• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.61-92
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• 2019

We attempted to find the style of flower arrangement from the drawings of Uigwe and paintings of folding screens for the royal ceremonies of the late Joseon dynasty. In the pictures of the Uigwe and folding screens, we could see the linear, circular, and oval types Junhwa used to decorate the left and right sides of the throne placed in the center of main parish at the national banquet. There were also identified the Sanghwa which was used to decorate food on it, Jamhwa which was used to decorate head to be worn on the caps or hats, and Hwaga which was used to decorate the style supporting the large awnings at the national banquet. Hwaga was found, in the Musin Jinchan Dobyeong. In 1795, it was found that decorations on the floor, which are quite similar to the table decorations and modern space decorations, and flower shoot presented by king and flower decorations which were bound to the stick which was presented by king to country old men from Wonhaeng Eulmyo Jeongri Uigwe and Hwaseong Reunghaengdobyeong

• Design Convergence Study
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• v.15 no.6
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• pp.229-241
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• 2016

In generative design computer automatically and quickly generates many alternative design solutions, and the computer algorithms which perform the design tasks are important. The main purpose of this study is to propose a computer algorithm which generates three-dimensional shapes from a two-dimensional digital image such as a photograph or a painting. The base geometry of the final shape is a cylinder or sphere. A surface of the cylinder or sphere is deformed depending on the used image. The proposed algorithm was implemented as a computer program, and the program tested with several famous paintings. The algorithm and results presented in this study implicate the possibilities of the generative design which generates three-dimensional shapes from two-dimensional images. It is necessary to find and measure the values of the generated shape, and it will be a future research to find the relations of emotional and cognitive aspects between the input images and the generated shapes. Those studies are expected to expand the possibilities of generative design.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.76-93
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• 2017

This thesis recapitulates the current status of Nujeongs(樓亭) by the Han River(漢江) from the late Joseon dynasty, and to contemplate the possible options regarding their restoration. The book Yeon-gang-jeong-sa-gi(沿江亭?記) written by Eom Gyeong-su(嚴慶遂) in 1716 was selected as an object of study. After Hanyang was selected to be the capital of Joseon, Han River was considered to be the greatest venue to visit to take some time off and enjoy the view. The nobleman of the Joseon dynasty built Nujeongs around the riverside and enjoyed boating inthe current status of Nujeongs(樓亭) Han River. Eom Gyeong-su, after traveling on a boat to personally collect information, combined such information with preexisting information to create a well-organized and thorough list of the 29 Nujeongs built by the riverbank, which can be found in his book Yeon-gang-jeong-sa-gi. It is probable that a closer look into Yeon-gang-jeong-sa-gi will reveal more information regarding the general atmosphere of the era, which focused on the history and culture of Han River, and will also enable a more thorough research involving the Han River Nujeongs. The Nujeongs listed in Yeon-gang-jeong-sa-gi were analyzed in this paper. Based on the explanations found in Yeon-gang-jeong-sa-gi, the locations of the 29 Nujeongs were checked and reconfirmed, and the origins and the meanings behind their names were analyzed. In addition, the history of the Nujeongs were recapitulated with information gained from the basis of the fact that Yeon-gang-jeong-sa-gi was written in 1716, The origin of each Nujeongs were revisited, and the history of their change and demise were analyzed. Lastly, the sceneries around each Nujeongs were analyzed based on the poetries that were written and read in the respective Nujeongs, and the general taste for the arts in the era was analyzed. Some Nujeongs remain in the form of paintings, enabling us to take a closer look at the institutions and other aspects of the era. The analysis of Yeon-gang-jeong-sa-gi by this paper has revealed the location of some Han River Nujeongs that were unknown previously. Also, the revelation of some history regarding certain Nujeongs that were unknown previously has created an opportunity for the reinterpretation of the spaces surrounding Han River, and also the opportunity for a new story. Han River has lost most of its old self due to repeated exploitation. However, there are some areas where traces of the original form remains and that may be restored, and some areas may be relocated and restored based on existing paintings. Yeon-gang-jeong-sa-gi in particular may provide us with numerous possible options to reinvigorate and restructure the riverside with a more modern interpretation, especially in relation to the Han River cruise ship, as it is a book written after traveling Han River on a boat.

• Korean Journal of Environment and Ecology
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• v.26 no.2
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• pp.219-232
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• 2012

The purpose of this study was to find characteristics of $Pinus$ $densiflora$ forests in previous records and cultural landscape regions and to establish a management method for recovery of $P.$ $densiflora$ landscape. A total of 16 landscape paintings were analyzed to study $P.$ $densiflora$ forests in Inwangsan(Mt.) shown in figure data. As a result of analyzing figure data, $P.$ $densiflora$ $forests$ were found to be distributed mainly in the ridge line of east slope side of Inwangsan(Mt.) from landscape paintings of Jung Seon, Jang Si Heung and Gang Hee Un. In order to analyze the landscape of $P.$ $densiflora$ forests shown in photograph data on Inwangsan(Mt.), photographs of Inwangsan(Mt.) since late 1800s were searched and a total of 24 photographs were used for analysis. As a result of photographic analysis, $P.$ $densiflora$ forests were found to be distributed mainly in the low area and ridge line of western slope side of Inwangsan(Mt.). As a result of analyzing the distribution status of 10 cultural heritages of Inwangsan(Mt.), cultural heritages in the mountain were mainly established with rocks and $P.$ $densiflora$ forests as the background and are establishing their landscape not only as a form of cultural heritage but also including the natural landscape in the background. A method of restoring cultural landscape of P. densiflora forests was necessary. As a result of analyzing 26 rock beds of Inwangsan(Mt.), most of $P.$ $densiflora$ forests were distributed nearby rock beds since the past. Among such regions, restoration and management of introduced species in the accumulated soil regions to $P.$ $densiflora$ forests were deemed necessary. As a result of analyzing current vegetation of $P.$ $densiflora$ forest areas of the past, 51.87% of areas maintained $P.$ $densiflora$ forest and 25.80% were changed to artificial forests. Most of low areas of the mountain were turned into urban area (10.16%). Management type for restoration of $P.$ $densiflora$ landscape of Inwangsan(Mt.) was classified into preservation, $P.$ $densiflora$ restoration and maintenance. Preservation management was configured as $P.$ $densiflora$ distribution and rocky area distribution. The targets of $P.$ $densiflora$ restoration were indigenous broad-leaf trees, vegetation areas with introduced species and damaged regions within the mountain. The targets of maintenance were urban area in the low area of Inwangsan(Mt.) and military base at the top of the mountain.

• Archives of design research
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• v.19 no.6 s.68
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• pp.9-14
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• 2006

There are many paintings describing butterfly in a folk story or old story but the word of Nabby is showed up because korea culture is subject to a Chinese character culture area. the word of Nabby is originated from flying features of nabby. It was expressed to an Hoju(胡蝶:swallowtail) or Hwangjub(黃蝶:yellow butterfly) in old book, Nabby or Naboi in Dusiunhae(杜詩諺解) issued in 1481, Naboi in Hunmonjahoe(訓夢字會) issued in 1527 and Nami in Simongunhaemungmyung(時夢諺解物名) issued in Sookjong dynasty(1675$\sim$1720). After that it was called Nabeui or Nabby and Nabby became the standard language but it is still called Nabbo or Nabbe in some provinces. The butterfly have been called as jewelry spread out through the world and people have been attracted by its meaning (love, pleasure, luck, long life and eternity) and its beautiful figure so that they have collected poems and paintings about it to appreciate its beauty or have made craft works and personal ornaments of it. This research is to analyze the shape and color of the using the application method of the nubi, which is used as expression method in this research, is suitable to express the beauty of butterfly's shape and the nerve of its wings and the basic material, which is light and have good drape, was used to easily express the rhythmical movement of butterfly's flapping. And thus, this research is to present that the above expression method is suitable to express the beautiful expression of butterfly's image and have unlimited potential energy for developing designs. Results showed that the soft outline of butterfly's wings can coincide with the linear shape of human body. It was also found that the characteristics of nubi method could be diversified as material expression method and the Haute Couture luxurious work could be developed by applying the mixed nubi method to costumes.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.3
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• pp.91-104
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• 2009

This paper attempts to look at the identity of the traditional famous sceneries of Jeju Island by investigating the relationship between 'Yeoung Ju-Sipikyung(瀛州十二景)', which are the representative beautiful scenes of Jeju Island, and two paintings 'T'amna-Sipkyungtdo(耽羅十景圖)' and 'T'amna-Sullyokto(耽羅巡歷圖)' by a grasp of the contents and meanings of these two paintings. The following are the results of the study. In the 'T'amna-Sipkyung', which is the origin of today's 12 beautiful sceneries of Jeju Island, Baekrokdam and Youngsil are both symbolic places and the backdrops against which Jeju's myths were formed. Jocheonjin, Seogwijin and Myoungwoljin, located near the seashores, are strategic footholds in protecting the territory of the island and connotatively contain its culture and history. Seongsan Ilchulbong, Sanbangsan, Chwibyeongdam and Cheonjeyeon Pokpo are not only the quintessentially beautiful scenes of Jeju but also belong to 'YeoungJu-Sipikyung'. And 'T'amna-Sullyokto', which describes the Jeju horses and tangerines that were presented to the king as tribute, offers scenic elements with a strong political tone and is related to the five scene of 'T'amna-Sullyokto', showing that 'defense' and 'tribute' are motives in choosing the sceneries of people's daily lives here. Jeju's daily scenes in particular have been continuously transmitted: 'Idyllic lives with the background of a tangerine orchard' are shown in 'Kowon Panggo' and 'Kyullim P'ungak', and Jeju horses grazing on pastures or being ridden in hunting trips are presented in 'Sanjang Kuma' and 'Kyorae Taeryop'. Besides Baekrokdam and Youngsil, which do not belong to Sunyeok(巡歷) corridor of minister Lee Hyoungsang, 'Yeoung Ju-Sipikyung', directly related to 'T'amna-Sipkyung', has six beautiful sceneries: Seongsan of Seongsan Ilchulbong, Baekrokdam of Baekrokmanseol, Younggok of Youngsilgiam, Sanbang of Sanbanggulsa Chwibyeongdam of Yongyeonyabeom and Seogwiso of Seojinnoseong. The image of 'Gosumokma', the tenth landscape of 'Yeoung Ju-Sipikyung', was expressed as it is, through 'Udojeomma' and 'Sanjangguma'. The ten beautiful sceneries of 'T'amna-Sipkyung' were also especially described in 'T'amna-Sullyokto', besides Baekrokdam and Youngsil, which do not belong to Sunyeok corridor. As the places and landscapes emphasized on 'T'amna-Sipkyungto' and 'T'amna-Sullyokto' in common have been transmitted by the politicians and ancestors of Jeju Island, they have become established as today's 'Yeoung Ju-Sipikyung', passing through correction processes. When considering this process of development, 'Yeoung Ju-Sipikyung' are worthy of heritage and traditional landscapes accomplished in a long difficult period based on investigation into beautiful Jeju Island and the love of the island people for their home.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.22-36
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• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.1-8
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• 2010

"Dokseoyeoga Do"(An Enjoyable Pleasure with Reading) is a work included in a collection book of both poems and works called as "Gyunggyo Myungseung Cheop"(Collections of Beautiful Scenary in the Suburb of Seoul) with a promise that a great painter Gyumjae Jung-Sun(謙齋 鄭敾) and his lifelong friend, Sacheon Lee Byung-Yeon(李秉淵) should hopefully exchange their poems and painted works. So far, general perspective of art history toward this work is either self-portrait of Gyumjae himself or genre painting of the aristocrat. The purpose of this study is to interpret in-depth meanings implied in this work with various considerations of plant elements appeared in this work. As a result of this study, We could draw newer and additional meanings beyond the existing perspectives of art history research categories, and the details can be summarized as following below. First of all, we could approach a new interpretation implying that Gyumjae and Sacheon hopefully wished their well-being, friendship, and reunion. Second, as a means of expressing this meaning, plant elements like old juniper(Juniperus chinensis L.), orchid(Orchidaceae), and peony(Paeonia lactiflora var. hortensis) were used. Third, each plant element can be literally seen as an icon implying message that Gyumjae desired to give to Sacheon. To be more detailed, experience and greenness of old juniper imply well-being of two people, and orchid implies fragrant friendship, and peony implies the feeling that Gyumjae hopefully desired to make a reunion with a parted friend. The significance of this study is that throughout old paintings, we could observe substantial examples of recognizing the meanings of plant elements in a category of traditional landscaping and utilizing them. Moreover, adding various point-of-views of many professional categories like Korean Landscaping history in the traditional painting research, we could also recognize the potentials for making rich interpretation toward implicated meanings of old paintings.