• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.539-547
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• 2002

Heungdukwang's(興德王) costume ordinance(834A.D.) is a very important written historical record because it reveals Tongil Shilla's(統-新羅) costume. And among the clothing pieces that appeared in Heungdukwang's(興德王) costume ordinance, from Pyosang(表裳), Naesang(內裳), we know they wore one skirt over another. But skirts appearing in visual records are wort in waist line or breast line, and when they wore skirts in breast line, there were shoulder belts or not. Also among the clothing pieces that appeared in Heungdukwang'a (興德王) costume ordinance, Yo( ) and Ban( ) seems to be connected with skirt. but it is not clear. So this study focuses on the history of wearing skirt in breast line and one skirt over another, shoulder belts of skirt, and relation among yo( ), Ban( ) and skirt. The results are as follows. First, wearing skirt in breast line is already appeared in Ancient Shilla's(新羅) clay figure, and wearing one skirt over another is also appeared in Sunhung tomb's mural painting. so it is not completely under the influence of Tang(唐). Second, the shoulder belts of skirt is for convenience of action, But, at that time, there is no shoulder belts of skirt in Tang(唐). Third, between Yo( ) and Ban( ), If Yo( ) is connected with skirt, it is a shoulder belts of skirt or waist of skirt. And Ban( ) is a ire of skirt.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• Journal of the Korean Society of Costume
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• v.24
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• pp.15-28
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• 1995

This thesis focuses on the study of costume and ornaments of Shilla which had been severely affected by Uighur, and those of Uighur in Uighur self-governing district located in Shin Kang. East Turkestan, in Centrals Asia. This study aims to identifty the way of intergration of Uighur's costume and ornaments into Shilla, and orgins of Shill's costume and ornaments which had amix of internationl elelemnts thoursh cross exchanges, by comparing the differences between the two, and at the same time to clarify the pedigree of Korean costume and ornaments which are said to be udner a severe Chinese influence, by highlingting its uniqueness and originality . The result of the study demonstrates and originality of SHilla by melting foreign cultures into its own style in the process of accepting them. This means that the Shilla has recreated them in t도 form of simplification, and added naturalistic abstratness which is an element of Norther culture. The costume and ornaments are divided into coronets men's costuem, women's costume, and accessories 1. Coroncts A horse-riding man, and the costume type of 유고제 착유지체형 tell the Northern culture's influence on 백화수피기마인물채화담립 and patterns of a lotus flowr and arabesque show the 백화수피기마인물채색답립 has an influence of Buddhism with cluture of bordering countries of Western China , The origin of 뱍회수피제안형건(원정형, 방정형) lies in Northern cultures which can be found in ancient tombs of the Huns in noin-Ila , and stone caves of Jizil in Kochang. The wall paintings in Alexandropol, Murutuk and 돈황 No. 409 cave show that 초화형입식계금관 is under the influence of Northern culture, and Bezerkrick No, 25 cave and 회 번 in Kocho also show 수목녹각형입식관 is under the influence of Northern culture, with its origin in Novecherkaask. In this regard, the transformed coroncts of Shilla has shows a blended culture of Shilla with Nothern, Chinese, and Western cultures. 2. Men's Costume 반령포 derives from cultures of bordering countries of Western China centering around Uighur and Turkey. 연주문 in Uighur prince's costume and in Uighur paintings of Central Asia were reflected into the arts of Shilla in a direct way, and the motive of Uighur was deviatelly expressed at Shilla's arts in the form of simplicity , and naturalistic abstract paintings as in shown at 입수쌍조문 in tiles and brick. Along with this , 고착지체형 costume originates from Eurasia's Northern horseriding costumes as was shown in a golden man in B.C.4-5C which is now possessed by Kazakstan Republic Academy Archelogy Center Museum, and a golden figure from Skitai ancient caves, an the origin is carried away into wall paintings of Kizil No.14. cave in 8c and Astana's early period ancient tomb. No.6. 3. Women's Costume The hair styles of Shilla people are either 변발 or up -style with a lot of hair around it whose origin can be seen in Astana No.216 and No.187 caves of Kochang and Uighur's wall paintings of royal princess's hair style. Astana's middle period No. 206 and No.230 tombs reveal the its origin of 고착장군 while Astana early period No. 6 tomb shows that of 광유풍만형. 4. Accessories The earrings with small golden beads is seen at earring of figure holding a sword in wall painting of figure holding a sword in wall painting of Kizil in about 5 C. and those of a offering people in Sorchuk wall paintings. The earrings with small golden beads originates from a golden pendant of Shivargan, Afganistan, and golden pendants and other golden and metal accessories from Chrioba ancient tombs in Skiti Critia peninsula. Shilla's costume derives from the costume style of horse-ridding man, which proves the fact that Shilla people are horse-ridding peoplewith excellent horse-ridding techniques, and traditions. The people of Shilla are from horse-ridding people of local mounted momads in Northern part of Siberia steppe and this origin of Northern culture had been carried into Uighur in East Turkestan. At the same time , Shilla has a wealth and power since it was rich in gold and iron , thus producing lots of materials made of them. The results of this study emphasizes Shilla's identity and self-control by creating an independent an innovative heterogeneous culture since Shill's active exchanges with East Asia allowed it to accept the most civilized Uighur culture in East Turkestan among Altai languate which had frequent cross contacts with India and Europe.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.20-55
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• 2016

Koguryo's tomb mural paintings in North Korea are our precious cultural heritage which have been designated as UNESCO World Heritage property receiving high praise in the following criterion, i) exceptional creativeness of human being, ii) representative value showing the stage of development in construction history of East-Asia, iii) aesthetic superiority iv) uniqueness of building construction including tombs' ceiling. Mural paintings have been found from almost 100 tombs of the Koguryo dynasty out of 130 which are scattered across Huanren County, Lianoning Province, Ji'an, Jilin Province in China and Pyongyang in North Korea. Especially, most of them are gathered in Pyongyang from 4th and 5th century. Peculiarly, some of them have been constructed before King Jangsu's transfer of the capital to Pyongyang(AD 427). It can be regarded that Pyongyang territory had been under control of Koguryo and to become a new capital in the near future. And dense emergence of such tombs since the capital transfer from Gungnae City to Pyongyang during the reign of Jangsu is linked closely to the construction of tombs for rulers under strengthen royal authority of Jangsu and centralized system of authoritarian rule. Tomb mural paintings describe the owner's figure pictorially based on the truth just as in his living years. General lifestyles of ruling powers and sovereigns can be seen from the wall paintings portraying several buildings with various styles, figures, manners of living, which are considered that the tomb owner had led politically and sociologically in his life. In spite of not enough proofs to approve figure of architectures or "Gong-Po" in wall paintings on the tombs as those of Koguryo, it is persuasive with consideration for painting and decoration inside the tomb like wooden building in real life for the purpose of reenacting and continuing the tomb owner's luxurious life after death. "Du-Gong-Po-Zak" had appeared in company with Koguryo tomb murals and it can be found in most of the murals. And the emergence of substantial "Gong-Po-Do" can be counted more than a century ahead of the figure in murals. It could be a reasonable assumption as regards Koguryo tomb murals time of appearance match up with production period of Gahyungmyunggi(家形明器) and Hwasangseok(畵像石) Hwasangjeon(畵像塼) Design in the Mural Painting of the East-Han(東漢) Ancient Tombs in China. On this study, architectural "Gong-Po"s described in Koguryo tomb murals are categorized largely in "Bi(non)-Po-Zak-kye", "Jun(semi)-Po-Zak-kye", and "Po-Zak-kye" based on presence of "Ju-Du", "Cheom-Cha", and "Cheom-Cha-Sal-Mi" with developmental aspect, and, "Po-zak" is subdivided as "Bi(non)-Cheul-Mok" and "Cheul-Mok" types.

• Journal of the Korean Society of Costume
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• v.32
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• pp.225-242
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• 1997

This study is historical research on the relationship between the Changes of the Form of costume and the recognition of the beauty of the body from prehistorical period to Ch'ing Dynasty in Chinese female costume. In figure painting a significant point was to describe the spirit of the figure so Chinese painters were less interested in ideal body pro-portion or body shape than Westerns. But idealized beauty of the female body existed and changed keeping abreast with the form of costume in each period. In the prehistorical period Wemen fasten waist belt so enabled to distinguish upper part of the body from lower one. "Locust-forehead moth-eyebrows(蝗首蛾毛)" recorded in "the Book of odes(詩經)" was the canon of beaty and Wemen tried to make their forehead broad and square from Zhou Dynasty to the Wei Jin periods. From the age of Civil War to han Dynasty Slender waist was loved so waist was tightly fastened and hemline became broader. in the course of that time Plump body in big cloth with broad sleeve emerged but that was less significant than Tang Dynasty. During Wei Jin and the Southern/Northern Dynasty undergo disruption and division they admired Taoist images. Loose fitting style with handkerchief hemline and broad sash belt was prevailed while miserable life was reflected gaunt face and lean body. Suk Dynasty also preferred a slim and long body silhouette. The style was presented extremely high waist line long and narrow sleeve slim and long skirt which expressed dynamic and straight image. The culture of Tang Dynasty was open and diverse and that character enabled blod decolletate revealing body line by tight fitting and special make-up-Social background of uion and stabilization made female body extremely plump full face. full breast and hips with most erotic image. The period of Kaiyuan Tianbao fashioned mannish disguise presented androgynous image. Five Dynasty and Song Dynasty restored standard body type so upper garments concealed neck and bust high waist line lowered which represented refined and simple outfit. But another eroticism emerged as foot-binding in Song Dynasty. For the sake of covering up deformed top of the feet and ankle gaiters and arrow shaped shoes were devised. During Ming Ch'ing Dynasties body shape became more slim weak and young causing to escort instinct that reflects 'Lust' or 'Mundanity'.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.138-147
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• 2012

Recently, significant tries appeared in the spatial design field were appreciated as tries to find crossing between space formation and discourse. This study is to find spatial clues from Gilles Deleuze, the modern philosopher's literature where he developed his discourse analyzing paintings of Francis Bacon, and reveal common characteristics with the contemporary spatial design. According to the analysis of Deleuze, Bacon's paintings are separated into frame-aplat, shape-figure, and contour-track. From these three elements, I extracted spatially analyzing languages of 'occurrence of shape-accident', 'space of track-sense', and 'interaction of aplat-background.' Then with these analyzing languages, I analyzed latest works of Rem Koolhaas. Deleuze Space Theory confirmed in works of Rem Koolhaas is the application of accident-focused occurred between the user and space, the space that induces accident, and differentiation between the user and space or space and site. As a result, I could confirm the common characteristic that both modern discourse and spatial design are understood as 'difference' from life and movement.

• Korean Institute of Interior Design Journal
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• v.23 no.5
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• pp.139-145
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• 2014

As life is changing, modern people are interested in culture life more than the past and as a result Art Exhibition increases. Nowadays many methods of exhibit are introduced, especially Direct experience. Trick Art Experience exhibition introduced Direct experirence to a work of art for interests and used props, objets, images, and sounds for maximizing experience element. Trick Art Experience exhibition added humor as imitating famous painting and gave a deep impression through the optical illusion technique which make flat structure look three-dimensional structure. Recently, demands for Experience exhibition which are like Trick Art increase. This study figure out pros and cons through a comparison analysis of direction and component about Trick Art Experience exhibition and find a check list about making an audience active about experience. From now on, we have an object about showing design data including customer satisfaction measurement to make various expressions of direction and component about Experience Art through a case analysis. We have firsthand visited case spaces to experience the spaces and prepared a check list for the relevant types of expressions. Referring to the exhibit work classification system, components that correspond to Trick Art Experience exhibition were grouped according to constituting items. Among the types of expressions, the levels of satisfaction with Experience exhibition and Participating exhibit were found to be high and the level of satisfaction with Heart Moving exhibit was found to be low through surveys. Among the components, the levels of satisfaction with stereograms and formative effect elements were found to be high and those of spatial changes and media effects were found to be low through surveys. Therefore, the expressions should be reinforced and the components should be improved.

• Journal of the Korean Institute of Rural Architecture
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• v.20 no.3
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• pp.11-18
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• 2018

Suhwa Kim Hwan-gi established his own unique world of art based on Korean-style lyricism with his sophisticated and sublimated formative language as the first generation of Korean abstract artist. He made his name known not only in Korea but New York and Paris, the center of contemporary art. Presently, there is almost no material left for us to examine how Kim Hwan-gi's house looked in the first place. But there is a painting that chef Kim Am-gi possesses where we can find the image of painter Kim Hwan-gi's house drawn by recalling the memories at home in a far-off land. With that, we can see it should be the original looks of that house. To examine the original looks of Kim Hwan-gi's house when it was built, this author studied the closure land registration map. By analyzing 29 land registration maps around Eupdong-ri of Gijwa-myeon in Muan-gun of Jeollanam-do produced in 1917 which National Archives of Korea possesses, this researcher could figure out the status of land registration around Kim Hwan-gi's house with No. 15 and 22 drawing boards. According to the results of considering aerial photographs after the emancipation that National Geographic Information Institute possesses, this author has found that the arrangement of Kim Hwan-gi's house was changed from 1954 up to 2008. In 1954 aerophotos, we can see the main building and studio in Kim Hwan-gi's house and there was an additional structure between them. Kim Hwan-gi's house was built before 1925. The main building presently designated as a cultural asset and also the sarangchae arranged in the east and the studio, too, were built in the similar period.