• Proceedings of the Korean Society of Broadcast Engineers Conference
• /
• 2009.01a
• /
• pp.38-43
• /
• 2009

The Chinese Ink Painting is an art with long history in Chinese culture. Painters can obtain various kinds of scenery by mixing water and ink properly. These papers provides a colorization technique that can transfer gray scale paintings to color paintings. Various colorization techniques for photorealistic images have good results. But these techniques are uncertainly suitable for Chinese Ink Painting. In our method, users only provide a gray scale Chinese Ink Painting and a similar color Chinese Ink Painting subjectively, system can automatically transfer the color from color painting to gray scale painting. We also provide a method for users to refine the automatically generated result.

• The Research Journal of the Costume Culture
• /
• v.24 no.4
• /
• pp.441-456
• /
• 2016

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun-Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.

• Journal of Korean Library and Information Science Society
• /
• v.39 no.3
• /
• pp.457-477
• /
• 2008

The purpose of this experimental study is to analyze the techniques of producing the traditional Korean ink sticks, in order to restore them. The major findings are as follows: (1) Korean traditional ink is a name which people generically calls a block of ink mass made from soots and pine pitch, and it can be classified into pine-pitch ink and oil-pitch ink according to the type of soot. (2) Pine-pitch ink is made from soot of burnt pine trees, and oil-pitch ink is made from soot of burnt plant, animal or mineral oil. Both are mixed with glue made from resin, and hardened into block form. (3) Raw materials of ink include soot, glue made from resin, and spices, and the techniques of making Korean traditional inks were documented in etc. (4) The techniques of making Korean traditional inks have not been handed down, but some craftsmen in modern Korea have restored those traditional techniques.

• Proceedings of the Korea Contents Association Conference
• /
• 2008.05a
• /
• pp.712-716
• /
• 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.

• Journal of Science of Art and Design
• /
• v.10
• /
• pp.111-159
• /
• 2006

The study is to examine the concept, origin, developmental process, and characteristics of 'Kioonsangdong,' or 'lively energy' to look into whether 'Kioon' maybe interpreted by modern sense and sensitivity and be applied to contemporary creative activities, and to explore whether the ideality of 'Kioon' may be transferred into visualization in pictures. The article defines the scope of 'Ki' as 'Ki(energy)' of artistry and sees the Wei, Chin and the South & North dynasties as its derived point. In Chapter I, before the examination of 'Kioon,' 'the relationship of Ki and Oon,' and 'interrelationship of Kioon (energy) and Sangdong (liveliness) are investigated. It is impossible to define Kioon in a word due to its being abstract. Thus, although it does not seem to be unlimited, focusing on putting a variety of concepts of Kioonsangdong in order, it classifies the subject, from which such Kioon reveals itself, into 'its former self,' things of the object,' 'character,' and 'brush and Chinese ink.' Then, with selected representative works for each category, it examines how Kioonsangdong is reflected in the works. In addition, it comprehensively argues on Kioon through presenting the points of Kioon theories by many an art critic and artist from the Wei, Chin and the South & North dynasties to modem China. In Chapter II, the study analyzes the Kioon-reflected works that have been examined in Chapter 1 in the light of the Kioon theories of 'blanks,' 'styles of brushmanship,' and 'techniques of Chinese ink,' and by selecting and analyzing representative artists and works in each era, it investigates how Kioon had been transformed as times had changed. In Chapter III, which is the core of the study, is on contemporary interpretations of Kioon. I intend to interpret Kioon as scent. In other words, through replacing abstract Kioon with the olfactory sense, actually realizing and forming it, and then visualizing it onto my own work, I attempt to grope for contemporary interpretations of Kioon. That is to say, I explain how Kioon is transformed into scent on the grounds that the origins of Kioon may be detected in literature and aesthetics. Besides, the study looks into the process that 'the scent of the olfactory sense' turns into 'the scent of art,' which I assert by contemporary interpretations, and shows in details that it may be visualized in pictures presenting quotes. In Chapter IV, it analyzes Kioonsangdong expressed visually as the scent of art in my own work in terms of the three techniques of blanks, brushmanship, and Chinese ink.

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

• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.1
• /
• pp.25-33
• /
• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
• /
• 2006.06a
• /
• pp.91-98
• /
• 2006

The purpose of this study is to investigate the opacity and printing strength of MG paper overlaid plywood. The printing strength of ink on MG paper can be evaluated effectively by a formula $E^{*2}=[(L^{*})^{2}+(a^{*})^{2}+(b^{*})^{2}]^{1/2}$ that we proposed. Higher E value indicates good printing strength of ink-on-paper. We also assess the real color of translucent printed MG paper with a formula CIE ${\bigtriangleup}E^{*}$ (color difference between a pile of same paper to be opaque and fancy paper laminated board). In addition, the color difference on paper surface caused by the color of wood-based board (bottom) can be evaluated by a formula of Pc. No. Generally, an acceptable appearance quality of fancy boards is ${\bigtriangleup}E^{*}$ <2.0 and small Pc.No. value. The experimental results showed that Japan-made MG papers -J1, J2 and J3 have better printing strength and gloss than that of Taiwan-made paper (T1). The reason for this was that Taiwan-made paper has poor printing strength and low gloss, which might be correlated to the fiber compositions in paper. Higher printing strength can be seen for short fiber containing handsheets when comparing to that of handsheets. Nonetheless, low-freeness sheets gives better printing strength than that of high-freeness sheets. High-opacity MG paper gives good opacifying effect to the fancy paper laminated wood-based boards. Comparing the surface color of 2 kinds of fancy paper laminated boards, paperboard T1 laminated with high-opacity fancy paper showed slight color difference. The same results can be seen for $??g/m^{2}$ handsheets. Higher-opacity Acacia and Eucalyptus bleached sulfate pulps (short fiber) gives higher opacifying effect on the plywood when comparing to Northan pine and Radiata pine sulfate pulps(long fiber). The former ones also showed small color differences when comparing the color differences between the color of fancy paper and laminated paper board. Additionally, the color of bottom plywood can't be shown through for the high-opacify surface paper adhered to. Besides, the PC No of the base paper laminated board is small as well. Apparently, we can add colorants to the binders for the manufscture of various handsheets ($30g/m^{2}$) with various pulp mix ratios to increase the opacity of paperboards to certain extents. When we using yellow and brown binders in paper laminated board, the color difference between Acacia and Eucalyptus handsheets overlaid boards decreasing to 2.0 (acceptable ${\bigtriangleup}E^{*}$ <2.0, hard to discern), but not much improvement for Northern and Radiata pines. Definitely, show-through defects can be discernible for lower opacity papers. In general, admirable printing strength of fancy paper by which glued to plywood can be made with high-opacity paper and colored binders techniques.

• Journal of Conservation Science
• /
• v.35 no.5
• /
• pp.403-415
• /
• 2019

According to oral tradition, the King Sejo's palanquin is indeed the palanquin of King Sejo, the 7^th monarch of the Joseon dynasty who reigned from 1455 to 1468, which was left behind after visiting the Magoksa temple. The palanquin is painted in five colors, mainly black, white, yellow, red and green. The chromaticity measurement of the yellow pigment showed that orpiment and gold are a noticeable distinction between the lightness and b^⁎ values. In the case of the red pigment, a^⁎ values of areas painted with cinnabar tend to measure at high values. As a result of the optical microscopy, scanning electron microscopy and energy dispersive spectroscopy analyses, it was determined that Chinese ink was used for the black pigment, lead white and white clay were used for the white, and orpiment and gold for the yellow. The red pigment was found to be the result of minium, cinnabar and red ocher, atacamite was used as green pigment. Though the analysis results of the cross sections on very small exfoliation fragments of pigments, it was confirmed that white clay and lead white were used for the preparation layer. In addition, several coloration techniques were considered based on these analyses.

• Journal of Conservation Science
• /
• v.29 no.2
• /
• pp.149-159
• /
• 2013

The painted folding screen of Crown Prince Munhyo at Boyangcheong, Munhyo-seja Boyangcheonggyebyung, was made to record the court ceremony where Crown Prince Munhyo(1782-1786), the firstborn son of King Jeongjo, met his first teacher called Boyanggwan for the first time at Boyangcheong, a government agency specifically founded to provide education for a crown prince, in January 1784. Having never been treated before, this 8-fold screen is still in its original presentation of Joseon Dynasty screen paintings of court ceremonies in the 18th century. The mountings of folding screens in Joseon Dynasty has been researched through the study of the mounting of the Boyangcheong screen and the conservation treatment of the screen has been based on this research. The result of the pigment analysis shows the use of lead white, red lead, vermilion(cinnabar), azurite, malachite, litharge(massicot), carbon black(Chinese ink). The microscopic observation has proved that the painting was painted on verso in most areas and finished on recto to highlight the details or to produce subtle hues by applying light colors.