• Conservation Science in Museum
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• v.16
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• pp.82-95
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• 2015

Old Monk by Yun Duseo is realized to use silver paper which is made of rarity material. This sudy investigates reason why silver, that is easily discoloration in environmental condition, is susceptible in present. The method was the surface treatment materials and the base fiber through direct observation, optical instruments and XRF analysis. Based on these results, reproducing experiment was conducted to research materials in paper of Old Monk and the surface treatment technique. The results, the paper was treated 'Dochim' with a mineral having polygonal crystals for improving smoothness and density. XRF analysis result showed high calcium content, therefore, the paper was not used silver, it guess pulverized shells of abalone or other types of shellfish. Accordingly, the research was narrowed down to shells with shiny, reflective surfaces which at the same time contain high amounts of calcium. A new experiment was conducted using unprocessed abalone shells. Through the reproducing experiment, shellfish has high possibility as used mineral in paper. Notwithstanding, this experiment was unable to precisely reproduce the smoothness and shine of the original paper. Further research may therefore be needed.

• 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.