• Journal of The Geomorphological Association of Korea
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• v.27 no.4
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• pp.53-70
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• 2020

Silgyeong sansuhwa (Realistic landscape paintings) are drawn in Korea since 17th century. It has characteristics of more realistic description of landscape than painting from previous periods. Kim Hong Do's 'Haedong Myeongsan docheop (The album of paintings of famous mountains in Korea)' has been recognized as fine example of realistic description of geomorphic landscapes. Kim Hong Do and Kim Eung hwan did official travel to Gwandong and Geumgangsan area by order of King Jeongjo in 1788. As a result of that travel they draw about 100 piece of landscape painting. About 60 pieces of the paintings are still remaining. These are open to public by Korea National Museum in 1996. 14 pieces of painting, Daegwanryeong and Gangneung, Gyeongpo-dae, Hohae-jeong, Gahak-jeong, Cheonggan-jeong, Mun-am, Mangyang-jeong, Wolsong-jeong, Neungpa-dae, Naksan-sa, Mureung-gye, Gyejo-gul, and Hyeonjong-am, are analysed in this study. Coastal depositional landforms, like lagoon, sand beach and spit or barriers, erosional forms, like sea stack, sea cliff and sea cave, depicted in the paintings are analysed. In addition, structural landforms, colluvial landform and bedrock incision form by the running water in mountain area were analysed and weathered forms of granite and excursion to karst cave also discussed. It is found that sea arch in the printing destroyed since 1788, though exact position and reason is still unknown. There are strong need for discovery and identification of geomorphic landscape resources, for applied geomorphological studies and for prepare educational materials for non-face-to-face education. It also be emphasized that it can be used of the course work materials for future education using augmented reality and virtual reality technology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.16-33
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• 2012

Maehwa blossom(梅花) has been favoured in literary and artistic works in the East Asia as one of representing symbols of virtuous men's character. Maehwaseookdo(梅花書屋圖) is one of major forms of painting. This paper starts from the birth of Maehwaseookdo since it aims to examine the following points: its structural origin of the Gurimaehwachonsado(九里梅花村舍圖) style; how this style was distributed in Korea; process and features of Maegamdo(梅龕圖). The current academic world admits Maehwaseookdo is originated from an ancient story of Lim Po(林逋). Even though Maehwaseookdo and Lim Po story can be linked to a meaning of schoarly hermitage, ways to structure works are hard to compare paintings based on Lim Po story. While paintings related to Limpo story such as Banghakdo(放鶴圖) and Gwanmaedo(觀梅圖) depict a scholar(s) and a few Maehwa trees with cranes, Maehwaseookdo presents scholarly hermitage with a lot of Maehwa trees which encircle a house building. As other paintings related to Maehwa blossom were widely painted since the nationwide popularity of the theme of Maehwa, Maehwaseookdo was not drown throughout the whole period of time. Since Goryeo, Maehwa paintings including Sehansamu(歲寒三友), ordinary Maehwado as one of the Four Gentlemen's plants, and Tammaedo(探梅圖) which was based on ancient anecdote of Maeng Hoyeon. Maehwaseookdo, however, was created exclusively in the 19th century. In China a similar feature took place much earlier period which was in the 17th century. Accordingly we can assume that these patterns which paintings in particular styles were generated by particular cultural phenomena. The reason why Joseon's Maehwaseookdo works were painted exclusively in the 19th century was that Kim Jeonghee's party and Sin wi had acquaintanceship with Jang Sim(張深) who got work orders for Oh Sungyang(吳嵩梁). In these corresponding activities, two types of Maehwa paintings were exchanged. In China, scholars usually drew paintings in the type of Gurimaehwachonsado(九里梅花村舍圖) depicting scenic views of Guriju(九里洲) which was riverside area under the Mt. Buchun(富春山). This place surrounded by thousands and hundreds of Maehwa trees was where Oh Sungyang(吳嵩梁) was about to retire to hermitage in. In this repect, Joseon scholars painted Maegamdo(梅龕圖) depicting a scene of a shrine with Oh Sungyang(吳嵩梁)'s poetry books surrounded by Maehwa trees for paying tribute to the wall of Maehwa trees(Maebyeok(梅癖)). This seems to adapt the format of 'Manmae(萬梅)' which appeared in the type of Gurimaehwachonsado. One of the representing works of this, is painted or supervised by Sinwi. Paintings in two types with respective meanings were combined by which was estimated to be painted by Sin Wi, then it became a structural base of by Jang Sim(張深) This type of Maegamdo brought the popularity of Maewhoseookdo which once had another name of 'Manmaeseookdo(萬梅書屋圖)' by a group of scholars such as Jo Heeyong, in the 19th century. All things considered, this paper can be a sort of precedent phrase to find out the birth of Manmaeseookdo which was very popular in the late 19th century.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.

• Journal of Fashion Business
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• v.14 no.2
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• pp.151-165
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• 2010

The goal of this dissertation is to analyze the change of dress style based upon the 'Difference' theory developed by Gilles Deleuze and Michel Foucault. The methodology for this study consists of literary research, encompassing philosophy, aesthetics, dress and materials derived from internet and case study based upon the analysis of Deleuze and Foucault in the paintings by Bacon, $\acute{a}$, and Magritte. In order to develop the theoretical analysis tool for this study, the period and continuous theories of style change are examined in terms of 'identity' and 'resemblance.' A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's and Foucault's theories and from their interpretations of paintings was developed. This newly developed theory not only defines that dress style changes under the influence of various conditions such as designer's will, ideology, social structure and technology, but also interprets it as a newly-created style that has nothing to do with the original one. The characteristics that represent 'difference' in change of dress style are deformation, hybrid, absence and resemblance. They are derived from the Deleuze's and Foucault's interpretations of 'difference' represented in the paintings by Bacon, Vel$\acute{a}$zquez and Magritte.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.59-72
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• 2012

This study aims to collect Minhwa, or folk painting, particularly the Lotus Flower Painting, to analyze its formative characteristics and related story, and to develop cultural fashion products by utilizing Korean traditional culture and modern flavor based on the results. Lotus flowers grow from mud, but are unstained, and they bloom beautiful flowers. Thus, they symbolize Gunja, a true gentleman who is very learned and proper in behavior. In Buddhism, lotus flowers are divine flowers that have the meaning of the creation of life and the eternal cycle of birth, death and rebirth. Lotus flowers also represent the love between man and woman as well as conjugal harmony and love. Lotus flower painting includes the paintings of the lotus flower alone as well as the paintings of the lotus flower with ducks, white heron, kingfisher, fish, butterfly, crab, or tortoise. Colors that are mostly used in lotus flower paintings is the compatible combination of red and blue (green). Based on these findings, fashion products such as bag accessories, sitting cushions, and kitchen utensils are developed using various designs such as realistically drawn lotus flower, schematized lotus flower, the lotus flower alone, or the lotus flower with kingfisher, crab, or dragonfly, that emphasizing the compatible color combination of red and blue.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1061-1073
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• 2009

Present expression methods have close relations with popular culture in the active acceptance of various kinds of genre. Fashion illustration is no longer limited to sketching garments or technically explaining construction, it is accepted as an art that is expressed by the desire and consciousness of the artist. This study examines the expressional characteristics and effects of photo-image appropriation as an expression method in fashion illustration. The word 'appropriation' (to steal something) is used as euphemism and not meant to be derogatory. The methods of appropriation in art indicate that paintings are not inventions but are self-satisfactory creations that show that the idea of originality is false and that paintings should be uninhibited from the greed of the authority of the genius of artists. In postmodern paintings, the photo-image of appropriation are expressed through the methods of re-photography, photo collage, and photo painting. Photo-image appropriation methods in fashion illustration are re-photography, photo collage, image mixing of photography, drawing, and graphic expression of photography. Fashion illustrators are able to develop expression techniques for expanding a field of expression and enhance the ability of communication through the photo-image appropriation methods.

• Journal of Fashion Business
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• v.14 no.3
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• pp.52-63
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• 2010

The Hanryu(韓流) phenomenon in and around Asia looks like slowing down lately. At that time, the research about contents that can inform the high traditional culture of Korea is useful. The references which can make a study about cultural clothes, especially paintings, let us to infer the life of the people of that period. In this research, I try to study the characteristics of customs, symbol and costumes by analyzing the paintings of Shin, Yun-Bok who was genre painter of the late Chosun. The mens are wearing dopo(道袍) and are putting sejodae(細條帶) around their waists and gat(黑笠). Also, We can see many different types of job such police, official man, a buddhist priest, a barmair, kisaeng and shaman through the costume. Most of women in the paintings, They are wearing Deep blue skirts, banhwoejang pale tone jeogori and tress. We discussed the common lives of the people through genre painting. They have satire, humor, and symbolism. Also, we can look into the various lifestyles, customs of times and seasons, ceremonial occasions, civilian beliefs, and plays ransmitted from the past. The philosophy in Shin, Yun- Bok's genre painting, is close to Taoism not Confucianism.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.6
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• pp.16-28
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• 2001

The purpose of this study is to arrange the terminology of the drawings in Chosun Dynasty, and to investigate the characteristics of drawings after the middle of Chos n Dynasty. This study is based on the and analysis of historic documents and drawings including drawings from China and Japan. In order to accomplish this, the drawings for the process of design were studied first, and the techniques of drawing were studied next in comparison with Japanese drawing techniques. Lastly, the technicians of drawing were studied. The results of this study were as follows; 1) Though the procedures of design Choson dynasty were not divided into planning, designing, construction and maintenance just like those of modern society, a variety of drawings in that time were used in each level. 2) The drawings in Choson Dynasty ere divided into Tohyong and Tosol, and mostly, those for design and construction were Tohy ng. 3) Based on the interpretation of Japanese drawings, several suggestions were presented to solve the questions of the drawing techniques for design and construction. 4) The technicians of drawing were the painters who were trained in a government organization in charge of royal paintings. In the future, research of this area should be continued in to deepen study on drawings as historical materials. This research provides meaningful of guidance in the analysis of historic drawing paintings.