• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.198-203
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• 2023

Art grows with the development of human civilization. Many art forms exist to connect the past and the future. Oil painting, a form of western painting, has flourished in China since its entry into China. In the continuous exploration of artistic language, Chinese artists have formed art forms with Chinese characteristics, permeated Chinese painting ideas and techniques, and formed specialized painting language. Through the oil painting works, the Chinese oriental aesthetic, national spirit, local customs and other times of humanistic features. As one of the many practitioners of oil painting in China, the author starts from the ego and continuously explores and studies in the practice of art. This paper mainly discusses the embodiment of Chinese oil painting modernity in the oriental art context and analyzes the spiritual temperament and painting materials, so as to expand the creative thinking of Chinese oil painting modernity in the oriental art context.

• International journal of advanced smart convergence
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• v.13 no.3
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• pp.227-233
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• 2024

With the rapid development of digital technology, digital human character design has brought richer visual experiences and creative expressions to stage art. This thesis focuses on its unique application in stage art, exploring design and performance optimization, immersive experiences, and multimedia integration. The study shows that digital human character design enhances stage art with immediacy, interactivity, and multimedia integration, while also driving innovation in traditional stage art expressions.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.212-220
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• 2023

The meticulous figure painting is one of the wonders of traditional Chinese painting and has blossomed in art history with its unique and interesting style. The period from the Warring States period to the Song and Yuan dynasties was a glorious period in its history, after which it tended to decline due to changes in painting materials and many socio-historical reasons. The extensive cultural exchanges in the world today, the penetration of Western values and the expansion of information technology have brought a huge impact on Chinese meticulous figure painting, which has developed an active way of thinking and expression after absorbing certain elements of Western culture and thought on the basis of inherited tradition. Contemporary Realistic Figure painters continue to explore new developments in meticulous figure painting in the contemporary context, and give contemporary meticulous figure painting a new cultural and ideological connotation, forming a new look that meets the requirements of the times, with richer and more lively content, subject matter and formal language. Traditional meticulous figure painting is characterised by a highly refined use of line and coloring composition. Contemporary meticulous figure painting focuses on the use of purely formal language and the expression of the personality of the creative subject, with a new outlook on the world of painting. In the contemporary multicultural context, new formal language and methods of expression are constantly being explored to create a new look. In the process of development, contemporary meticulous figure painting has merged the best qualities of traditional and contemporary culture, making it an art with a subtle language, rich in meaning and with the charm of the times and oriental characteristics. The author in the form of contemporary fine brushwork figure painting language as the research object, explore new form of fine brushwork figure painting, and in the contemporary society and multicultural context factors. Innovation, enrich and develop new forms of art language of contemporary social form and aesthetic temperament and interest.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Journal of the Korea Furniture Society
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• v.26 no.2
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• pp.112-121
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• 2015

Concept based Design-Art is a flow formed while focusing on works not dividing boundaries with concept on top in a transition to content-centered communication methods from medium-centered communication methods so far dividing design genres. This movement begins in a try to create upper-level concepts before works and products come into being in pure art and design respectively. This thesis draws out the definition of Concept based Design-Art through its researches, diagnoses directionality of Concept based Design-Art by analyzing Concept based Design-Artists' works and considers their social duties and roles. Outcome of this study will help working authors, designers, and Design-Artists grasp the changing phases of design and art, establish their own directionality, and predict how the Concept based Design-Art market will change in the years ahead. Besides, it will be a good reference by which for them to build their own 'concept,' consider their relationship to the society and check where they are.

• Korean Journal of Human Ecology
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• v.8 no.3
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• pp.525-534
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• 1999

The purpose of this study is to analize in the focus on junk art the relation between hairstyle and dress, and fine art which is one of the driving force of fashion change. The method of this study is to take into theoretically consideration junk art in the trend of art and to take into documental concideration the trend of junk art reflected on hairsyyle and dress. The results are as following. First, there's a trait of poverty. This means using something deserted in our life and expands a new expression world which introduces a new, poor beauty, refusing a existent, rich and arranged one. Second, there's a trait of machinery. In Junk Art, according to the appearance of the beauty of machines, it creates and introduces a mechanic aesthetics as a new- formative art by using industrial by-product. Third, there's a trait of nature. By Junk Art, there appears a trial to restore nature which has been neglected under the name of developing science technology. This expresses natural junk factor by emphasizing the nature itself using natural by-products. The Junk Art has influence on hairstyle and clothing and expands the expression world by some new ways and recognition about the benefaction and the damage of modern civilization.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.13 no.1
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• pp.93-113
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• 2002

Through art historians’ways of studying and theoretical examinations of using art contents, it investigated appropriate data factors derived from something in common between the documentation in art museums and the studies in studies in fine arts, and also presented what kinds and levels of data factors were needed in digitalization of art contents.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.199-204
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• 2023

"New Dimension Art" is an artistic concept of the new era that the author puts forward by combining the background, the artistic environment and the artistic market.It relates to the consciousness of thought, the way of feeling, the form of expression and even the style of language in artistic creation.The author expounds this concept of art.At the same time, this paper deeply studies the characteristics of "new dimension art" by analyzing personality and commonality, as well as the creator's personality transformation.The author hopes that he and more artists can create and express more accurately through this concept, so that his works can fully reflect the author's individual characteristics and release more dimensional field energy. We are confident that this paper will affect the area of painting in the future.