• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.200-225
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• 2020

This paper, based on "Minhwa Chaekgeori" paintings from the collection of the National Museum of Korea, identifies and discusses fourteen similar works in domestic and international collections as products of the Seokdang workshop. First, the relevant paintings are identified as products of the workshop known as Seokdang (石堂, literally "stone hall") by the workshop's seal that is stamped on them. Second, analysis of the iconography indicates that the paintings were likely produced in the 1920s. Third, research on certain geographic names and addresses associated with this group of paintings suggests that they might not have been separately commissioned, but are rather examples of partially "ready-made" paintings. Fourth, the paper discusses how the designs of various cultural products in these paintings reflects contemporaneous changes in Korea's diplomatic and commercial relations, i.e., the decline of relations with China and rise of relations with the United States and Europe. Finally, a comparison of the Seokdang chaekgeori paintings with the popular chaekgeori paintings produced by Yi Hyeongrok and Yi Deokyeong in the early twentieth century provides important implications for the succession of tradition and innovation in visual culture.

• Journal of Conservation Science
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• v.5 no.2 s.6
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• pp.57-64
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• 1996

Korean Paintings have been drawn on in the main two types of support material - paper and silk. In these things, silk designates picture silk, that of a specially weaved textile for painting since CHO-SUN dynasty, different such as hemp, ramie have been started to use for support material In addition to picture silk. However the structure of hemp and ramie are so close and progue, They are not proper to express the technique of pigments on the back of the paintings. On the other hand, picture silk is efficacious in pigments on the back of the painting with its interval between the strands and translucent textile. As the result, paintings on the silk has many - sided techniques as compared with painting on the papers therfore various devices in conservation have to be considered to deal with the techniques. In this report the focus is on classifying the method of removing the Lining paper according to the several types of expression technique of paintings on the silk.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.13-29
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• 2012

Art works reflect the spirit and aesthetic information of the times. More specially clothing shown in paintings indicates the phases of the times and contains the aesthetic values of the era. The purpose of this study is to examine the characteristics of German Romantic Era on male and female clothing style represented in Caspar David Friedrich's paintings. The study aims to highlight the following: First, German romanticism ironically gives conceptual importance but high value to freedom of inner self and imaginative sensitivity of human beings. Second, the paintings of Friedrich show the consistency with nature through human beings' inner self and transcendency ultimately expressing religious ideals paradoxically. Third, the characteristics of male and female clothing style shown in Friedrich's paintings are considered religious, contemplative, paradoxical, transcendental, conceptual, political, grass-roots oriented, and female liberating. Female clothing reflects simple empire-style, while male clothing shows romantic style of people's leaders, reflecting the political features in those days.

• The Korean Fashion and Textile Research Journal
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• v.14 no.6
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• pp.918-927
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• 2012

This study identified the aesthetic characteristics of the face description in late Joseon Dynasty beauty paintings. A total of 24 beauty paintings were selected as representative of the late Joseon Dynasty genre of painting works. The paintings were analyzed by the shape, color, and physiognomy of beauty trends from the components of women's faces expressed in the works of artists. The results of this study showed that the shape of the face components expressed a round, curved and thin line. Colors were expressed through Obang-sack (a traditional Korean color). Also the physiognomy of the late Joseon Dynasty's women was soft, wise, economical and brilliant. A round-forehead meant that economical and virtuous housekeeper, thin crescent shaped eyebrows denoted women of wisdom and excellent sensitivity. Single long thin eyelids and implied a women of longevity. A round curved nose were eager tobe a wise mother and a good wife. Small concave lips were desired eagerly by gentle and intelligent women. A curve face implied a subjective women of insight and good memory. In conclusion, the late Joseon Dynasty beauty paintings expressed a traditional Korean beauty face and a modern baby face. The data are useful for the aesthetic standards of modern through meaning of Korean traditional beauty.

• Journal of the Korean Society of Food Culture
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• v.18 no.3
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• pp.211-225
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• 2003

This present study suggests a wider view of our ancestors' food culture by examining the generality and peculiarity of the food culture of the Chosun Period by associating the culture with genre paintings made in the $18th{\sim}19th$ century in Korea. People in the Chosun Period outwardly advocated the Confucian idea reflecting the life philosophy of Chinese. However, the vitality of common people's frank and simple lifestyles saturate genre paintings and display Korean food culture and sentiments of the age. Initially this paper examines the history of food sociology through Namjong literary artists' paintings. The meaning and philosophy of drinks are considered in relation to the trend of declining tea culture among scholars in the mid-Chosun Period with the policy of promoting Confucianism and oppressing Buddhism. Secondly, this paper investigates the background of genre paintings in the late Chosun Period, and examines the unique food culture of Koreans appearing in paintings, particularly with regard to the abundance and variety of seasoned vegetables appearing in genre paintings, our ancestors' sentiment appearing in milk-gathering painting, humanity in guest reception, food culture and view of nature in farm villages, fishing life history, food distribution culture, soybean-curd culture, etc.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.2
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• pp.91-107
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• 2013

Aesthetic values reflecting the phases of the time are well represented in the clothing styles in paintings. Especially, modern German romantic artists' ideologies on the essence of nature and life are reflected in the figures of paintings. This paper aims at finding out how the sublime beauty of German romantic clothing styles is represented in the paintings of Caspar David Friedrich. The research is summarized as follows. First, the German romanticism led the modern romanticism and was especially enthusiastic about the sublime beauty of arts. Second, the sublime means the exaltation of passionately soaring souls and has the mysterious transcendence that unpleasant feeling is elevated to pleasant feeling inside men who are so feeble compared with vast nature. Third, the male and female clothing styles in his paintings represent the religious, contemplative, paradoxical, transcendental, liberating sublime beauties of the German romanticism. Accordingly, a study on the sublime beauty of the German romantic clothing styles will renew the interpretation and aesthetic values of early modern clothing.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.11-18
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• 2007

Edward Hopper is one of the great American artists in the 20th Century. In the field of art, it seems that his paintings are thoroughly analyzed In terms of human alienation and emotional aspects in various ways. However, in his numerous paintings, highly interesting spatial aspects can be found. Purpose of this study is to analyze some of his painting by the spatially analytical tools to examine how his space is experienced. The tools are: relationship between each space, relationship between light and space, and geometrical composition. Among many paintings by Hopper, four of the works that depicted interior spaces are selected and further case-studied in detail: ${\ulcorner}$Rooms by the Sea${\lrcorner}$ (1951), ${\ulcorner}$Sun in an Empty Room${\lrcorner}$ (1963), ${\ulcorner}$New York Movie${\lrcorner}$ (1939) and ${\ulcorner}$Automat${\lrcorner}$ (1927). An Environmental Simulation with scale models was used to examine the relation between light and space. After the research, some unique characteristics of his space were found. Even though his paintings seem to represent the everyday spaces, there are fascinating hidden structure to make people experience in a specific way that Hopper created. Spaces In his paintings do not communicate with each other but are constantly interrupted by the element of time. The mundane everyday world is rediscovered and recreated through these multidimensional and heterogeneous space.

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.12-19
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• 2009

The characteristics of light in the paintings of Rembrandt van Rijn, Johaness Vermeer and Edward Hopper are very different. While Rembrandt and Vermeer lived in the 17th century, Hopper lived in the 20th century. Although this time gap, comparative study on their light-space relationship is important because there are spatial similarities as well as light differences. Most three painters' works depict interior spaces with one person inside. The interior space is filled with different light and shadow. In the Rembrandt's paintings, only part of the figure is lit in the ambiguous darkness. In the Vermeer's paintings, the soft indirect light is filled in the domestic space and the boundary between the figure and space is blurred. In the Hopper's paintings, the direct sunlight invades the interior and the figure confronts with strong daylight. These light differences were caused by the artists' intentions as well as the environmental situations. 4 case paintings of each artist were analyzed by phenomenological aspects and computerized light brightness test. Scale models were built to re-construct the three different light characteristics. The model experimentation will have potential to develop 2 dimensional art analysis into 3 dimensional space design by means of light. However it was very difficult to construct the three lights, the experimentation shows they have unique characteristics that can be applied to spatial design studies.

• Industry Promotion Research
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• v.6 no.1
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• pp.87-93
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• 2021

Qi Baishi is a prolific master of modern Chinese painting in the 20th century and a profound influence on modern Chinese painting. With a lifetime of diligence and pursuit, he brought the development of traditional Chinese literati painting to the palace of world art. Qi Baishi's paintings have very different styles and rich connotations. There is a childlike "Plantain Crowd", which is childish but full of interest. There is also a simple and old-fashioned "Peony" in the late years, vigorous and powerful, moving heartstrings. There is also the irony of the present world, refuting the ugly "Tumbler", which is thought-provoking. Of course, the most worthy of study is Qi Baishi's landscape paintings. His landscape paintings surpassed their era and have unique historical value in the transformation of modern Chinese landscape painting. He was one of the pioneers of the transformation of Chinese landscape painting in the 20th century. In this article, through the research and collation of Qi Baishi's landscape paintings, the characteristics of Qi Baishi's landscape paintings and their surpassing of the times are discovered.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.689-702
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• 2022

Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people's satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.