• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.325-326
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• 2014

With a history of over 100 years, animation is an art of film and television, and a diversified special form of art as well. Animation scene design is not just about scenic painting but also a time-space formative art that serves for film and television animation, presents story plots, unveils dramatic conflicts and depicts character personalities. Scene design requires both high creativity and artistry. Scene design shall cover the living places, social environment, natural environment and historical environment where the characters live. The use of color is an important part in animation creation. In terms of scene design, it plays a significant role in building up the scene atmosphere, promote the plot and enriching screen contents. Focused on Uproar in Heaven-a classic Chinese animation, this paper analyzes the traditional characteristics of Chinese animation scene color and discusses the application and development of color.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.162-169
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• 2023

With the diversified development of modern art, the application of mixed media in painting has become increasingly prominent, which not only provides artistic creators with new creative ideas, but also magnifies the creators' emotions and re endows the media with meaning and value. This paper systematically introduces the definition, features and connotation of mixed media painting, and expounds three aspects of the aesthetic function of multimedia in oil painting creation, the embodiment of painting individuality, and the combination and application of materials and technique to demonstrate that mixed media presents different understanding and expression in Chinese oil painting, no longer constrained by traditional oil painting materials, which promotes more development possibilities of the art expression form of Chinese oil painting, enhances its international influence, and bring new vitality to the creation and development of Chinese oil painting.

• Journal of Science of Art and Design
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• v.8
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• pp.161-184
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• 2005

Traditionally, Korean ink painting used paper as a background medium. This tradition has sought a new attempt to meet today's demands while its expressive techniques and mediums become more diverse. The attempt of Korean ink painting to explore new mediums could change both its structure and style when considering the significance of the medium in the work. These new attempts have encouraged a further study of 'Korean Traditional Paper'. Today, 'Korean Traditional Paper' is considered to be an object itself rather than just being a background. In other words, there is no implication of a separation between the medium 'Korean Traditional Paper' and the work. Instead, the medium itself becomes the work. Therefore, 'Korean Traditional Paper' is not only a 'background' that contains the artist's desire to express, but at the same time also an 'object'. This study focuses on the attributes of 'Korean Traditional Paper' as an object, examines how this is visually applied in contemporary Korean ink painting in the relation to 'Korean Beauty', and reviews the work of some artists that use Korean Traditional Paper. The use of Korean Traditional Paper as an object first began with the experimental techniques of Lee , Eung-Noh and Kwon, Young-Woo in the 1960s, Then it seemed to stop for a while in the 1970s and 1980s until there was a renewed interest in the material personality of Korean Traditional Paper with the birth of the 'Korean Traditional Paper Artists Association' in the 1990s. This interest increased and Korean Traditional Paper was earnestly adopted by artists like Yim, Hyo Lee, Ki-Sook Won, Moon-Ja and Choi, Moo-Young, who used the paper in Broussonetia, the previous fibered state of rice paper. Here, the expression of the object through the characteristics of Korean Traditional Paper is a visual experiment to discover Korea's traditional art mediums that were forgotten once, focusing on the manifestation of Korean Beauty through Korean Traditional Paper. In this respect, this attempt has a valuable meaning in its use with a contemporary visual sense , based on the Korean sense of beauty.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.262-269
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• 2008

This research, to find the cultural identity of taekwondo, presents the historical origin of taekwondo in lights of Choi-centric theory, kwan-centric theory, karate inflow theory, and successive traditional martial arts theory. Then it investigates taekwondo's inner identity as a Korean traditional martial art according to presence, popularity, and independence, three factors of identity suggested by Tak, S. S.(2000).As a result, it reached these conclusions: First, taekwondo was formed after going through fusion of Hong Hi Choi, karate income in period of cultural severance during Japanese occupation, the first kwan leaders and Korean traditional martial arts, process of disorder and cultural reproduction. Second, taekwondo has essentially inherited and developed Korean barehanded martial arts' movements that lay stress on foot skills, and this distinguishes it from hand-skill-based Japan's karate and China's Wushu Furthermore, trunk/groin protectors and headgears are blended remarkably with taeguk patterns and traditional Colors of Five Directions. All terms rendered into pure Korean words shows the essence of Korean localization. It is therefore concluded that Koreans should, along with trying to overcome exclusive nationalism as a country of origin, build a new paradigm of establishing an identity as a global martial art sport.

• Journal of the Korea Furniture Society
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• v.21 no.1
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• pp.1-16
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• 2010

Furniture is a medium to interconnect the living space to human, and it is the closest environmental element that limits the functions of the space, defines the style of the living, and adjusts the actions and behaviors of human. Therefore the furniture can be said to be one of the craft arts that reflects the culture and living style as they are according to the periodical, regional, and social stratum characteristics. Within this context, this study tries to suggest new design and living culture that can harmonize with the modern residence living culture and incorporate the traditional varnishing technique with lacquer that had been discontinued. Coming to the modern days, the varnishing with lacquer is getting attention again with its environment friendly characteristics and antibiotic functions, and is being applied to various applications. To inherit and maintain such an excellent traditional culture, I would like to improve the practicality by applying to modern furniture, and to contribute to develop and tell the world about the superiority of our culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.1
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• pp.111-119
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• 1994

Until now, Many studies on the traditional landscape architecture were approached to the interpretation of meanings and symbolism in terms of the traditional ideology and the view of nature. The purpose of this study was to research the principle of form included in the space planning by the analysis of the drawing figure. The principes of figure were presented in the space planning as the field of art. In the pavillion and square pond, drawing figure, based on the principle of simple proportions, shall be assured the value of being as a role of functions for planning first of all. Such principles of the functional aspect are in hormony and balance by proportion and thus a visual and structural aesthetic will be abled to refer.

• 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.

• (The) Research of the performance art and culture
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• no.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.

• Archives of design research
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• v.16 no.3
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• pp.309-318
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• 2003

A work of Art is not supposed to be isolated from the world, but it should be influenced by its cultural background and situations of the times. Therefore, Art itself reflects its era. In other words, it is created being based on the thought of its artist and simultaneously interacting with external conditions or circumstances of the era, so it would also affect the cultural code of its society. This is why modern art made by the individual living in this complicated and diversified society is quite avant-garde. Various demands from its society and diversified senses have been influencing diversification of works of Art. Now we can say that a mode of art is also dose to current stream of the times. A lot of artists have been trying to get out of traditional way of presentation techniques and classification of genres. In that point, the emergence of Multimedia Alt is inevitable in this digital era. The terms of Internet or multimedia are now familiar with everybody in the world, and a lot of works like Technology Art, Information Art, Computer Art, Digital Art, New Media Art, and so on have been coming into the world by using multimedia. Unlike other works of Art, these works from multimedia are practically used by being combined with technologies. Hereupon, in this paper I would like to find out a concept of Multimedia Art, its social function, and the future prospect of this brand-new form of art.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.