• Title, Summary, Keyword: traditional painting

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A Study of the Aesthetic Sense of Hanbok and Kimono by Analyzing Korean and Japanese Ink Painting Style (한국, 일본 수묵화 양식 분석을 통한 한복과 기모노의 미의식 연구)

  • Shim, Sangbo
    • Journal of the Korean Society of Costume
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    • v.66 no.5
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    • pp.82-98
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    • 2016
  • Korea and Japan have a cultural homogeneity because they were affected by China. However, each country has developed its own original culture due to their own national characteristic and endemism, In traditional clothing, though Korea and Japan share the same origin, they have developed their own form, Hanbok and Kimono, which have completely different looks. The differences in the traditional clothing is the result of the differences in each country's aesthetic sense, which is reflects in the artwork of those days. Ink-and-wash painting was the typical painting form in East Asia, so Korean and Japanese ink-and-wash painting from that period can be used to observe the differences in the aesthetic sense. This study aims to search for commonly shared aesthetic sense in the design process of Hanbok and Kimono by analyzing the styles of a representative Korean painting, "Sehando(Wintry Days)" and a representative Japanese painting, "Pine Trees Screen". H. Wolfflin's methodology influenced not only painting, but also architecture and sculpture. Therefore, this theory can be applied to clothing, which can be considered a type of sculpture. Modernization of traditional clothing has to start by analyzing the aesthetic sense of artisans that have affected the design of traditional clothing. To spread Hanbok globally and differentiate it from Japanese clothing, we have to acknowledge the differences between Korean and Japanese aesthetic sense, and based on this, we have to develop the design of Hanbok.

A Study on the Features of Chinese Traditional Calligraphy and Landscape Painting in Wangshu's Architecture - Focus on the Space Creation Techniques of Chinese Traditional Calligraphy and Landscape Painting - (왕슈(王澍) 건축에 나타난 중국 전통 서예와 산수화의 특징에 대한 연구 - 전통 서예와 산수화의 공간 조성 기법을 중심으로 -)

  • Zhang, Ming-Yue;Zo, HangMan
    • Journal of the Architectural Institute of Korea Planning & Design
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    • v.36 no.4
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    • pp.113-121
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    • 2020
  • The Chinese Architect Wangshu, who won the Pritzker Architecture Prize at 2012, is the first and only winner in China. This study focused on the expression of his unique architectural ideas. Especially with a high interest in Chinese traditional calligraphy and landscape painting, Wangshu tried to use its traditional features to form his own architectural way. First this study looked at the features of calligraphy and landscape painting. Second this research studied the expression of Wangshu's architectural practice in calligraphy's way. Lastly this study furthered study of Wangshu's architecture combined with landscape paintings' features. The results state these following. 1) For calligraphy, he used the "modular composition" of Chinese characters to architectural composition, which included architectural form and materials. The "similarities" and "space creation" of calligraphy are respectively applied to architectural spatial details and site planning. 2) For landscape painting, Wangshu borrows its elements to compose his architecture with "gardening consciousness". The "view method" of paintings was used to his architectural pedestrian flows, and Wangshu also based on the "space creation" of landscape painting to do architectural space design with creating the similar atmosphere.

A Study of Tradition Formation and Characteristic of Korean Ottchil Painting (한국 칠화(漆畵)의 전통 형성과 특징 연구)

  • Lim, Seung Taek
    • Journal of the Korea Furniture Society
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    • v.26 no.1
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    • pp.31-50
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    • 2015
  • This study analyzes traditional form and figurative characteristics of Ottchil Painting based on objective relics about long lasted Ottchil Painting and related literature as our country's national culture. Study range is among Lolang (Nangnang), Three Kingdom Dynastys (Koguryo, Baekje and Shilla), Unified Shilla Dynasty, Koryo Dynasty, Joseon Dynasty, Modern times and Contemporary. The method of study is after theoretical consideration of Ottchil Painting through related literature, adduced figurative characteristics of related Ottchil Painting by time period with case-study methods such as excavated relics and historical basis. Ottchil Painting consists of color, which is derived from Ottchil mixed with a mineral pigment of powder and various patterns and drawings using different techniques. The methods of Ottchil Painting are Myohoi, Yanggam, Gakhoik, Younma, Balsoa and Toiso. The techniques of Ottchil Painting of our country is established by splendid and unique for about 1,600 years revolved around Myochilchaehoi technique and Myoyuchaehoi technique started at Unified Shill a Daynasty and through Koryo, Joseon Dynasty, Modern times and Contemporary. Also, such this Ottchil Painting form of red in the inside and black in the outside, which is wood based, the rest is bamboo sheath and framework from Geonchil based and the figurative characteristics presented the traditional Patterns of Lotus, Phoenix, arabesque, bird, animal, cloud, marble and letter with red Ottchil, yellow Ottchil, or five colors Ottchil.

Research about China painting techniques which be used in post design (중국 수묵기법을 활용한 포스터디자인 사례분석에 관한 연구)

  • Huanf, Qin;Kim, Se-Hwa;Ahn, Byoung-Jin
    • Proceedings of the Korea Contents Association Conference
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    • pp.712-716
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    • 2008
  • Traditional Chinese painting, which had formed a language of Chinese peculiar painting art, had begun from modern poster designs and tied up with the range of the various visual art, It is not only to convey information but also show the traditional Chinese culture thinking to audiences through pen, ink and depth of color, Traditional Chinese painting divided the method of painting into ink graphics performance, ink performance technique, Performance of ink brushwork, then according to the performance of classification and analysis of their characteristics.

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Effect of Glue and Alum Mixing Ratio on the Color Variation of Traditional Sizing Hanji (아교포수 방법이 전통한지의 색상 변화에 미치는 영향)

  • Lee, Yu-Ju;Choi, Tae-Ho
    • Journal of Conservation Science
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    • v.35 no.2
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    • pp.153-158
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    • 2019
  • The traditional sizing treatment for the Hanji is performed to give the following functions. Those are to stabilize the paint of the painting, to prevent the paint of painting and moisture from smearing into the painting itself, to prevent the paint of the painting and moisture from passing to the lining paper, and to make the colors of painting match the surrounding.This study analyzed a result of the effect of Hanji sizing characteristic according to glue and alum mixing ratio and applying times, affects to pigments of painting and fastness of Hanji using accelerated aging test. As a result of color measurement of sizing treated Hanji, the concentration of glue and the number of application increased, the brightness and the $L^*$ value decreased but the yellowness index increased.

A study of Textile Designs with Traditional Korean Painting of Flower and Bird Patterns (한국 전통 화조도문양을 응용한 텍스타일 디자인 개발 연구)

  • Lee, Youn-Soon;Lee, Jung-Eun
    • Journal of the Korea Fashion and Costume Design Association
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    • v.13 no.1
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    • pp.113-123
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    • 2011
  • The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

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A Study on the Costume of Qing Dynasty in the Court Painting (궁정회화(宮廷繪畵)를 통해 본 청대복식(淸代服飾) 연구(硏究) - 순치(順治) 15년(年)부터 가경(嘉慶) 19년(年)까지를 중심(中心)으로 -)

  • Lee, Hyun-Mee;Shin, Kyeong-Seob
    • Journal of Fashion Business
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    • v.6 no.1
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    • pp.71-82
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    • 2002
  • The purpose of this study was to correctly understand the costume of Qing dynasty in the court painting. The starting point of this study was that the painting typically reflects the cultural values, social significations, costume and aesthetic outlook of that period when the paintings were done. Based on this regard, this study analyzed the costume of figure paintings in the court painting of the Qing dynasty that complied and edited by the Palace Museum. The court dress of Qing dynasty represented not only the spiritual world of Manchu tribes but also the influences of Chinese traditional culture. The court dresses of Kangxi and Qianloug showed definitely the luxury of life of Qing court. The everyday dress of Qing dynasty reflected the nomadic environments and it was very simple. The hunting dress of Qing dynasty was very developed and also represented horse riding and hunting activities of their traditional life. The ladies of Qing dynasty enjoyed to dress the costume of old Chinese style. The appearance of noble women was fragile and slim.

A Study of 'Margins' in the 'Montage' Expression of Contemporary Korean Ink Painting - Focus on the Montage's Division of Surface - (한국화의 '몽타주' 표현에서 나타나는 '여백' 연구 -화면 분할의 '몽타주' 표현을 중심으로-)

  • Oh Se-Kwon
    • Journal of Science of Art and Design
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    • v.6
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    • pp.267-287
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    • 2004
  • The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

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A Study of Contemporary Korean Painting's Expressions through the Reinterpretation of Folk Painting (민화의 재해석을 통한 현대한국화의 표현에 대한 연구)

  • Oh, Se-Kwon
    • Journal of Science of Art and Design
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    • v.10
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    • pp.51-72
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    • 2006
  • Reinterpretation of the visual characteristics of Korean folk painting in contemporary Korean painting is to seek directions of today's Korean painting. When examining expressions of contemporary painting we see that there is a reappearance of iconic images, a reinterpretation of both flatness and multi-perspectives, and an objectifying of pastiche folk icons with an experimental spirit. All of these techniques suggest methods of contemporary Korean painting through 'folk painting'. Although folk painting has been adopted in contemporary Korean painting for a long time, interest increased in the 1980s. With the prevailance of both national characteristic expressive techniques of realism and color painting, artists reinterpreted folk painting in their work, borrowing the traditional five colors, common contents, and iconic images. Particularly, an interest in 'Korean Beauty' drew people's interest back to folk painting which provided the significant 'Korean Beauty' of traditional expressive techniques. This study is to examine the characteristics of selected group of works that created a new expressive technique in today's Korean painting by either the reappearance or the reinterpreting of iconic images of the Chosun Dynasty's folk painting. To achieve these goals, the artists, who modify or reinterpret folk painting's visual characteristics with a contemporary sense, are divided into three categories in this study; 'The Readoption of the Folk Image', 'The Reinterpretation of Folk Characteristics', and 'Experimental Expressions'. As a result, it proves that folk painting is both a classical expression and national expression which was not only favored in the Chosun period, but also can be reinterpreted through today's visual methodology.

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The Research of Henna Design classified by Fashion Images according to the preference of Korean Pattern (한국문양 선호도에 따른 패션 이미지별 Henna Design기획)

  • Lee Soo-Hyun;Park Ok-Lyun
    • Journal of the Korean Society of Clothing and Textiles
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    • v.29 no.5
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    • pp.626-636
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    • 2005
  • These days. the representative fashion image is sexy look. Hence, a bodily exposure phenomenon has been spread by the effect of minimal fashion. In terms of this trend, the body make-up art such as the temporary painting have the painting dyeing the surface of skin has the characteristic naturally decolorized. It is different from tattoo pricking the skin with dyes. Especially, Henna among the temporary painting has been used to represent the individual characteristic for a long time. However, the research of henna pattern related to fashion images and korean traditional patterns has never been developed before within the country. In the research, we developed Korean Henna design through the application of Korean traditional patterns. First of all, a fashion image was classified as five parts (romantic, sexy, eligant, modem and casual) adopted by relebvant experts.