• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.1-8
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• 2020

EuiJae Hu BaekRyun is a symbol of Honam Namjonghwa and is respected as a teacher of Honam culture. He is from JinDo and is a relative of Sochi Heo Ryun and a disciple of Misan Heo Hyeong. The spirit of traditional Namjongghwa and the dignity of painting faithful to its technique have been obtained by themselves, and have made it his own. EuiJae organized a 'Yeonjinhoe' in Gwangju to raise his students. After liberation, a house was built under Mudeungsan Mountain. And showed another aspect as a social educator who emphasized and practiced national spirit while being a tea ceremony man. He excelled in Chinese poetry and painting theory, and expressed a unique field in calligraphy. especially worked as an artist good at poetry, caligraphy, and painting. EuiJae showed exceptional talent, especially in landscape painting. His tendency to paint was to follow Ye Chan's technique of drawing with a dry brush, placing importance on the energy of learning, and constantly trying new experiments with the technique of gisaeng. The world of EuiJae's works can be divided into three periods, based on the signature using the trend of painting or the change of perspective pursued, the era of EuiJae, the era of EuiJaeSanin, and the era of EuiDoin, which had a tendency of independent painting. EuiJae's contribution surpassed the artistic historical assessment that he had formed a big stem for the authentic Namjongghwa of Korean painting culture, which was part of Oriental painting. And recognizing that he was a fundamental teacher connecting modern times through the actual scenery based on NamDohwa's universal spirit and regional characteristics and the creative succession of emotions, he should inherit his passion for artistic spirit and tradition and experimental spirit.

• Journal of Conservation Science
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• v.31 no.4
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• pp.429-441
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• 2015

The purpose of this study is to analyse the properties of Seokrok and Noerok that are used for restoration of heritage and arts. Malachite is main constituent mineral for Seokrok and Celadonite is Main component of Noerok. To evaluate the physical properties of pigment, A,B-class Seokrok and heated Seokrok that are sold in market were selected. To compare this results, Noerok sold in Japan were studied. In addition, we studied the pigments of Noerok. The heat treatment had no significant effect on the physical properties, except for the color-difference. The color-difference of Seokrok is larger than that of the Noerok sold in Japan. The $a^*$ values of Seokrok specimens are horizontal distribution, so it will expand the coloring ranges. The properties that are chromaticity, specific gravity and oil-absorption of Noerok are different from Seokrok. Noerok is suggested that achromatic color because the values of $a^*$ located near zero. Specific gravity of Noerok is smaller than Seokrok, but oil-absorption is larger twice. Noerok and Amnok, although ingredients are different, it is possible to use alternative because of similar physical characteristics. The result from this study expects to be used as useful referencing data for conservation and restoration of cultural heritage and understanding phenomena of the properties.

• Cartoon and Animation Studies
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• s.47
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• pp.171-191
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• 2017

In recent years, artistic programs considering both physical and psychological changes in old age have been implemented in various fields. These programs include participatory activities such as painting, play, singing, photography, dance, cartoon animation and so on. It is known that culture and art education programs lead people to emotional growth and social interaction. In particular, culture and art education for the elderly tends to affect positively on the quality of life. However, there are still lack of teaching methods and curriculums in the filed. It is considered that cartoon has a great potential as a teaching method of culture and art education for elderly. This study aims to discuss ways to vitalize the role of cartoon using the qualitative data of four elderly participants in culture and art education programs. The case study analyses reveled that cartoon program for the elderly not only plays a role to make their daily lives more enthusiastic but also provides a social passage to communicate to world. The Cartoon program designed for the elderly was a tool to reveal their inner world to others, and shed new light on their past memories, and long for the precious moments in life. At the same time, it was a meaningful time to lessen the depth of loneliness in old age, and even to heal their physical disability and emotional conflicts. The hardest part of drawing an cartoon was when it did not turn out as they wished. Based on the study results, the researchers explored the therapeutic usefulness of cartoon for the elderly, and discussed the ways to activate it in the field of elderly welfare.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• 보존과학연구
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• s.36
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• pp.11-32
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• 2015

The purpose of this study is to analyse the properties of natural mineral pigments used in restoration and conservation of cultural assets. For this study blue-based pigments that are sold in market were selected. The component analysis using by XRF and XRD shows that blue pigment consist of Azurite. And each specimens were evaluated particle size, chromaticity, specific gravity and oil-absorption according to rating system of pigments particle size. Results show that the value of L* increase with the decrease in particle size. The results suggest that the physical properties which is specific gravity, oil-absorption and chromaticity depend on the particle sizes of pigments. When it comes to particle size of pigments decreased by increasing the number of rating system. In addition, the chromaticity related to particle size. The result from this study expects to be used as useful referencing data for conservation and restoration of cultural heritage and understanding phenomena of the properties according to various particle size of Seokcheong pigment.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.