• Title/Summary/Keyword: Painting process

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A Comparative Study on Buddhist Painting, MokWooDo (牧牛圖: PA Comparative Study on Buddhist Painting, MokWooDo (牧牛圖: Painting of Bull Keeping) and Confucian/Taoist Painting, SipMaDo (十馬圖: Painting of Ten Horses) - Focused on SimBeop (心法: Mind Control Rule) of the Three Schools: Confucianism, Buddhism and Taoism -nd Control Rule) of the Three Schools: Confucianism, Buddhism and Taoism - (불가(佛家) 목우도(牧牛圖)와 유·도(儒·道) 십마도(十馬圖) 비교 연구 - 유불도(儒佛道) 삼가(三家)의 심법(心法)을 중심으로 -)

  • Park, So-Hyun;Lee, Jung-Han
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.40 no.4
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    • pp.67-80
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    • 2022
  • SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).

Optimization of Process Parameters for Dry Film Thickness to Achieve Superior Water-based Coating in Automotive Industries

  • Prasad, Pranay Kant;Singh, Abhinav Kr;Singh, Sandeep;Prasad, Shailesh Kumar;Pati, Sudhanshu Shekher
    • Corrosion Science and Technology
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    • v.21 no.2
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    • pp.121-129
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    • 2022
  • A study on water-based epoxy coated on mild steel using the electroplating method was conducted to optimize the process parameters for dry film thickness to achieve superior paint quality at optimal cost in an automotive plant. The regression model was used to adjust various parameters such as electrode voltage, bath temperature, processing time, non-volatile matter, and surface area to optimize the dry film thickness. The average dry film thickness computed using the model was in the range of 15 - 35 ㎛. The error in the computed dry film thickness with reference to the experimentally measured dry film thickness value was - 0.5809%, which was well within the acceptable limits of all paint shop standards. Our study showed that the dry film thickness on mild steel was more sensitive to electrode voltage and bath temperature than processing time. Further, the presence of non-volatile matter was found to have the maximum impact on dry film thickness.

Digital painting: Image transfonnation, simulation, heterologie and transfonnation (현대회화에서의 형태와 물질 -Digital Transfiguration에 관한 연구-)

  • Jeong, Suk-Yeong
    • Journal of Science of Art and Design
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    • v.10
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    • pp.161-181
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    • 2006
  • The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

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A study on expressing an artist's inner world as well as the external shape of a figure in a figure painting (인물화(人物畵)의 사의성(寫意性)에 관한 연구(硏究))

  • Lee, So-Young
    • Journal of Science of Art and Design
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    • v.11
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    • pp.153-199
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    • 2007
  • The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

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A Study on the Aspect of Evolution and the Pursuit of Reality appeared in Cognizance of Paintings on the Pre-chosun Dynasty (조선전기 회화인식(繪畫認識)에 나타난 진(眞) 추구와 전개양상 고찰)

  • Park, Man-Gyu
    • (The)Study of the Eastern Classic
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    • no.36
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    • pp.403-432
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    • 2009
  • In this paper, I examined two things. First explore the of the reality(眞) in poems written on paintings and discussion on paintings in men of letters of Pre-chosun dynasty, furthemore, it analyzes the meaning and thought. To explain it, I would like to analyse the discourse surrounding the reality(眞) in poems written on paintings and discussion on paintings, and concept of the borrowing(假) and the unreal(幻). First of all, I examine the ways that the view of nature of Confucians is pertinent to the abiding in reverence and the investigation of principles of confucians, also painting is necessarry condition for their moral and spiritual self-cultivation. In the discourse surrounding the reality, it is to suggest from 'natural reality (天眞)' to escape from the reality(眞), and proceeds to examine the transformation of reality(眞) in mind(人心). Furthermore I examine the meaning of transform and delicate difference between borrowing(假) and the unreal(幻). In this process, concept of the borrowing(假) and the unreal(幻) is divided into the two meaning. False(假) is to become the Borrowing and painting, the unreal(幻) is change into the act of recognition. In conclusion, I examined the significant transformation of the reality(眞) and the unreal(幻). The reality(眞) has been recognized as a important concept, it is diverged into the Nature, outer things and painting mind, and the object of ultimate value in appreciation and painting of Pre-chosun dynasty.

A Study on the Characteristics of Chwibyeong in 『Jungli-Euiguae』 written Hangeul (『뎡니의궤(整理儀軌)』에 나타난 취병의 특성 연구)

  • Paek, Chong-Chul;Oh, Seon-Hwa
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.41 no.4
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    • pp.1-7
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    • 2023
  • Chwibyeong is a hedge made into a folding screen shape by setting up supports and placing plants on it. Traces of chwibyeong can be found in various paintings, such as the 『Donggwoldo painting of Changdeokgung Palace』, 『Gyujanggak painting』, 『Munhuimyo painting』, and 『Hwaseong Temporary Palace painting depicting Suwon Hwaseong Temporary Palace』. However, since the Chwibyeong has not survived to this day, the whereabouts of the Chwibyeong were estimated through ancient documents, old paintings, and photographs. In the case of a manned Chwibyeong using a support, a picture related to the composition of the Chwibyeong using a base can be Winnow willow. Methods for creating intoxicants using coniferous trees such as Chinese juniper and Rigid-branch yew have been studied. In existing old paintings, only the supports, parts of leaves, and branches were depicted, so the location of the Chwibyeong could not be confirmed through the drawings. However, in the 『Jungli-Euiguae』, written around 1797, a manned type of Chwibyeong using a support was depicted as the material of the Chwibyeong. By being able to confirm the type of tree used, it was possible to confirm the method of creating a Chwibyeong using Winnow willow introduced in the 『LimwonGyeongjeji』. However, in the 『Jungli-Euiguae』, written around 1797, a manned type of Chwibyeong using a support was depicted as the material of the Chwibyeong. By being able to confirm the type of tree used, it was possible to confirm the method of creating a Chwibyeong using Winnow willow introduced in the 『LimwonGyeongjeji』. Therefore, the purpose of this study is to suggest a method of using Chwibyeong to restore by analyzing old literature. For this purpose, first, the process of change in the material of the Chwibyeong was analyzed through the analysis of old documents showing the method of forming the Chwibyeong. Second, the material and composition method of the Chwibyeong were analyzed through the analysis of the picture of "Seongyeok-do" in 『Jungli-Euiguae』, which allows us to understand the form of the Chwibyeong

Factors affecting the degree of Satisfaction with Workers' Working Environment engaging in Painting Process (도장 근로자의 작업 환경 만족도에 영향을 미치는 요인)

  • Lim, Nam Gu;Roh, Jaehoon;Chang, Kyu Yeob;Song, Jae Suk;Won, Jong Uk;Kim, Chi Nyon
    • Journal of Korean Society of Occupational and Environmental Hygiene
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    • v.9 no.1
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    • pp.73-86
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    • 1999
  • This study was performed to find out factors affecting degree of satisfaction with workers' working environment. The study subjects were 165 workers who were working at painting process of twelve furniture manufacturing factories in Incheon area. We used self-administered questionnaire containing general characteristics, working conditions, the degree of satisfaction with working environment, and the degree of satisfaction with working condition. In addition, we measured the exposure levels of occupational hazardous agents. The results were as follows; 1. Correlations between the degree of satisfaction with workers' working environment and the measured of occupational hazardous agents did not affect the degree of satisfaction with workers' working environment. 2. Factors affecting the degree of satisfaction with workers' working environment were not the exposure levels of occupational hazardous agents, but the degree of satisfaction with working condition, size of industry, health status, and types of ventilation system. As the degree of satisfaction with working condition was increased, the degree of satisfaction with working environment was increased. Also, for the workers who had good health status, the degree of satisfaction with work environment was appeared to be high. To increase the degree of satisfaction, with workers' working environment, firstly, effective work management and production control are required. Also, the worker's effort to negotiate continuously with top manager on improving working conditions is required. Secondly, developing heath promotion program to be appropriate for the characteristics of worksite is required. Moreover, leading worker's participation in health promotion program is very important to increase the degree of satisfaction with workers' working environment.

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Response Characteristics of S-HTP Tests - Seven Emotions and Cognitive Processes (S-HTP 검사의 반응 특성 - 한의학적 칠정과 인지과정을 중심으로)

  • Jeong, Seo-yun;Hur, Shin-chul;Bae, Jin-soo;Kim, Kyeong-ok
    • Journal of Oriental Neuropsychiatry
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    • v.31 no.4
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    • pp.249-258
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    • 2020
  • Objectives: S-HTP is a projective test of cognitive activity. The purpose of this study was to examine the response characteristics in the S-HTP test as they related to seven emotions and cognitive processes. Methods: 153 students underwent S-HTP testing. 10 students were excluded and a total of 143 students' data was used for the study. 143 students were classified into four groups by SCAT. A survey was conducted on seven emotions and cognitive processes painting the Whole picture, house, tree, and person, and after receiving IRB review exemption, the chi-square test was conducted to check homogeneity of the groups by gender and age. Finally, frequency analysis by constitution for each item was conducted. Results: The reaction characteristics of S-HTP, focusing on the seven emotions and cognitive processes detailed by Korean Medicine, are as follows: 1. The primary sentiment while drawing during S-HTP was 'Joy (hui)' followed by 'Thought (sah)'. 2. The sentiments while painting during the S-HTP test, and the emotions of looking at the picture after the S-HTP test, increased in 'Joy (hui)' and decreased in 'Thought (sah)'. 3. 'Thought (Sah)' was the highest scored process while drawing S-HTP, followed by 'jee (智)'. However, 'ryeo (慮)' was similar to 'jee (智)' in an unclassifiable constitution. Conclusions: The primary characteristics of the S-HTP test response are 'Joy (hui)' and 'Thought (sah)' in emotion, and 'sah (思)' and 'jee (智)' in cognitive processes. Therefore, it is necessary to verify this during the S-HTP test.

Printing Medium Characteristic Study of Monotype and Monoprint (모노타입과 모노프린트의 판화 매체적 특성 연구)

  • Song, Dai-Seup
    • Journal of Science of Art and Design
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    • v.11
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    • pp.79-108
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    • 2007
  • "Printing is an Art of reproduction & a Technique of However printing has extended its limitation from a genre of reproduction itself and now it stands on the turning point as an art such as painting or sculpture which expresses artist's originality. Early Printing has had relations in depth with press printing in terms of information recording, preservation, and transmission. It was acknowledged value in a way of information satisfaction different from how it is valued as a pure art today. But, later printing has transferred its function from a mean of reproduction to pure art due to the development of printing skills and photography invention. It can be said that the concept of modern printing is taking over its genealogy as a creative work not as just printing. Also its expression capability is widen to dimensional printing and high-tech multimedia from original tradition techniques. As we discussed above, modern painting is very open to various changes. This modern painting aspect can be seen as an extended interpretation of 'board' concept. This dissertation raises a question why monotype and monoprint couldn't secure its position in printing history in spite of numerous artists' tryouts in its way. Monotype and monoprint fundamentally based on intaglio technique in its history. Yet, its systematic study hasn't been worked out. This is because of the lack of recognition of monotype and monoprint's originality as printing. Especially in monoprint, it has known as an early stage in copperplate printing process which is an attempt to solve the technique limitation or trial work for edition. Likewise the reason why monotype and monoprint remains at the edge of printing border ambiguously is because of conceptual, technical characteristics which are against traditional printing. In traditional printing, the concept of board is important as a method of reproduction. Different from the fact, monotype and monoprint accept the form of medium 'board' conceptually out of limited condition as mentioned. Thus monotype and monoprint hasn't stand out for several reasons until late 20th century when it started come out to public as people starts to have interests that works from famous artists are actually based on monotype and monoprint. This dissertation likes to step into the monotype and monoprint theoretically which is not well known in domestic and try to study the meaning of monotype and monoprint as a printing medium which is also hasn't been considered sincerely. For this study the process follow as below. First, look into how monotype and monoprint has a concept and history. Next, check differences through comparison with traditional printing and how printing can be understood in what aspects at the same time. After, verify how monotype and monoprint have influence on the acceptance of extended concept of 'board'. This study will show the expressional possibility of monotype and monoprint which has already known as 'tableau printing' in today's situation where adventurous experiments of printing medium are going on with the development of technology.

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Practical Study of Low-temperature Vacuum Swing Adsorption Process for VOCs Removal (휘발성 유기화합물 제거를 위한 저온 vacuum swing adsorption 공정의 실용화 연구)

  • Jeon, Mi-Jin;Pak, Seo-Hyun;Lee, Hyung-Don;Jeon, Yong-Woo
    • Applied Chemistry for Engineering
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    • v.28 no.3
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    • pp.332-338
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    • 2017
  • The objective of this work was to study the low temperature vacuum adsorption technology applicable to small and medium scale painting plants, which is the main emission source of volatile organic compounds. The low-temperature vacuum swing adsorption (VSA) technology is the way that the adsorbates are removed by reducing pressure at low temperature ($60{\sim}90^{\circ}C$) to compensate disadvantages of the existing thermal swing adsorption (TSA) technology. Commercial activated carbon was used and the absorption and desorption characteristics of toluene, a representative VOCs, were tested on a lab scale. Also based on the lab scale experimental results, a $30m^3min^{-1}$ VSA system was designed and applied to the actual painting factory to assess the applicability of the VSA system in the field. As a result of lab scale experiments, a 2 mm pellet type activated carbon showed higher toluene adsorption capacity than that of using 4 mm pellet type, and was used in a practical scale VSA system. Optimum conditions for desorption experiments were $80{\sim}90^{\circ}C$ and 100 torr. In the practical scale system, the adsorption/desorption cycles were repeated 95 times. As a result, VOCs discharged from the painting factory can be effectively removed upto 98% or more even after repeated adsorption/desorption cycles when using VSA technology indicating potential field applicabilities.