• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.154-175
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• 2020

Most Korean Buddhist paintings from the late Joseon period were produced through collaborative projects (bulsa) between clans of Buddhist monks and monk artists (hwaseung), in which the monk clans would select themes and iconography for works that would then be produced by the artists and their school. Thus, any attempt to understand the Buddhist paintings of this period must consider not only the stylistic characteristics of the monk artists, but also the conditions at the respective temple at the time of production. Applying this methodology, this paper examines the collaboration between the Buhyu monk clan and the monk artist Uigyeom and his fellow artists (hereinafter, the "Uigyeom School") that took place in Honam (湖南) and surrounding areas in the eighteenth century. In particular, the paper reveals the strong influence that the Buhyu clan exerted on paintings that the Uigyeom School produced in 1724 and 1725 at Songgwangsa Temple, the clan's main temple. Following the paintings for Songgwangsa Temple, the Uigyeom School actively participated in similar projects at regional temples under the auspices of the Buhyu clan in Honam, Hoseo (湖西), and Yeongnam (嶺南). Consequently, the Buhyu clan granted Uigyeom several honorable titles-including "Hoseon" (毫仙), "Jonsuk" (尊宿), and "Daejeonggyeong" (大正經)-that were rarely conferred to a monk artist. Such acclaim helped Uigyeom's style of Buddhist painting to become widespread throughout the three southern provinces of Korea. The paintings for Songgwangsa Temple exemplify how the Buhyu clan and Uigyeom School collaborated to visualize the thoughts and philosophies of the Buhyu clan. For the Uigyeom School, this project served as the foundation for building the reputation and esteem of Uigyeom, who became one of the most esteemed and influential monk artists of the late Joseon period. As such, the paintings created for Songgwangsa Temple in 1724 and 1725 have great significance not only for Korean Buddhism, but also for art history in general.

• Journal of the Korea Computer Graphics Society
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• v.22 no.2
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• pp.11-19
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• 2016

This paper proposes a method to directly retarget facial motion capture data to the facial rig. Facial rig is an essential tool in the production pipeline, which allows helping the artist to create facial animation. The direct mapping method from the motion capture data to the facial rig provides great convenience because artists are already familiar with the use of a facial rig and the direct mapping produces the mapping results that are ready for the artist's follow-up editing process. However, mapping the motion data into a facial rig is not a trivial task because a facial rig typically has a variety of structures, and therefore it is hard to devise a generalized mapping method for various facial rigs. In this paper, we propose a data-driven approach to the robust mapping from motion capture data to an arbitary facial rig. The results show that our method is intuitive and leads to increased productivity in the creation of facial animation. We also show that our method can retarget the expression successfully to non-human characters which have a very different shape of face from that of human.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.510-519
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• 2017

Our world is communicating by digital network that transcends time and space. In such world of rich technology, people are longing for humanity and analog esthetic. 'Art' stimulates analog esthetic and 'design' is a good and easy tool to show personal esthetic preferences. This study is about the convergence of digital and analog art focusing on the researcher's artwork series. The series is derived from series. They are made by cut and deconstructed pieces from the original series. I assembled these pieces into another creation by using graphic editing programs. I looked into the succession cases of art and design collaborations and developed various design products with the assembled artwork images. Through this, I want to communicate more familiarly with the world widely connected to network viewers. There are already many fine artists making their artworks into design products. Collaboration with cultural art and commercial product provides win-win effect to artist, company, and consumer. It also creates innovative products and values. In this study, I try to design products from various fields using my artwork images, and research about how to promote the artist and art products effectively to the world.

• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• Cartoon and Animation Studies
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• s.40
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• pp.497-519
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• 2015

Kwon Kisoo is one of the most promising artist in Korea. His paintings portray a lot of metaphors and philosophies in oriental art. As an artist, he adapts both oriental and contemporary ideas to make his paintings. His main motifs are Plum blossoms, Chrysanthemum, Orchid and Bamboos. These plants are known as 'Sa-gonja' in Korean but translated as the 'Four Gracious plants' or the 'Four Gentle Plants in english'. These noble plants represent the four seasons. They grow in different weather conditions. In oriental art, these plants are considered very important for their qualities. These qualities are important attributes for gentlemen in literati painting. The drawing of the 'Four Gracious Plants' in Kwon Kisoo's paintings is simplified. He uses lines, shapes and colour to create contours of the motifs. In his paintings, there is another icon he calls 'Dongguri'. Dongguri is the main character in Kwon Kisoo's paintings. It was developed in 2002 by fast brush strokes. Dongguri is an admired character because it looks like very cute in Kwon Kisoo's paintings. Dongguri is always seen living in the midst of the 'Four Gracious Plants'. The 'Four Gracious Plants' with other landscape features like rocks and mountains are places 'Dongguri' lives. Dongguri is also often found performing a lot of actions like climbing, running, sitting etc. All these actions depict metaphors which have been unraveled in this study.

• Journal of Internet Computing and Services
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• v.19 no.1
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• pp.97-103
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• 2018

In oriental paintings, there is Luo-kuan that expressed in a single picture by compressing the artist's information. Such Luo-kuan includes various information such as the title of the work or the name of the artist. Therefore, information about Luo-kuan is considered important to those who collect or enjoy oriental paintings. However, most of the letters in the Luo-kuan are difficult kanji, kanzai, or various shapes, so it is difficult for the ordinary people to interpret. In this paper, we developed an Luo-kuan search application to easily check the information of the Luo-kuan. The application uses a search algorithm that analyzes the captured Luo-kuan image and sends it to the server to output information about the Luo-kuan candidates that are most similar to the Luo-kuan images taken from the database in the server. We also compared and analyzed the accuracy of the algorithm based on 170 Luo-kuan data in order to find out the ranking of the Luo-kuan that matched the Luo-kuan among the candidates. Accuracy Analysis Experimental Results The accuracy of the search algorithm of this application is confirmed to be about 90%, and it is anticipated that it will be possible to develop a platform to automatically analyze and search images in a big data environment by supplementing the optimizing algorithm and multi-threading algorithm.

• Korean journal of communication and information
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• v.66
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• pp.87-109
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• 2014

The purpose of this study is to investigate public art in Mullae art Village based on Adorno's Mimesis and explore a wide range of possibilities of new genre of public art. This study found out the new possibility of not only artist network, but also networks of local villagers and iron factory workers, and considered in-depth analysis of new genre public art in Mullae art village focusing on their active participations in art programs. By analyzing the artists' stories through interviews, low-cost rental accommodation brought a influx of artists into the village, and they formed their artist networks working by themselves. At this point, this could be judged a critical phenomenon in accordance with Adorno's mimesis. However, by external pressures such as government policies for setting up Mullae Art factory or downtown redevelopment, artists sought independent role in Mullae-dong and doing active public art programs grounded on mimesis. Artists were seeking a way to cope with the economy mechanism doing new genre of public art based on mimesis, and found out the possibility of formation of relationships with local residents and iron factory workers. This study was seemed to suggest the direction of new genre of public art through Mullae art village case, and considers new political measure plans for culture and art policy.

• Journal of the Economic Geographical Society of Korea
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• v.12 no.4
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• pp.597-612
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• 2009

This paper is an anthropological study on the regional revitalization movement by the traditional ceramic industry in Mashiko-cho, Japan. It especially deals with the issues like history of revitalization based on ceramics, idealogical features and roles of core activist group, and adaptive strategies of local society to the ever-changing circumstances. The ceramic industry of Mashiko-cho had developed vigorously in 19C, and had passed many critical points in 20C. In 1960s, the ceramic industry of Mashiko-cho developed stably through introducing of Mingei(民藝) ideology and artists. This is evaluated as a 'bottom-up' regional revitalization movement and a active utilization of traditional cultural resources. In Mashiko-cho, the ideological leadership of cultural artist groups have been central roles in the regional revitalization movement. The representative cases are transformation of production of ordinary ceramics to production of Mingei ceramics from the middle of 1950s, official organization of core activist group and establishment of direct sale system by the producers in the middle of 1960s, and full-scale cooperation of private sector and public sector from the beginning of 1980s. Nonetheless the regional revitalization movement by the traditional ceramic industry in Mashikocho have come out well up to now, it should make new tradition which is well-matched to the ever-changing circumstances as seeing various and complex differentiation on the inside of local society.

• FLOWER RESEARCH JOURNAL
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• v.19 no.3
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• pp.172-176
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• 2011

A new spray chrysanthemum (Dendranthema grandiflorum) cultivar, 'Magic Yellow' was developed from a cross between 'Artist pink' and 'S03-47' by selection of seedlings and lines at the Flower Research Institute, Gyeongnam Agricultural Research and Extension Services (ARES) from 2003 to 2008. Its characteristics were investigated three times from 2006 to 2008 under condition of forcing culture in spring and retarding culture in autumn. The natural flowering time of 'Magic Yellow' was October 18th, and year-round production was possible by day length treatment. This cultivar has single-type flowers in good harmony with bi-color ray floret and green center. Its flower was 6.0 cm in diameter, and it had 11.4 flowers per stem in autumn. The days to flowering under the short day treatment is about 45 days in spring season, and 'Magic Yellow' showed the vase life of 22.9 days in autumn. This cultivar was registered for the protection in 2008.

• The Korean Journal of Archival Studies
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• no.55
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• pp.73-96
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• 2018

Andy Warhol's "Time Capsule" is an individual's daily record, but it can also be evaluated as an artwork. Andy Warhol kept most of his items in boxes until his death in 1974. Warhol's personal records contained receipts, invitations, memos, letters, voice tapes, newspapers, magazines, fan letters, mails, and exhibit materials. Andy Warhol's act of collecting items was continuous and repetitive, giving others a deeper insight into the artist's life. Warhol constantly recorded daily repetitive behaviors such as the people he met, a list of books he bought, and movies he had watched as a record producer. In addition, occasionally, he was in the position of an archivist, collecting and organizing others' records. As such, he expressed his passion for recording his surroundings. His intentionally produced or collected records contain valuable information, not only of himself but also of the people surrounding him. His personal records show that it is the material that enables people to understand and appreciate his relationship with contemporary artists, as well as the artist's education and the conditions during his time.