• Title/Summary/Keyword: sculpture

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A Systematic Classification of Korean Fagaceae by the Pollen (화분(花粉)에 의한 한국산(韓國產) 참나무과(科) 계통분류(系統分類))

  • Park, Seung Young
    • Journal of Korean Society of Forest Science
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    • v.80 no.2
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    • pp.151-161
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    • 1991
  • I tried to specify the taxa of Fagaceae in Korea by the character of their pollen grains. The light microscope(LM) and the Scanning electron microscope(SEM) were used to examine the pollen grains of 19 taxa, 5 genera. The result are as follows. 1. The pollen of Fagaceae in Korea could be grouped into four types and 4 subtypes. 1) Fagus type 2) Castanea type 3) Lithocarpus, Castanopsis type 4) Quercus type (1) Cyclobalanopsis subtype (2) Prinus subtype (3) Dentatae subtype (4) Cerris subtype. 2. The morphology of the granula on the pollen of Quercus was closely related to the differantiation of the shape of the cup scales. 1) The uniformity of branching granula on the pollen grain surface corresponds to the morphological features of the concentric arrangement of cup scales. 2) The morphological features of the pollen grain surface intermingled with large or small granula, simple-granula and tuber granula which have small points of circular prominence, corresponded to those of short cup scales. 3) The morphological features of the polllen grain surface intermingled with large or small granula, simple-granula and tuber granula with an apex of amoeba type corresponded to those of Q. dentata Thunb, with thin, fine and long cup scales. 4) The morphological features of the pollen grain surface intermingled with large of small granula of with only simple-granula, corresponded to those of Q. acutissima carr. with thick, fine and long cup scales. 3. The result of cluster analysis by coding the sculpture pattern of the pollen grain surface, the existence and nonexistence of surface perforate, the grain size and granula type were coincident with the system of classification of plants and showed an intimated relationship even under th level of species.

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A Study on Commemoration Culture of Vietnam War Memorials in Vietnam (베트남전쟁 메모리얼에 나타난 기념문화)

  • Lee, Sang-Suk
    • Journal of the Korean Institute of Landscape Architecture
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    • v.39 no.3
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    • pp.26-38
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    • 2011
  • The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

"A Study on Hebrews Clothing in the Old Testament" - Especially on Hair Styles, Headgears, Footwear and Personal Ornaments - (구약성서(舊約聖書)에 나타난 히브리인의 복식(服飾) - 두식(頭飾), 신발 및 장신구(裝身具) 중심(中心)으로 -)

  • Park, Chan-Boo
    • Journal of the Korean Society of Costume
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    • v.10
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    • pp.63-80
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    • 1986
  • The Old Testament cotains mention of the history of creation and clothing in ancient Hebrew. This study dealt with Hebrew dress customs especially aimed at the manners of their hair styles, headgears, footwear and personal ornaments. References are Korean Revised Version, English King James Version and Revised Standard Version. There is little mention of hair styles and headgears in the Old Testament. Some sort of turban was worn by priests, and soldiers protected themselves with helmets, but most Israelitish men went bareheaded except on special occasions and often wear simple headbands. It was more common for women to use headwear of some type-turbans, scarves, and veils concealing the face. The veil was the distinctive female wearing apparel. All females, with the exception of maidservants and women in a low condition of life, wore a veil. It was the custom for women to wear a veil entirely covering their head in the public. Through most of the Old Testament periods long and thick hair was admired on men and women alike. The Hebrews were proud to have thick and abundant long hair, and they gave much attention to the care of their hair. The caring of hair was deeply related to their rituals. Nazirites never took a razor to their hair during his vow-days, but instead let it grow long, as an offering to God. Men would not cut their beards, but allow them to grow long. The Israelites' standard footwear was a pair of simple leather sandals. This was one of the items of clothing not highly prized. In a colloquial saying of the time, a pair of shoes signified something of small value, and to be barefoot except in times of mourning or on holy place, was a sign either of extreme poverty or humiliation, as in the case of war prisoners. Because precious stones were not mined in the Palestine-Syria region, Hebrews imported them from foreign country. They were consumer-to a large degree limited by their very modest standard of living-but not producers. Hebrews liked the precious stones and were motivated to acquire and wear jewels. Besides their use for adornment and as gifts, the precious or semiprecious stones were regarded by Jews of property. The Hebrews were not innovators in the field of decorative arts. The prohibition of the Law against making any "graven image" precluded the development of painting, sculpture, and other forms of representational art. Jewish men did not indulge in extravagances of dress, and there was little ornamentation among them. Men wore a signet ring on their right hand or sometimes suspended by a cord or chain around the neck. The necklaces, when worn by a male, also bore any symbol of his authority. Bracelets were extremely popular with both men and women, men usually preferring to wear them on their upper arms. The girdle was a very useful part of a man's clothing. It was used as a waist belt, or used to fasten a man's sword to his body, or served as a pouch in which to keep money and other things. Men often carried a cane or staff, which would be ornamented at the top. Among the women there was more apt to be ornamentation than among the men. Hebrew women liked to deck themselves with jewels, and ornamentation of the bride were specially luxurious and numerous. They wore rings on their fingers or On toes, ankle rings, earrings, nosering, necklace, bracelets. Their shapes were of cresent, waterdrops, scarab, insect, animal or plant. Sometimes those were used as amulets. They were made of ceramics, gold, silver, bronze, iron, and various precious stones which were mostly imported from Egypt and Sinai peninsular. Hebrews were given many religious regulations by Moses Law on their hair, headgears, sandals and ornamentation. Their clothing were deeply related with their customs especially with their religions and rituals. Hebrew religion was of monotheism and of revealed religion. Their religious leaders, the prophets who was inspired by God might need such many religious regulations to lead the idol oriented people to God through them.

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A Study on the Characteristics of Oddly Shaped Stone's Arrangement at Donggwoldo (동궐도(東闕圖)에 나타난 괴석(怪石)의 배치특성에 관한 연구)

  • Jung, Woo-Jin;Kim, Hwa-Ok;Park, Yool-Jin
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.32 no.2
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    • pp.12-26
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    • 2014
  • This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.

Entre l' espace sculptural et, l' espace architectural (조각공간과 건축공간의 관계)

  • Lee Bong-Soon
    • Journal of Science of Art and Design
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    • v.5
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    • pp.175-216
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    • 2003
  • 시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

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The Actual Conditions and Improvement of the Eco-Forests Mater Plan, South Korea (우리나라 생태숲조성 기본계획 실태 및 개선방향)

  • Heo, Jae-Yong;Kim, Do-Gyun;Jeong, Jeong-Chae;Lee, Jeong
    • Korean Journal of Environment and Ecology
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    • v.24 no.3
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    • pp.235-248
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    • 2010
  • This study was carried out to the actual conditions and improvement of the eco-forests master plan in South Korea, and suggested its problems and improvement direction. Results from survey and analysis of limiting factors or constraints in the construction plans of eco-forests in Korea revealed that there were highly frequent problems involving site feasibility, topographic aspect, and existing vegetation. The results of survey on the status of land use indicated that the average ratio of the use of private estate was 29.7%, so then it was estimated that a great amount of investment in purchase of eco-forest site would be required. Results from survey on major introduced facilities showed that there was high frequency of introduction of infrastructure, building facility, recreational facility, convenience facility, and information facility, and that there was low frequency of introduction of plant culture system, ecological facility, structural symbol and sculpture, and the likes. There was just one eco-forest park where more than 500 species of plants grew, and the result of investigation indicated that the diversity of plant species in 11 eco-forest parks was lower than the standards for construction of eco-forest. Results from analysis of the projects costs revealed that investment cost in facilities was higher than planting costs, and that a large amount of investment was made in the initial stage of the project. There was no planned budget for the purpose of cultivating and maintaining the plants and vegetation after construction of eco-forest. The basic concepts in construction of eco-forests were established according to the guidelines presented by the Korea Forest Service; however, the detailed work of the project was planned with its user-oriented approach. Then the construction of eco-forest was being planned following the directions, which would lead to development of a plant garden similar to arboretum or botanical garden. Therefore, it is required that the architect who designs eco-forest as well as the public officer concerned firmly establish the concepts of eco-forest, and that, through close analysis of development conditions, a candidate site to fit the purpose of constructing eco-forest be selected, and also a substantive management plan be established upon completion of construction of eco-forest.

A Study on Job Stress of Dental Technician (치과기공사의 업무스트레스에 대한 연구)

  • Lee, Deok-Su;Kwak, Dong-Ju;Nam, Sang-Yong
    • Journal of Technologic Dentistry
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    • v.24 no.1
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    • pp.51-63
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    • 2002
  • The purpose of this study was to be of use for getting rid of job stress from dental technicians, by examining how much they were stressed out at work place as one of the professional medical personnels. The subjects in this study were 255 selected dental technicians who were working in the region of Taegu. The one-on-one interview was conducted from March 1 to 30, 2001, with structured questionnaire. The questionnaire sued in this study included 19 question items about the general characteristics and 29 items regarding job stress. The job stress was categorized into seven subareas based on earlier studies and considering the job situations of dental technicians: heavy workload, job conflicts, improper treatment, role and job knowledge, human relations, physical environment and personal matters. The job stress extent was measured on five-point Likert scale that is widely used in social science: one point for no stress, two for little stress, three for so-so, four for a little stress, and five for severe stress. Therefore, a higher point means a severer job stress. The reliability of the questionnaire turned out very good with Cronbach a = 0.9272. The findings of this study were as follows: 1. The general characteristics of the dental technicians investigated could be described as below: (1) By gender, 80.4% of the dental technicians were male, and 50.2%, the largest percentage, were in their 20s, followed by those in their 30s, those in their 40s, and those in their 50s in the order named. (2) The most common work place was dental technician shop(92.5%), followed by dental technology room in dental hospital or clinic and in general hospital in the order named. The primary duties were coating materials work(30.6%), followed by sculpture, grinding, partial and full denture and orthodontics in the order named. 2. The most larges (1) The most largest motivation to be a dental technician was its being a professional(33.7%), followed by the advice from others, their own aptitude, and good economic treatment in the order named. 3. Their job stress could be explained as below: (1) Their collective job stress average was 3.96$^{\circ}{\ae}$0.50 on the basis of 5 point, which showed that they were exposed to a fairly severe job stress. (2) By area, they were most stressed out from heavy workload (4.12), and they also were severely stressed from role and job knowledge(4.02) and personal matters(4.00). (3) By situation, they were most stressed when the disagreement of prosthesis that results from a specific error is unconditionally attributed to them(4.43). And they were also stressed a lot when their workload increases due to the rework(4.38), when a dentist asks something difficult for them to resolve(4.20), when heavy workload makes their working hours irregular and it's impossible to lead a personal life or have leisure time(4.16), and when they are o work for an excessively short time(4.16). This fact indicated that most of the dental technicians were exposed to a lot of stress in conjunction with job performance. 4. The main duties they took charge of didn't make any significant difference to their job stress, but yielded a significant difference to the extent of job stress in individual areas and the order of the most stressful one. Those who were engaged in grinding were most stressed from their own matters, whereas heavy workload was most stressful for those who were engaged in the other types of works. 5. As a result of seeing if their personal characteristics yielded any differences to job stress, the personal characteristics that made their job stress vary significantly were working hours, motivation of being a dental technician, job satisfaction and willingness to continue doing dental technology works. There was a tendency that longer working hours led to severer job stress, and those who chose to be a dental technician according to their own aptitude were less stressed than the others who became a dental technician because of economic reason or advices from others. And the people who were satisfied with their job were exposed to less job stress than the others who weren't, and those who had an intention to keep that job as much as possible were less stressed, compared to the others who hadn't.

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Analysis of Consciousness and Model on Land for the Another use After Quarrying (채석장의 부지 활용에 대한 의식 및 모델 분석)

  • Park, Jae Hyeon
    • Journal of Korean Society of Forest Science
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    • v.101 no.3
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    • pp.387-394
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    • 2012
  • The study was conducted to develop an effective forest resources use models for an alternate use of abandoned quarry by an attitude survey. According to the result of survey, a pessimistic view due to dust, noise pollution, and forest damage was 5% higher than an affirmative view by economic benefits from the development of quarry. The 42% of the respondents preferred the alternate use of abandoned quarry and the 25% of the respondents wanted an art and cultural space. The optimum size of alternate use was 5-10 ha (43%) with the requirement of nearby residents (32%). According to the SWOT analysis for abandoned quarry, the strength factors were an effective use of land, the content development of modern industrial inheritance + cultural and art fusion, attraction for nearby city and visitors, a harmony of beauty landscape and clean environment, and a sustainable increase of domestic and foreign visitors with the 5-day-work week. The opportunity factors were the improvement of traffic networks through KTX and local highway, the creation of the new growth engines with the establishment of artistic creation belts, the providing of unique cultural and art space through grafting of tour and education, the creation of local income through stone processed goods, and the vitalization of local development through eco-city. The weakness factors were a psychological remoteness and backwardness, and the weakness of staying tour infra. The threat factors were a poor financial support for sustainable development in nearby quarry and a modify of legal and institutional system for the alternated use of abandoned quarry. The developed restoration models for the alternate use in abandoned quarry are classified to a sculpture park, a waterfall and lake park, a rock-climbing, a sports park + forest park, a native botanical garden, a culture and art park, a complex park, a water storage site, a water storage site to extinguish forest fire, a geriatric hospital, an agricultural facility, and a school site types etc. The results suggest that the alternate use in the abandoned soil and stone quarry is needed to establish facility use models with consideration of user's preference.

Technique and Type of Line Expression in Goryeo Dynasty Metal Craft Engraving (고려시대 금속공예 선각(線刻)기법의 기술과 유형)

  • Kim, Serine
    • Korean Journal of Heritage: History & Science
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    • v.53 no.3
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    • pp.24-41
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    • 2020
  • The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

A Study on Xu Bing's artworks Contributed to expansion of printmaking in Contemporary Chinese Art (중국 현대미술에서의 판화 매체 확장을 일으킨 쉬빙(徐冰) 작품 연구)

  • Song, Dae-Sup;Cho, Ye-In
    • Cartoon and Animation Studies
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    • s.45
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    • pp.321-343
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    • 2016
  • The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.