• Journal of Digital Convergence
• /
• v.17 no.4
• /
• pp.309-317
• /
• 2019

The purpose of this study is to review the influence of 3D printing technology on the formability and artistic value of ceramic works through a theoretical review of 3D printing technology and a case study of ceramic works that incorporate them creatively. Thus, the following conclusions were drawn from the analysis of the ceramic works of seven artists and two design teams. First, digital production that incorporates 3D printing technology into works can be applied to data applications and changes, unlike the existing manual methods, and the artist's unique creative artwork is possible. Second, a new paradigm has emerged that expresses the new material, method, advanced digital technology, and more stereoscopic and colorful sculptures out of the traditional ceramic concepts. In the future, I hope to find new methodology that meets the developing digital technology through continuous research and utilization of 3D printing and realizing new value of ceramic design.

• Journal of architectural history
• /
• v.28 no.2
• /
• pp.53-64
• /
• 2019

This study examines the restoration project of Sokkuram, and introduces its preliminary plans by the architect Pai Ki Hyung. The restoration project started in 1958 with an inquiry committee of the restoration project, and was completed in 1964. Despite having undergone extensive repair work under Japanese supervision from 1913 and 1923, the repair work caused water leakages inside Sokkuram, and regular cleaning work that began in 1933 caused a lot of damage to the sculpture. In result of the surveys, the top priority of this project was to protect the sculptures inside Sokkuram by improving the environment of the cave. At that time, the architect Mr. Pai participated as a head of the fourth field surveyors to plan the restoration project and to design the preliminary plans. He proposed the installation of a double dome structure to prevent further water leakages on the concrete addition that was built up around the grotto by the Japanese. However, in 1961, the Cultural Heritage Committee of Korea examined the plans of Mr. Pai and immediately rejected them. The factors of the rejection were the omitting of entrance design, system of new double dome structure that presses the existing structure, and these changes that had to be made outside of the drainage plans. The repair work of Sokkuram began in 1961, and the main construction was building double dome structure and entrance installation. In this we realize that Mr. Pai's double dome structure plans were very important key concept of this project. This study attempts to demonstrate the double dome installations that Mr. Pai initially proposed, which ultimately remains as emblematic factors of Sokkuram's legacy.

• The Southeast Asian review
• /
• v.28 no.3
• /
• pp.43-74
• /
• 2018

There was few research dealing with the cultural property or the arts of Southeast Asia before, however many articles and books on the arts of Southeast Asia were published since 2008. There are more than 50 papers dealing Southeast Asian art during the period. It was Vietnamese ceramics and the Buddhist relics of Indonesia which paid attention among those articles. This was relevant to the launching of the Humanities Korea (HK) project by the National Research Foundation in 2007. A study on Southeast Asian arts from each of eleven countries is difficult to achieve outstanding results in a short period of time. Since art historical approach is quite a professional field, the growth of research is limited. Since art historical approach is a professional field, the growth of research is limited. At this point we can say the research on Southeast Asian art are developed in an unbalanced extent in the limited area focused on ceramics and sculptures. Over the past decade, the research on Southeast Asian art has developed, but we still need more experts in specific regions and fields. For establishing the art history as a field of regional studies, it is imperative to cultivate specialists in each region for the profound and balanced understanding the value of Southeast Asian art.

• Acta Via Serica
• /
• v.6 no.2
• /
• pp.37-60
• /
• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• The Journal of the Korea Contents Association
• /
• v.22 no.1
• /
• pp.148-161
• /
• 2022

Korea's design developed closely related to economic growth and plays a key role in material growth, wealth growth, and consumption promotion today. Of course, it is true that Korea's design level has grown significantly, but it has not reached a trend-leading level. Behind this, it is thought that one of the reasons behind this is that most design companies are biased towards trend research and benchmarking from a supplier perspective, resulting in the creation of design sculptures. If you look at the examples that lead the world's design trends, you can see that their subjective thinking from the author's point of view accounts for a significant portion of design sculpture creation. Through an in-depth interview with designers and artists at both extremes of the spectrum of thought, I want to look at examples of self-expression design development and get implications for suggesting conceptual models of self-expression design sculpture. Through this, a conceptual model was proposed, which is organized into a five-step design creation process in which balanced thinking is achieved by combining the thinking system and process according to the writer's point of view with the majority of design creation dominated by supplier perspective.

• Journal of the Korea Society of Computer and Information
• /
• v.27 no.2
• /
• pp.9-14
• /
• 2022

In this study, we propose a method for moving a device such as a flexible air sculpture while stably maintaining the user's desired posture. To accomplish this, a robot system with a structure of a mobile robot capable of running according to a given trajectory was studied by applying the PI algorithm and horizontal maintenance posture control using IMU. The air sculptures used in this study often use thin strings in a fixed posture. Another method is to put a load on the center of gravity to maintain the posture, and it is a system with flexibility because it uses air pressure. It is expected that these structures can achieve various results by combining flexible structures and mobile robots through the convergence process of digital sensor technology. In this study, posture control was performed by fusion of the driving technology of AGV(Automatic Guided Vehicle),, a field of robot, and technologies applying various sensors. For verification, the given performance evaluation was performed through an accredited certification test, and its validity was verified through an experiment.

• Korean Association of Arts Management
• /
• no.56
• /
• pp.349-380
• /
• 2020

The paper is to assess the recent changes in Architectural Artworks system in two regional districts, Seoul and Gyeonggi Province, and to propose policies for further improvement. We focused on four aspects: overall pass rate, top-ranked artists' pass rate, proportion of artists ever passed, genre proportion artworks. It is observed that quality of artworks has improved, market monopolization has been eased, and entry to the market has become more active. However, sculptures accounted for the majority. Public art is gradually changing from 'decorative art' to 'site-specific art', and seeking harmony between architecture and surrounding landscape. To keep pace with this new trend, more institutional efforts should be made: fund raising to induce artwork supplies; introducing life-span concept to secure removal and deformation of artwork; imposing artists' follow-up services; imposing penalties against poor management; and authorizing the committee to choose exhibition sites.

• Journal of Conservation Science
• /
• v.38 no.4
• /
• pp.277-288
• /
• 2022

'Eve 58-1', the subject of this study is a statue made of plaster and its structural stability was evaluated by utilizing the CAE program in order to prevent the risk of damage arising from impact and vibration that are generated during the packaging and transportation process given its material characteristics. CAE is an abbreviation for Computer Applied Engineering for realization by predicting changes at the time of application of virtual physical energy. It is applied by reflecting the physical property conditions and each boundary condition of plaster, and the digital images of the internal and external structure of the work were acquired through 3D scanning and CT analysis for interpretation by executing finite element modeling. When acceleration is applied to the work in the direction of its own weight, the left-right side and the front-rear side, it was possible to confirm a maximum displacement value of 15.24 mm in the head section of the front-rear side direction that has been tilted by approximately 27° from the Y-axis and the largest stress value of 12.46 MPa was at the left ankle section. The corresponding results confirmed that the left ankle section is the most vulnerable area and the section for which precautions need to be exercised and supplemented at the time of transporting the work by means of objective values.

• Journal of Industrial Convergence
• /
• v.21 no.2
• /
• pp.1-8
• /
• 2023

This paper aims to complete the results obtained through various technical experiments in sculptures, not to derive the results through the existing design process. To this end, for the purpose of visually completing the accidental curve, an experiment was conducted to induce accidental curves using hitting on a metal craft, raising, and press techniques in which accidental curves can be obtained. As a result, the accidental curve was visually represented using red copper and brass through various compression methods using the press, which showed the best effect, and was completed with a candlestick. Through this, it was possible to obtain results through a technique-oriented modeling methodology rather than a design method that focuses on the meaning of form. I hope that the metal craft techniques will continue to be experimented with and that various researches using them will continue in the future.

• Korea Trade Review
• /
• v.41 no.4
• /
• pp.111-129
• /
• 2016

In this paper, I reviewed the analysis of possible ICC model of international sale contract terms used in the international artwork trade. Based on this, the provisions proposed considering the specialties of the international artworks trade. The purpose of this research study is to help practitioners draw up a contract of international artworks trade. In Chapter II, I reviewed the highlights of the international sale of goods contract. In Chapter III, I discussed the issues that arise in creating specific provisions on the international artworks trade agreements. In Chapter IV, I discussed the issues in creating the general provisions on the international artworks trade agreements. Quantity provisions of the international artworks sales contract should include the "more or less" clause. And it should also clearly define the scope of the author's property rights transfer in the copyright provisions. Even if a buyer has been assigned the copyright of artworks from the artist, if the buyer modifies the artworks without permission, moral rights can be violated. In addition, even if a buyer has been assigned all of the intellectual property rights of the artists, if the buyer does not have the specific provisions, the buyer must keep in mind that the unauthorized publication of artworks, film production, merchandising, etc, may infringe the right to create derivative works.