Crown Prince's entrance. It reflected the traits of documentary painting style in late Chosun Dynasty; a technique that strongly relieved the ceremonial scenes against the background such as mountains and rivers; a painting that not only captured the vivid actions of personalities ar the crucial moment of the ceremony but also depicted the cer-emonial vessels and items very realistically. Authors could confirm the ceremonial think-ing of the traditional society through a Crown Prince's entrance which controlled the details of every part of the performances of the court ceremony.