• Cartoon and Animation Studies
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• s.46
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• pp.207-231
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• 2017

Printmaking is a field of fine arts and is placed on a vague boundary that is perceived as a commercial product with a popular character due to the speciality of editions. Advances of modern science and technology has developed a new technique of printmaking, and the fusion of printmaking and computer has shown the possibility of reproduction art. Reproduction printmaking has been heavily influenced by photography and extended areas, and the various forms of printing have brought about many changes and attempts by stimulating the possibilities of indirect art at various angles. As the history of printmaking and technology closely relate, the development of computer makes widespread expansion of plural artistry, technological and artistic change. A new conceptual shape can be created on the copied image simply by placing the material of the print on the smoothly flat surface expressed in digital form. The process and the result of such work show the area of unique work which is different from the value of the $\grave{a}$ la carte art or the characteristics of the material given by the print. The deprecated perception of reproducibility evaluated the value of the work in a direct sense of printmaking. It is undeniable that it is devalued by a bundle of works regardless of the value of each edition. However, the physical properties of the prints on the paper are brought up with hand drawings drawn on the canvas by hand. And it becomes an opportunity to show new aspect and change through the process of combining digital print information on paper. The diversity of media is sometimes a controversy of identity between art and technology. In the future, it should be discussed how the limit of the media which can be enjoyed in the field of art can be set as a standard.

• Journal of Conservation Science
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• v.36 no.6
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• pp.562-577
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• 2020

In this study, to conserve the clay seated Vairocana Buddha triad in Seonunsa temple, Gochang (Treasure 1752), the primary materials employed for creating the clay Buddha statues were scientifically analyzed. By analyzing the soil layer constituting the Buddha statues, it is observed that the said layer comprises sand having particle size greater than that of medium sand and soil having particle size smaller than that of fine sand, which were used in a ratio of 7:3, along with the bast fibers of paper mulberry (Broussonetia kazinoki). Hence, the aforementioned soil layer is composed of a mixture of sand and weathered soil, along with bast fibers to prevent scattering. By analyzing the tree species, it is found that the wooden materials constituting the bottom board and the interior of Buddha's sleeves of the Amitabha Buddha statue, Vairocana Buddha statue, and Medicine Buddha statue are hard pines (Pinus spp.). Additionally, three layers are found in the cross section of the gold layer. Furthermore, each of the hair sections of the Buddha statues is composed of earthy materials such as quartz, albite, microcline, mica, and magnetite, and the hair surface was painted by incorporating black materials containing magnetite.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.34-51
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• 2012

Jangneung (the Royal Tomb of King Danjong) and Sareung (the Royal Tomb of Queen Jeongsun) are simple in their design and layout. Not only are the sizes of the stone statues small, but stone soldiers are not installed at all despite the fact that Danjong at one point served as the King of Joseon. Moreover, only a pair of seoksu (stone animal) is installed for each Tomb. These royal tombs were originally made as common tombs and later upgraded as Royal Tombs when Danjong's royal status was reinstated posthumously in 1698. Thus, in comparison to royal tombs in general, the scale of these tombs is by far modest. For this paper, archival records and other literature for the burial upgrade process and the stone sculptures are examined; also, the stone sculptures have been examined and measured on-site, and they have been compared and analyzed based on the data thus obtained. Furthermore, this paper traces the historical context of the period in which the simplification of the stone sculptures took place for Jangneung and Sareung. The paper argues that the cause of the modest scale lies not so much in the fact that King Danjong had been dethroned as a commoner, but in the cataclysmic famine and epidemic that swept the country during the time when the two royal tombs were upgraded as such.

• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.427-434
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• 2022

The purpose of this study is to create a self-portrait that provides an immersive experience that immerses the viewer into the problem of self-awareness. We propose a method to implement an interactive self-portrait by using audio and image information obtained from viewers. The viewer's voice information is converted into text and visualized. In this case, the viewer's face image is used as pixel information composing the text. Text is the result of a mixture of one's own emotions, imaginations, and intentions based on personal experiences and memories. People have different interpretations of certain texts in different ways.The proposed digital self-portrait not only reproduces the viewer's self-consciousness in the inner aspect by utilizing the intertextuality of the text, but also expands the meanings inherent in the text. Intertextuality in a broad sense refers to the totality of all knowledge that occurs between text and text, and between subject and subject. Therefore, the self-portrait expressed in text expands and derives various relationships between the viewer and the text, the viewer and the viewer, and the text and the text. In addition, this study shows that the proposed self-portrait can confirm the formativeness of text and re-create spatial and temporality in the external aspect. This dynamic self-portrait reflects the interests of viewers in real time, and has the characteristic of being updated and created.

• Journal of the Korea Convergence Society
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• v.13 no.4
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• pp.245-259
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• 2022

Smart rural construction is an important direction for the Chinese government to promote the cause of "Rural Revitalization". In this paper, in the Xikou village project of the "future community" smart rural demonstration development project proposed by the local government of Zhejiang Province, China, the researcher participated in the design of the intellectualization of the smart rural life circle from the perspective of UX design and through qualitative and quantitative research methods. Through field investigation, understand the users' needs for intelligent design of smart countryside, and on this basis, design the maximum space of the region as a cognitive smart rural demonstration park, and quantitatively analyze the user experience feedback after the completion of the project. Before and after the actual design and application of the "Xikou village" in the demonstration area, chapters 3 and 4 are the symbols that can remember the rural era, the Rural Cultural Exchange Square. In the intelligent office space and living space, the user needs are composed of the design results. In order to reduce the anxiety of residents and tourists caused by the intelligent environment, the artificial manual service part is also designed. Now, as a case of intelligent rural space design, resident residence is developing continuously.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.1-11
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• 2020

With the activation of OTT and VOD services, the viewing behavior is rapidly changing, but the programming regulation has not escaped the ratio regulation in the same way as in the past. Therefore, this paper aims to examine the policy validity of the current organization ratio regulation and to suggest improvement directions based on this. To this end, the policy objectives and background at the time of the introduction of the domestic organization ratio regulation were considered and compared with the current status of the broadcasting market. As a result, this study found that it is difficult to apply the logical framework of asymmetric regulation at the time of the formation ratio regulation into the current status of broadcasting market, the existing framework was established and hold in the mutual relationship of various stake holders formed based on the asymmetric regulation. It was pointed out that the typical pattern of path dependency repeating only fine adjustment of ratio was shown. Based on this, this study suggests that it needs to be divided into the regulation by the public interest and the regulation by the industrial purpose according to the purpose of regulation, and it is necessary to be limited to the direct regulation corresponding to the public interest of the viewer. Also this study proposes that it is necessary to separate the regulation from promotion policies as well as to resolute asymmetric regulation in broadcasting policies.

• Journal of the Korea Computer Graphics Society
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• v.28 no.4
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• pp.31-40
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• 2022

This study assumed two key parameters that describe smoothness. Previously, the number of studies that defined smoothness with the concept of curvature has been limited. The parameters were the two physical characteristics of curvature: the number of waves and the amplitude of them. The purpose of the study was to observe which of the two parameters influences the perception of smoothness and to examine the relationship between the sense of aesthetic beauty and smoothness. The visual stimuli used in the study were transformed three-dimensional spheres, based on the combination of the three levels of the two parameters of nine distinct conditions. We analyzed the three responses that measured the preference of each visual stimuli, the familiarity score, and the smoothness evaluation score, each with the linear mixed model whose fixed effects were the two parameters and random effects were the participants' individual differences. Nearly the eighty percent of the variance of the smoothness evaluation score was explained by the linear model with the two key parameters and their interaction. The physical characteristics of a viewed object were far more significant than individual differences such as personality factors and the manner of art appreciation. In conclusion, the study examined the perception of smoothness based on the change of the physical characteristics of a shape. The study further recognized the relationship between smoothness and the aesthetic preference. No significant influence of the participants' individual difference such as gender, the degree in fine arts, personality factors, and the manner of art appreciation was observed. The amplitude of waves, rather than the number of them, was far more significant to the perception of smoothness.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.563-568
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• 2023

The government's strengthening of the standards for mentally ill patients and expanding the scope of examinations to the entire nation reflects the changing times. According to the OECD's announcement (2021), the incidence of depression and anxiety has more than doubled since the prolonged COVID-19 pandemic in countries around the world, with Korea's prevalence ranking first. However, only 12.1% of those who have been diagnosed with mental disorders received counseling and treatment from experts. The difference between depression and simple depression is significant depending on whether it is medically treated or temporary, but it can be seen that the continuation of depression is depression. In order to reduce this depression, Kandinsky's work was visualized and created. In a study conducted by changing the playback speed of the produced Kandinsky image, beta and gamma values, which showed the largest deviation when compared to depressive patients and normal people, increased significantly when viewed at 90fps, which was most effective in relieving depression. Artistic creations are bound to be accepted differently depending on the individual's perspective, but it is hoped that research that can improve the phenomenon of individuals suffering from depression by integrating artificial intelligence and traditional mental health approaches will be further developed and widely used for treatment.