• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Journal of the Korean Society of Food Science and Nutrition
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• v.45 no.4
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• pp.569-576
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• 2016

This study researched the effects of cooking methods on phytochemical-enriched thin rice porridge (RP) of three colors (red, yellow, and green). Each of the RPs was prepared by three cooking methods and retorted through two-steps (step 1, at $80^{\circ}C$ for 15 min; step 2, at $82^{\circ}C$ for 25 min) for pasteurization. Cooking method (CM) 1 involved heating a mixture of all ingredients while CM 2 involved addition of apple/beet (AB, red), sweet-pumpkin/cabbage (PC, yellow) or vitamin/pear (green) while heating rice flour and glutinous rice flour. CM 3 involved mixing pre-cooked fruits and vegetables with cooked thin RP. The viscosity of RP prepared by CM 1 was lower than those of other RPs (P<0.05). The result of colorimetric a value show that red and green color of AB and VP prepared by CM 2 and CM 3 were most vivid. Contents of phytochemicals and antioxidants were higher when RP was prepared by CM 2 and CM 3 compared to CM 1. ${\Delta}E$ values of PC showed no significant difference before and after pasteurization, whereas AB and VP were significantly different (P<0.05). Antioxidant activity after retorting was not significantly different from those of un-retorted RPs. The results of color, phytochemical content, and antioxidant activity show that CM 2 or CM 3 were considerably better than CM 1, whereas cooking method had no effect after two-step retorting. Therefore, uncomplicated cooking method such as CM 1 or CM 2 are suited for commercial production of RPs.

• Korean Journal of Poultry Science
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• v.15 no.2
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• pp.81-91
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• 1988

The purpose of this research is to analyze the tendencies of poultry consumption in Korea. The information used is the data collected three times during the period from Sept. 1, 1985 to April 30, 1987 throughout the major cities. Those who participated in the survey are 2, 598 including housewives, nutritionists, cookers, group feeding institutions, woman's organizations, and the students of doing nutrition－related studies. Consumer preferences for poultry meat and eggs tend to move toward high quality and more strict sanitary standards. Following this line of consumer preference changes, the poultry product marketing supported by cold chain system is rapidly developing. Household consumption of poultry meat largely consists of hi－and semi－broilers but the household demand for these two broilers tends to decrease steadily over time. In general poultry meat consumption appears to be affected by consumer taste rather than market factors such as prices. In addition consumer choices are quite different depending on poultry meat parts which are preferred in order of drum sticks, wings, and breasts. In particular drum sticks are most preferred than any other parts. An important problem in poultry production is related to consumption seasonality since large part of poultry meat consumption is concentrated during the summer season. Another problem is associated with little development of cooking methods. At present there are two types of primary commercial cooking techniques, fries and samgaetang (boiled chicken with jinsang and rice). For promoting domestic poultry meat disposal and reducing the demand seasonality, new cooking methods should be developed and followed by more aggresive advertisements. In domestic egg trade, smaller packing units(i.e., 10 eggs per unit) tend to bi preferred to large ones (i.e., 30 eggs per unit). In consumers egg purchasing decisions nearness to the shops and convenience appear to be important factors. For egg shell colors consumers recognize that there is no difference in nutritional values. However, survey results show that consumers highest preference lies in eggs with brown color. Eggs are most popular among children and preferred in order of middle－and high－school students, 17-25 age people, and adults. Egg prices are concieved relatively cheap to its nutritional values. In house－holds eggs are consumed in the forms of fries, side dishes, and lunch basket dishes. However, high level of cholesterol content in eggs appears to be an important problem in promoting eggs consumption.

• Food Science and Preservation
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• v.21 no.5
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• pp.627-635
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• 2014

We investigated the changes in the quality characteristics of Doenjang with low salt contents (6, 8, 10, and 12%) and 10% garlic. The Doenjang was analyzed at an interval of a week during its fermentation for six weeks, at room temperature. Its L color gradually decreased, but its a and b colors did not change significantly. Its salinity increased by about 1% after six weeks. In contrast, immediately after its preparation, its pH was gradually decreased and its acidity was increased for the fermentation. The reducing sugar was significantly increased from 1.34~1.88 g/100 g immediately after its preparation to 7.25~9.13 g/100 g after six weeks, which was higher as the salt concentration decreased. The amino-type nitrogen doubled from 100~130 mg% at 0 week to 210~290 mg% at six weeks, which were lower with the higher salt concentrations. The growth curve of the Bacillus fermentation strains of Doenjang increased to two weeks but gradually decreased since, and the growth of the Bacillus was favorable for up to two weeks in the Doenjang with 10% and 12% salt added. Otherwise, the yeast was reduced rapidly during the early fermentation of the Doenjang, and slightly changed after three weeks of fermentation. The results of this study showed that the reducing sugar and amino-type nitrogen contents of the low-salt garlic Doenjang were higher with the lower salt dose, and the physicochemical quality of the 6%-salt Doenjang was not significantly affected. Thus, we suggest that low-salt Doenjang can be manufactured with the addition of 6% salt and 10% garlic.

• Korean Journal of Agricultural Science
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• v.12 no.1
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• pp.47-54
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• 1985

An investigation was made to find regional differences and seed characteristics of buckwheats collected from 36 areas in Chungnam province in 1984, and the results obtained are summarized as follows; 1. Grain types of the collected buckwheats were classified as winged, semi-winged and common types. All collections were on the average composed of 50.1 % of common grain types, 26.8 % of semi-winged type and 23.1 % of winged types, respectively. However, there was a great regional difference in components of each grain type among collections. 2. The mean 1000 grain weight was 24.9 gr. The regional differences in 1000 grain weight showed that a collection (collection no. 30) from Susan was 17.4 gr and a collection (collection. no. 16) from Suchon was 31.9 gr. There wasn't any significant relationship between grain types component and 1000 grain weight. 3. Germination of seeds was accelerated as temperature goes up from $5^{\circ}C$ to $30^{\circ}C$. However, interesting germination pattern was observed. That is, seeds from Suchon (collection no. 16), Hongsung (collection no. 23), Cheonweon(collection no. 35), and Yesan (collection no. 27) showed abrupt decrease of germination rate at the temperature of $15^{\circ}C$. The seeds collected from Suchon (collection no. 29), Dangjin (collection no. 32) and from Chungyang (collection no. 21) showed decrease of germination rate at $25^{\circ}C$. These seeds showed, however, the increase of germination percentage at temperature higher than $15^{\circ}C$ and $25^{\circ}C$, respectively. The germination rate for the most collections at $5^{\circ}C$ was less than 10%. However, seeds from Asan (collection no. 33) and Daeduk (collection no. 3) showed 20% and 30% of germination rate at $5^{\circ}C$, respectively. 4. Color of seed coat could be classified into two maj or colors, dark and dark brown. Based on the seed coat color and grain types, all the collections could be classified into the following six categories: winged-black, semi-winged-black, common-black, winged-dark brown, semi-winged dark brown and common-dark brown. The different light absorption rate was found within the UV light zone (190-390 nm) depending upon the two different major seed coat color.

• Journal of the Korean Society of Costume
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• v.5
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.42 no.6
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• pp.1-8
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• 2005

In this paper, we propose a two-stage head tracking algorithm adequate for real-time active camera system having pan-tilt-zoom functions. In the color convergence stage, we first assume that the shape of a head is an ellipse and its model color histogram is acquired in advance. Then, the min-shift method is applied to roughly estimate a target position by examining the histogram similarity of the model and a candidate ellipse. To reflect the temporal change of object color and enhance the reliability of mean-shift based tracking, the target histogram obtained in the previous frame is considered to update the model histogram. In the updating process, to alleviate error-accumulation due to outliers in the target ellipse of the previous frame, the target histogram in the previous frame is obtained within an ellipse adaptively shrunken on the basis of the model histogram. In addition, to enhance tracking reliability further, we set the initial position closer to the true position by compensating the global motion, which is rapidly estimated on the basis of two 1-D projection datasets. In the subsequent stage, we refine the position and size of the ellipse obtained in the first stage by using shape information. Here, we define a robust shape-similarity function based on the gradient direction. Extensive experimental results proved that the proposed algorithm performs head hacking well, even when a person moves fast, the head size changes drastically, or the background has many clusters and distracting colors. Also, the propose algorithm can perform tracking with the processing speed of about 30 fps on a standard PC.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.190-205
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• 2016

Buddhist stupas, which are a symbolic architecture of Buddhism and enshrine the Jinsinsari of Buddha, were reinvented as stone stupas appropriate for the natural soil of Korea from existing wooden stupas around the 7th century after the introduction of Buddhism. Later, the construction of a stone stupa was expanded to local areas from the central area around the 9th century; thus, stone stupas of more diverse local colors were built in a nationwide scale, and today it is called a "country of stone stupas". While focusing on the stylistic interchanges between stone stupas, which were established in each region in accordance with the localization of the establishment of stone stupas that was begun actively from the 9th century, this paper selected several cases of stone stupas among about 50 stone stupas in the Gangwondo-region. First, the study compared the stone stupas and Buddhist priest tower of Seollimwonji, Jinjeonsaji, and Geodonsaji, which are located at the same temple site as the current Buddhist priest tower, from among typical Silla style stupas that match the 9 stone stupas in the Gangwon-do region. This is because stylistic interchanges were possible while there were mutually organic relationships between Buddhist statues such as stone stupas, Buddhist priest towers, stone lanterns, and Buddhist pedestals, which used the same stone material along with the expansion of Buddhism to local areas in accordance with the spread of Zen Buddhism in the 9th century. Second, a comparison was made of the stylistic similarities between the Woljeongsa Palgakgucheong (eight sides nine-storied) stone stupa and the Sinboksaji Samcheung (three-storied) stone stupa, which are totally different in regard to the number of stories and the flat form. These two stone stupas are representative Goryeo stone stupas. The Woljeongsa stone stupa is a Goguryeo-oriented stone stupa with many sided multiple stories whereas the Sinboksaji stone stupa has been known as an early case of the insertion of the support of Tapsin in each story. Although the two stone stupas may look very different, but through close investigation it was confirmed that there were many stylistic interchanges between them and not only the seated stone Buddha statue in the cylinder jewel case in front of the stupa but also the stone stupa established by the same master. Consequently, this paper aimed not merely to mention the simple patterns of stone stupas, but, further, to trace the interchange in patterns in accordance with the construction period based on those patterns.