• 한국의상디자인학회지
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• 제11권3호
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• pp.101-110
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• 2009

Danchung(丹靑) is the traditional Korean patterns that are decorated with various colorful patterned paintings upon each sections of wooden architecture. Although Danchung consists of variety patterns with the meaningful signs and symbols, as an accomplishment of Korean traditional images, there is a few fashion merchandise by Danchung patterns. Therefore, the purpose of this study is about to design Jacquard fabrics, and to develop bags of Jacquard fabric by Danchung patterns, as a differentiated cultural Fashion Merchandise. The theoretical background was researched for the geometric image of Danchung patterns on the basis of the basic elements, compositions and symbolic meanings of Danchung. The geometric image of Danchung patterns, which had the shape of circle, triangle, square and hexagon, was designed to the surface design by Jacquard CAD system(i.e., EAT Designscope by Germany) and woven into Jacquard fabrics by Stabuli electronic Jacquard system. Danchung patterns for fabric design in this study was mainly focused on 'ChipJaGum', 'SamJiChangGum', 'ShouSulGum', Moro patterns of lotus flower(蓮花), Rok-Wha(綠花) and so on. To development bags of jacquard fabric, those woven jacquard fabrics were manufactured to bags by applying the selected of twelve bag-designs among the current bag styles. These manufactured bags of jacquard fabrics in geometric Danchung patterns were appeared a contemporary yet ethnic feeling so that they can be used for the unique korean cultural products to further commercialization.

• 복식
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• 제61권7호
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• pp.17-34
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• 2011

This study examined how Bangryeong(方領) had been changed from ancient times in China to the Joseon dynasty[朝鮮] in Korea by analyzing Bangryeong in literature, relics, paintings, etc. Based on this, we also analyzed the form of Bangryeong itself and clothes with Bangryeong using excavated relics from the Joseon dynasty. First, from early Chinese literature, it was confirmed that meaning of "Bangryeong" was a collar attached straight to a garment so that if the garment is put on with the fronts intercrossed with each other the back neck part of the collar is naturally squared. Second, from literature in the Joseon dynasty, it was confirmed that the meanings and forms of Bangryeong were diversified and had different characteristics throughout different time periods. Different from its original meaning in China, Bangryeong came to mean an intentionally designed square shape. Third, Bangryeong from the Yuan(燕) and Ming(明) Dynasties were found among relics excavated in China. Bangryeong from Yuan was Cheolik[帖裏] worn by men, and Bangryeong from Ming was found in women's dresses. Fourth, Bangryeong relics from the Joseon dynasty examines its form in detail. Bangryeong was found in various forms of clothes, and this was consistent with findings from literature review.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2009년도 춘계학술대회
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• pp.116-119
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• 2009

문화는 인간을 인간답게 만들어 주는 요인으로 삶의 차이를 보여주는 요소로 작용한다. 더욱이 새로운 것을 만들어 가는 역할을 하는 것으로 고부가가치의 원천이다. 21세기에는 예술과 디지털 기술을 결합하여 문화콘텐츠라는 단어를 파생하게 되었다. 본 논문에서는 최근 부각되는 문화콘텐츠 복원의 한 방안으로 15세기 조선의 회화의 재해석을 통하여 텍스트와 이미지를 분석하여 평면적인 감상에서 벗어나 3차원 공간에서 전통회화를 사용자의 편의성과 접근성을 향상시켜 3D 몽유도원도를 재구축한다.

• 헤리티지:역사와 과학
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• 제44권1호
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• pp.196-221
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• 2011

조선시대 종묘(宗廟)에 모실 수 없는 왕의 사친, 등극하지 못한 세자와 같은 왕족의 신위를 모신 공간, 사묘(私廟)는 왕명에 의해 건립되고 관리되었다. 또한 사묘의 영건은 각 의궤(儀軌)에 담겼고 이와 함께 왕실사묘의 평면배치도 등이 남겨졌다. 정조의 후궁으로 순조(純祖)를 생산한 수빈박씨(綬嬪朴氏)의 신위를 모신 경우궁의 영건기록인 1824년 "현사궁별묘영건도감의궤(顯思宮別廟營建都監儀軌)"가 현존하기에 그간 소개된 바도 없고 연대조차도 알 수 없었던 <경우궁도(景祐宮圖)>의 제작 연대, 사용재료 및 장황(粧潢) 등을 살펴볼 수 있다. 즉 <경우궁도>는 1822년에 타계한 수빈박씨의 신위를 모시기 위해 궁내에 설치했던 혼전(魂殿)을 폐하고 궁밖에 별도로 마련한 터에 왕명에 의해 1824년 현사궁별묘를 영건하면서 영건도감(營建都監)에서 제작한 <현사궁별묘전도>인 것으로 확인된다. 영건도감에서 <경우궁도>의 제작이 이루어졌을 것이기에 의궤에 제시된 화원(畵員)들이 주목되지만 이들의 현존작이 없어 화풍을 비교할 수 없음은 아쉬움으로 남는다. 하지만 <경우궁도>는 <동궐도(東闕圖)>에서 볼 수 있는 완벽한 평행사선구도로 일목요연하게 많은 전각 등을 묘사하고 있는 점이 가장 큰 양식적 특징으로 지적할 수 있다. 주지하듯 건축물을 다룬 그림들은 해당 건축그림 제작 의도에 맞게 시점을 택해 그리거나 아니면 다시점을 이용해 그리게 된다. 우리 회화에서 건축물을 다룬 그림은 일찍부터 평행사선구도, 정면부감시 또는 다시점 등을 적절히 활용하여 제작되었다. 18세기에 이르면 평행사선구도로 정확하게 그리면서도 회화성도 높은 작품들이 등장하기 시작하는데 19세기 전반기에 이와 같은 현상이 최고로 발전한 듯 <동궐도>가 등장한다. <경우궁도> 또한 완성된 평행사선구도로 200칸 가까운 많은 전각들을 한눈에 알아볼 수 있도록 치밀하게 표현하고 있어 <동궐도>와 같은 계열에 속하는 건축그림으로 볼 수 있다. 이는 또한 수지법, 옥우법, 지면의 표면질감 표현 등 구체적 화법의 비교를 통해 알 수 있다. 다만 사당공간 중 가장 중요한 정당권역만은 의궤도설 '정당이하제처(正堂以下諸處)'라는 평면배치도와 그대로 일치하여 평행사선구도를 버리고 정면부감시 및 사방전도식묘법으로 표현된 점은 <경우궁도>만이 갖는 특징으로 지적될 수 있다. 동시대 영건과 관계된 그림은 아닌 개인의 거주지를 표현한 그림에 이와 같이 시점을 각각 달리하여 표현한 예가 있기도 하여 사당공간을 그린 그림만이 가지는 특성인지는 아직 정확히 알 수 없다. 한편 왼편 하단으로 향하는 평행사선구도를 택해 그릴 경우 화면 왼편 상단과 오른편 하단은 비게 된다. 경우궁도가 이에 부합되는 화면을 보여주는데 반해 동궐도는 다양한 나무 등을 채워 빈 여백 없는 완벽한 화면 구성을 보여준다. 이와 같은 현상은 두 작품의 장황의 현황과도 일치하는데 지본 낱장으로 완성된 경우궁도는 화첩으로 표제까지 달아 완성된 동궐도와는 완성도의 면에서 차이가 있다고 판단된다. 이는 마치 동궐도가 그 묘사의 사실성, 기록성을 넘어 감상의 목적까지도 고려하여 작품제작 및 장황까지 마친 것이었다면 경우궁도는 영건의 상황을 있는 그대로 화면에 옮겨 그리는 기록이 가장 중요한 목적으로 제작되었음을 알게 해주는 것이다.

• 한국식생활문화학회지
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• 제2권2호
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• pp.169-179
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• 1987

In the life style of the neolithic age, cooking and sleeping space was in one room dugout without differentiation of spaces, so to say one room system. Ro(a kind of primitive fire place) was used for both cooking and heating. However, in the early part of the Iron Age, the uses of Ro were separated into two major uses of cooking and heating. Especially, L-shaped Kudle(an unique under floor heating structure of Korea) was invented for the new system of heating, extending to Koguryo Period. The life style of Koguryo Dynasty could be seen through the mural paintings of tombs. For these mural paintings contain of cooking space(Kitchen), meat storage, and mill house drawing, we can recognize that houses were specialized many quaters according to their function. Also a kitchen fuel hole for preparing food was built without relation to L-shaped Kudle. But during Koryo Period, Kudle could be set up all over the room, the so-called Ondol(the unique Korean panel heating system) settled down. From this development of heating system, room could be adjacent to kitchen, and kitchen fuel hole and heating fuel hole be onething. This system was developed with variety, extending to Chosun Dynasty. In the period of Chosun Dynasty, a kitchen was made close to an Anbang(Woman's living room), and Anbangs Ondol was heated by the warmth of a cooking fireplace. Therefore Handae Puok, outer kitchen was used in summer. As for its storage space, it was seen that there were a pantry near the kitchen and a store house constructed as an independant building. In the latter, it was devided into a firewood storage, a Kimchi storage, and a rice storage, etc. Especially it is a unique feature that 'Handae-Duyju', an outer rice chest which keeps rice, was constructed as an isolated small building.

• 펄프종이기술
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• 제44권3호
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• pp.22-33
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• 2012

This study was carried out to investigate the characteristics of the lining papers which had been separated from six pieces of paintings and calligraphic works of the 18th and the 20th century. A total 20 kinds of lining papers were examined on the physical properties, colors, fiber morphology, and color reactions. The grammage and thickness of lining papers which had been used hanging-scroll type works were higher than those of folder types. On the other hand, the grammage and thickness of the first layer lining papers which had been separated from silk ground works were lower than those of paper ground works. All kinds of lining papers were colored from yellow to yellowish red because of unbleaching and deterioration. Through the examination on fiber morphology and color reactions, lining papers were verified that all of those were made from paper mulberry bast fiber but the first layer of the Mukjukdo. The lining paper which of the first layer of the Mukjukdo was verified that it was made from mixture of paper mulberry, hemp, and spruce pulps.

• 한국실내디자인학회논문집
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• 제40호
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• pp.68-75
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• 2003

The purpose of this study is to find out the expression style of space in Rietveld's early works in comparison with Mondrian's paintings. Through investigating the development of their works and analyzing the composition and disposition type of elements such as point, line, plane, color in the selected works, we can draw the following conclusions. .First, Rietveld pursues the dissolution of traditional volume and the de-composition of elements as Mondrian does. Second, the painterly property of plane is emphasized by the projection of separately floating elements on the picture plane. Third, the separating the layer of lines from the layer of planes and the re-combination of these two layers present the superimpositional image of three-dimensional objects. This leads into new conception of architectural space and develops the transparency and the extension of plan in modem architecture.

• 한국멀티미디어학회논문지
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• 제23권6호
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• pp.765-771
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• 2020

To enable AI(artificial intelligence) to realize visual emotions, it attempts to create music centered on color, an element that causes emotions in paintings. Traditional image-based music production studies have a limitation in playing notes that are unrelated to the picture because of the absence of musical elements. In this paper, we propose a new algorithm to set the group of music through the average color of the picture, and to produce music after adding diatonic code progression and deleting sound using median value. And the results obtained through the proposed algorithm were analyzed.

• 한국농촌건축학회논문집
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• 제7권1호
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• pp.112-120
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• 2005

The object of this study is one of the traditional houses about Siheyuan(courtyard house) which is one of the most remarkable types of dwelling in China. The purpose of this paper is to examine and analyse the formation process of the Siheyuan. Its organizational formation process are based on historical and natural-geographical background. With the passage of time this house developed into one of the Chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the picture of brick, the earthenware of house type, the painting of cave, the paintings of painters and others.

• 복식
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• 제24권
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• pp.83-101
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• 1995

The purpose of this study is to investigate relation between kucha and Korea by comparing costume. The results are as follows. First, During 508th century, wall paintings of Kizil and Kuizilkargha showed traditional costume such as cutting hair , lapel coller and fitting sleeve coat, pants, boots , belts and knife. Kumtura were also in 6 th, but under the influence of China and Hoehol (회골) after 7th. Second, Men and women cutting hair except king, they put on cone shaped hat and Kun (건), clothing were made of felt and kun(면). Third, it was influenced by Iran that cutting hair in Silla (신라) and Kucha. In Silla , round neckline and V neckline were existed except lapel collar. Jeweled knife of Silla and Kuncha , pattern of Kumdonglee(금동복) showed cultural exchange of centural Asia and Korea along the Silk Rood. It is conscious that Silla preferred centural asia of texture and jewels by prohibition of costume.