• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.1-35
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• 2011

The number of Frida Kahlo's works is 143, 55 of which are her own portraits. She spent a great deal of time on the production of her works, a large portion of which is taken up by her portraits. Art and creation by artist are the expressive process of artist's unconsciousness. Certain works express personal unconsciousness and collective, archetypal unconsciousness. These works evoke certain impressive image or unknown emotion in their mind impulsively. Artist could talk with their own work in this process. The producted symbolic images want to seek harmony with the artist's consciousness. This study has examined, from the viewpoint of analytical psychology, the psychological changes of Frida Kahlo by way of interpreting 4 of her own realistic portraits. These particular 4 works were finished in the most critical life time of Frida Kalho. We tried to find out what the purpose of her work would be. From the examination the following characteristics were gound. 1) Her portraits are not only concerned with her personal life and personal unconscious, but they also contain elements of the collective unconscious. 2) She experienced a psychological healing for herself in the process of transforming shocking events into painful portraits. 3) Her self portraits are the expression of the creative transformation she underwent.

• ETRI Journal
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• v.45 no.2
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• pp.291-303
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• 2023

Selfies are a popular form of photography. However, due to physical constraints, the compositions of selfies are limited. We present algorithms for creating virtual portraits with interesting compositions from a set of selfies. The selfies are taken at the same location while the user spins around. The scene is analyzed using multiple selfies to determine the locations of the camera, subject, and background. Then, a view from a virtual camera is synthesized. We present two use cases. After rearranging the distances between the camera, subject, and background, we render a virtual view from a camera with a longer focal length. Following that, changes in perspective and lens characteristics caused by new compositions and focal lengths are simulated. Second, a virtual panoramic view with a larger field of view is rendered, with the user's image placed in a preferred location. In our experiments, virtual portraits with a wide range of focal lengths were obtained using a device equipped with a lens that has only one focal length. The rendered portraits included compositions that would be photographed with actual lenses. Our proposed algorithms can provide new use cases in which selfie compositions are not limited by a camera's focal length or distance from the camera.

• Korean Journal of Oriental Medicine
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• v.18 no.3
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• pp.31-38
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• 2012

Jo Taek-seung(曺澤承, 1841-1907), who devoted himself to medical science mostly living in Haenam, and his son Jo Byeong-hu(曺秉侯, 1869-?) are significant in the history of Korean oriental medicine. The medical science of Jo Taek-seung appointed as Jusa(主事) of Hyeminwon(惠民院) in 1902 was handed down to his only son Jo Byeong-hu, who succeeded to his father's medicine and polished up the medicine, and recorded the results "Sanghangyeongheombangyochwal(傷寒經驗方要撮)" in 1933. Jo Taek-seung's portrait has been handed down to Jo Taek-seung's descendents' house in Munane-ri, Haeman. Not only does Jo Taek-seung's portraits well present the features of portrait mode of Joseon Dynasty period in the 19th century in their front view, exposure of two hands, expressive mode, background articles, etc, but also praises, poems, etc. giving information on manufacture intent, etc. to give prominence to the authors recorded by Jo Taek-seung, time of manufacture and position of medical official appears in one screen. In this paper, through disaster-removing poetic sentence showed in Jo Taek-seun'sg portraits, it was found that the author of the portrait is Choi Byeong-uk who worked mostly staying in Seoul and the present portrait was the one re-painted in 1907 by revising the portrait painted in 1894 when Jo Taek-seung was 54 years old, after Jo Taek-seung died. With regard to revised portion, presuming through records on the picture and comparative analysis of mode with portraits of doctors in the 20th century, it seems that the clothing of Confucian scholars in the first version was revised into the clothing of medical officials showing the position of Jo Taek-seung who took office as Jusa of Hyeminwon at the time of re-painting the portrait. Jo Taek-seung's portrait not only becomes important materials in the oriental medicine and historical world in the aspect of manufacture process, mode, etc. of Korean portraits including an aspect of medical official's portraits, but has significant meaning from the aspect of fine art history or clothing history.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.596-605
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• 2013

The purpose of this study is to classify and recreate the grooming styles of facial hair sported by noblemen during the Joseon Dynasty. Using existent portraits painted during this period as corroborative materials, this study has identified the traditional grooming styles of facial hair sought by noblemen in this age. This study has utilized 30 facial hair styles found in the portraits of noblemen inherited from the Joseon Dynasty, which take up the majority of the portraits currently remaining in Korea. To recreate grooming styles of facial hair, this study has divided facial hair into three types according to its location: beards, moustaches and whiskers. Based on the analysis of these divided grooming styles, this study has recreated grooming styles of facial hair by using artificial modelling heads, artificial hair, artificial glue, scissors, and a comb. The grooming styles of facial hair recreated by this study are closest to those that noblemen sought and did wear during the Joseon Dynasty. The results of this study are as follows. First, they groomed their moustaches in the 八 shape. Next, they wore their beards in the shape of an inverted triangle. Finally, they also grew and groomed whiskers. Though there are individual differences in the location, length, and volume of facial hair, noblemen in the Joseon Dynasty generally sought to wear their facial hair neat and long. Little research has been done to recreate and present noblemen's grooming styles of facial hair focusing on portraits. Thus, the findings of this study are expected to be utilized as basic materials for the education and research of grooming styles of facial hair according to ages. They can also be used as basic materials for recreating facial hair in historical dramas.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.167-180
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• 2011

The portraits created in the age of Queen Elizabeth I show a very exquisite description about the ruff collar and cuffs representing the notable evolution of periodical costumes from a detailed viewpoint. This thesis analyzes the ruff collar and cuffs of the portraits of Queen Elizabeth I. The method used selects 32 pieces from the portraits of Queen Elizabeth I that are considered excellent depictions of a ruff collar and cuffs, to investigate size, form and decorations. Conclusively, the ruff collar tends to be extremely enlarged and thickened (coinciding with the development of glue) while the cuffs denote the aspect of double cuffs coupled with the turn-back cuffs without a change in size. These traits were widely shown from 1585 to 1587, while after 1588 the ruff cuffs completely disappeared in the portraits of Elizabeth I. At the same time, the change of a ruff collar was remarkable, the collar being in the erect position behind the head (with the use of supporters), of a consistent thickness and decoration of elaborate lace. During the transition period from the $16^{th}$ century to the $17^{th}$ century the earliest change was in cuffs followed by collars. This research is a helpful guide to detect the relatively exact date of portraits not definitively identified in the latter part of the $16^{th}$ century and to observe the microscopic evolution of costumes in the latter part of the $16^{th}$ century.

• Journal of Conservation Science
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• v.32 no.4
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• pp.571-578
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• 2016

This study analyzed the pigments used in two portraits of Sim Hui-su using scanning electron microscopy/energy dispersive spectroscopy(SEM/EDS), X-ray diffraction(XRD) analysis, and microscopic observation, and then compared the results to those from nondestructive analysis. It was estimated that cinnabar/vermilion and minium were used for the red pigment, azurite for the blue pigment, atacamite for the green pigment, and lead white for the white pigment. These results were compared to the pigments of six portraits with a similar format, full-length official-attire portraits from the $17-18^{th}$ century Joseon period. It was revealed that the composition of the pigments used in the portraits varied depending on the date of production. Iron oxide, another red pigment, was used in the $18^{th}$ century. As for the blue colorant, smalt was used in the late $18^{th}$ century, whereas it was absent until the early $18^{th}$ century.

• Journal of Conservation Science
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• v.38 no.3
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• pp.201-216
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• 2022

Materials and techniques used for two portraits (Jo-nyeon Lee and S ung-in Lee) of the Lee family from Seongju enshrined in Seongsan temple were scientifically analyzed, and based on the data, an optimal replica restoration method was designed. According to the expression technique investigation, both portraits were expressed mainly in line drawing, but there were differences in shoes, pupils, the color expression of flesh, overpainting, and traces of reinforcement. Pigment analysis revealed that a mixture of cinnabar and minium, organic pigment, azurite, malachite, lead white, and yellow pigment were used in common. In the case of Sung-in Lee's portrait, seokganju and atacamite were also used. In addition, comparison with the contemporaneous portraits of gentry showed that the portrait style at the time was found in the two portraits, but the singularity was modified differently there. Based on the scientific analysis, it was decided to replicate the old color restoration for Jo-nyeon Lee's portrait while for Sung-in Lee's portrait, it was decided to replicate the phenomenon. Detailed coloring techniques were presented by supplementing the expression techniques that are difficult to confirm visually using scientific data. In addition, by measuring the chromaticity of representative positions in the portrait for each color and presenting the color reference value calculated as the average value, the current color of the artifact can be replicated and restored based on the objective data as much as possible.

• KOMUNHWA
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• no.33
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• pp.53-58
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• 1988

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.1-18
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• 2002

The purpose of this study is to investigate the relationship between costumes of court masque and the fashion trend at that time, by the analysis of the portraits. The period in this thesis is from Elizabeth I (1588-1603), until James I (1603-1625), when Inigo Jones was actively involved in court in masque, and when the traits of court masque began to appear in costume. The research material of this thesis is from the papers, costume design sketches, portraits and miniatures. As a result the costume of court masque which is the mixture of that of ancient Greece, Rome, middle age, and the exotic style of Ireland and Persian, had a great impact on the general fashion, and the unique pattern f costume became prevalent in the end of 16th and the early 17th century. This thesis might help us understand and special costume of that age and study the way how it come to have an influence on the fashion of the costume pertaining mainly to the privileged class.

• Acta Via Serica
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• v.4 no.2
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• pp.61-77
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• 2019

Following the introduction of Buddhism to China by Xuanzang (玄奘 602-664), the visual tradition of an itinerant monk became a popular subject. This theme developed into a Buddhist figure with an accompanying tiger, especially in Korea where tigers were an object of worship and ritual. This paper examines Korean examples of post-itinerant monk Buddhist figures accompanied by tigers, in particular the portrayal of itinerant monks as arhats and sansins. The supernatural powers of arhats were diverse, and they often tamed the tigers who then accompanied them on their journeys. The arhat, who was introduced during the Unified Silla period and gained popularity during the Goryeo period, was loved by the general public during the Joseon Dynasty as a familiar presence that brought good fortune. Special portraits of monks accompanied by a tiger, known as sansindo (山神圖), form a unique Korean genre. Sansin religious beliefs formed through a fusion of the newly introduced Buddhism and the age-old indigenous worship of sacred mountains and tigers. Most Buddhist temples include a sansin shrine containing on altar with sansin statues and portraits. Tigers in the portraits of itinerant monks and the stories of Buddhist monks who tamed tigers became famous and widely accepted in Korea, a nation already rich in tiger lore. Folklore and indigenous shamanism contributed to the establishment of Buddhism in Korea, and tigers played a central role in this.