• International Journal of Advanced Culture Technology
• /
• 제11권1호
• /
• pp.198-203
• /
• 2023

Art grows with the development of human civilization. Many art forms exist to connect the past and the future. Oil painting, a form of western painting, has flourished in China since its entry into China. In the continuous exploration of artistic language, Chinese artists have formed art forms with Chinese characteristics, permeated Chinese painting ideas and techniques, and formed specialized painting language. Through the oil painting works, the Chinese oriental aesthetic, national spirit, local customs and other times of humanistic features. As one of the many practitioners of oil painting in China, the author starts from the ego and continuously explores and studies in the practice of art. This paper mainly discusses the embodiment of Chinese oil painting modernity in the oriental art context and analyzes the spiritual temperament and painting materials, so as to expand the creative thinking of Chinese oil painting modernity in the oriental art context.

• 한국콘텐츠학회:학술대회논문집
• /
• 한국콘텐츠학회 2005년도 추계 종합학술대회 논문집
• /
• pp.100-104
• /
• 2005

수묵담채화에 대한 대부분의 연구들은 브러시, 종이, 잉크 번짐 효과 등과 같은 물리적인 모델링에 집중되어 왔다. 이 모델들은 그림을 잘 그리거나 타블릿 펜을 잘 이용하는 사용자들에게는 효과적이지만 툴 사용에 익숙하지 않은 사용자들에게는 만족감을 주지 못한다. 본 논문에서는 수묵담채화를 자동으로 생성하는 기법을 제안하고자 한다. 수묵담채화에서 주로 사용하는 테마인 풍경이미지를 사용자로부터 입력받아 이미지 처리 기법들을 이용하여 수묵담채화를 생성하는 방법을 제안하고자 한다.

• 조형예술학연구
• /
• 제6권
• /
• pp.119-139
• /
• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• International Journal of Advanced Culture Technology
• /
• 제10권3호
• /
• pp.184-191
• /
• 2022

Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

• 한국콘텐츠학회논문지
• /
• 제14권10호
• /
• pp.361-373
• /
• 2014

동양회화 수업이 소홀히 여겨지는 이유는 교사의 부담과 용구의 준비와 사용의 번거로움 때문이다. 이러한 부담감은 매체의 전환으로 극복될 수 있다. 본 연구는 동양회화 수업의 단점을 극복하고 학생들의 흥미를 높이며 효과적인 구도 수업을 위한 방안으로 포토샵 프로그램의 레이어를 활용한 동양회화 구도 수업을 제시하였다. 포토샵을 활용한 동양회화 구도 수업 안을 개발하고 그 효과를 알아보고자 고등학교 1학년 60명을 대상으로 수업 전과 후에 설문조사를 시행하고 수업 결과물을 분석하였다. 대다수(75%)가 동양회화 구도 수업에 포토샵 수업이 적절하며, 포토샵을 활용한다면 주제에 상관없이 참여하겠다는 의견이 58.3%로 포토샵에 높은 흥미를 나타내었다. 포토샵 프로그램을 활용한 수업의 장점으로 직접 그리지 않아 부담이 적은 점(33.3%), 다양한 표현이 가능한 점(30%), 준비물이 없는 점(26.6%) 등을 답하여 포토샵 활용이 기존 동양회화수업의 단점을 극복할 수 있음을 확인할 수 있었다.

• 한국게임학회 논문지
• /
• 제19권3호
• /
• pp.33-42
• /
• 2019

본 논문은 가상현실(Virtual Reality)속 입체 공간에서 동양화 중 '산수화'를 표현할 수 있는 방법에 대해 연구한 결과이다. 그림 속으로 들어가 교감하며 감상하는 동양화의 특성과 가상현실이라는 매체가 가진 '몰입성'의 유사점을 중심으로 동양화의 대표적인 특징 세 가지(여백, 시점, 그림자)를 정리하고, 디지털 콘텐츠 속에서 구현하는 과정을 연구했다. 자연스러운 수묵기법의 표현을 위해 산, 나무 텍스쳐를 제작했고 콘텐츠 환경으로 여백, 그림자를 표현했으며, 동선 스토리텔링으로 시점을 재현했다. 단순히 동양화의 표현유형을 적용시킨 콘텐츠가 아닌, 체험자가 실시간으로 시점을 변환하며 감상 할 수 있는 차별화된 콘텐츠라는 점에 의의를 둔다.

• 조형예술학연구
• /
• 제8권
• /
• pp.211-239
• /
• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• 미술이론과 현장
• /
• 제3호
• /
• pp.155-172
• /
• 2005

Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki's paintings have been recognized as linked with 'blue' in spite that he used colors within the category of 'Colors of Five Directions(五方色)', which are traditional oriental colors composed of red, lue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki's dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that 'dark blue' of the dot painting is 'Hyun-saec(玄色)'. Eventually we can make sure that Kim Whan-ki's view of Art originated in oriental philosophy and beauty.

• 조형예술학연구
• /
• 제10권
• /
• pp.183-218
• /
• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• 한국콘텐츠학회논문지
• /
• 제21권9호
• /
• pp.105-116
• /
• 2021

하브루타 교육은 짝을 지어 대화하고 토론하고 논쟁하는 방식의 질문 중심 교육이며, 특히 명화 하브루타는 명화에 대한 질문과 답변을 통해 그림의 감상 능력을 증진하고 표현력을 풍부하게 하기 위한 목적으로 시행되고 있다. 본 연구에서는 동양화를 대상으로 한 명화 하브루타를 지원하기 위해, 최신 딥러닝 기술을 활용하여 동양화 등장인물의 성별 관점에서 질문을 자동으로 생성하는 방안을 제시한다. 구체적으로 본 연구에서는 사전학습모델인 VGG16을 바탕으로 동양화 인물 중심의 미세조정을 수행하여 동양화의 인물 분석을 효과적으로 수행할 수 있는 모델을 제안한다. 또한 질문의 유형을 명화 하브루타에서 사용되는 사실 질문, 상상 질문, 그리고 적용 질문의 3가지 유형으로 분류하고, 각 질문을 등장인물에 따라 세분화하여 총 9가지의 질문 패턴을 도출하였다. 제안 방법론의 활용 가능성을 확인하기 위해 실제 동양화의 등장인물 300건을 분석한 실험을 수행하였으며, 실험 결과 제안 방법론에 따른 성별 분류 모델이 기존 모델에 비해 높은 정확도를 나타냄을 확인하였다.