• 한국보건간호학회:학술대회논문집
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• 2006.06b
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• pp.164-165
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• 2006

• 한국보건간호학회:학술대회논문집
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• 2006.06b
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• pp.160-161
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• 2006

• 한국보건간호학회:학술대회논문집
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• 2006.06b
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• pp.162-163
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• 2006

• Proceedings of the Korean Environmental Sciences Society Conference
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• 2018.10a
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• pp.154-154
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• 2018

• Proceedings of the Korean Institute of Communication Sciences Conference
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• 2004.07a
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• pp.145-145
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• 2004

• Proceedings of the Optical Society of Korea Conference
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• 1997.08a
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• pp.57-57
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• 1997

• Proceedings of the Korea Multimedia Society Conference
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• 2004.05a
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• pp.692-695
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• 2004

현재 게임에서 3D 그래픽의 표현에 많은 어려움을 가지고 있다. 본 논문에서는 해결책의 하나로 게임속도를 향상시키는 방법중에서 기존의 여러 가지 3D 그래픽에서 알파채널 공간분할 기법의 문제점을 파악하고 이를 해결 할 수 있는 방법들을 제안하여 실제 프로그램에 적용 및 구현하였다.

• The Magazine of the Society of Air-Conditioning and Refrigerating Engineers of Korea
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• v.16 no.6
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• pp.560-570
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• 1987

• (The)Study of the Eastern Classic
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• no.73
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• pp.361-384
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• 2018

This paper aims to introduce Park Seon-su's ShuowenJiezi YIzheng from the perspective of Epigraphy, and incorporate it into the fields of Korean Epigraphy. Korean Epigraphy, which now categorized as a study since Kim Jeong-hee's powerful work in 19th century, can be listed either by studies published before and after Kim Jeong-hee's and by name of influential writers who have successfully presented each study and strive for the development of Korean Epigraphy. Earlier studies show that Korean Epigraphy has more books of data collection rather than the books of research on the epigraph. Regardless of the nationality of the author, all books containing Korean epigraph were counted as Korean Epigraphy, and those books made for religious reasons were not excluded from Korean Epigraphy as well. This indicates how wide the scope of Korean Epigraphy is. In this The reason Park Seon-su's research is ignored at present time, which was assessed as excellent in the late Chosun Dynasty, may come from lack of understanding on the ShuowenJiezi YIzheng. His book, ShuowenJiezi YIzheng, focuses on graphology but more broadly it includes translation of Epigraph and Epigraphy which leads to interpretation of scriptures. Such Park- Seonsu's great work must be presented in Korean Epigraphy studies to broaden its scope, also it is important to look for yet unfound pieces on the fields of Epigraphy.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.