Earticle

중국회화에서는 이미 오랜 전에 ‘理’를 언급하였다. 宋代 이전에 敎化하고 人倫을 돕는 것은 중국회화의 주요한 사회기능이었다. 따라서 宋代 이전에서 繪畫 중에 체현된 ‘倫常之理’는 가장 중요시 되었고 畵論 중에서도 회화의 ‘自然之理’, ‘思辨之理’, ‘藝術之理’가 어쩌다 언급될 정도에 지나지 않았다. 그러나 宋代에 이르러 繪畫의 ‘自然之理’, ‘思辨之理’, ‘藝術之理’는 광범위하게 중시되었고, ‘倫常之理’도 몰락하지 않고 ‘山水畫’, ‘花鳥畫’ 등과 같이 새로운 회화소재를 찾아내었다. ‘理性精神’의 체현은 회화작품에서 가장 중요하게 요구하지만 필연적으로 요구하는 것은 아니다. 본문에서는 송대 화론 중에 체현된 ‘理性精神’을 상세하게 분석하였다. 여기에는 그린 대상물 사이에 존재하는 지리적, 물리적 차이 등과 같이 관찰을 통해 얻을 수 있는 ‘自然之理’를 포괄한다. 또한 관찰의 기초 위에 사고를 조금 첨가한, 즉 알 수 있는 ‘思辨之理’를 포괄하니, 송나라 사람들은 ‘常理’라고 불렀다. 송나라 사람들은 회화작품 중에서 어떤 곳이 ‘常理’에 부적합하면 전체작품의 풍격이 떨어진다고 판단하였다. 여기에는 또한 ‘情境之理’도 포괄한다. ‘情理’는 연상력에 대해 매우 높은 요구를 제기하였으니, 사고력이 한층 더 심화된 것이다. 일례로 화가가 관현악으로 구성된 음악연주회를 그릴 때에 관악기는 손가락을 눌러 소리를 내고 현악기는 줄을 타서 소리를 내는 것에 근거하여 관악기와 현악기 연주들의 순간적인 손동작을 정확하게 그려내야 한다. 여기에는 더욱 ‘藝術之理’를 포괄하니, 송나라 사람들은 ‘神理’ 혹은 ‘妙理’라고 불렀다. ‘神理’ 혹은 ‘妙理’는 창작자의 관찰과 사유 이외에도 창작자의 정신이념을 더하여 예술적 경지로 승화시키기를 요구한다. 그 일례로 ‘雪中芭蕉’라는 작품은 이미 관찰하여 얻을 수 있는 것도 아니고, 생각하여 얻을 수 있는 것도 아니며, 창작자의 ‘金剛不朽’ 정신이념에 의탁한 결과라고 할 수 있다. 물론 여기에는 ‘倫常之理’도 포괄한다. 화가는 종종 인물화의 풍자적인 고사, 심지어 산수화의 우뚝한 구도를 통해 봉건 국가의 倫常관계 및 사대부 개인의 ‘君子之道’를 나타내었다. ‘地理’, ‘物理’, ‘常理’는 모두 표현하고자 하는 대상물에 대해 자세하게 관찰함과 동시에 자신의 이성적 사고력을 요구한다. 그리고 ‘情理’, ‘神理’, ‘倫常之理’는 자세한 관찰을 바탕으로 회화의 意境과 인생의 경계 위에 회화의 격조를 승화시키기를 요구하니, 즉 기예로 도에 나아가는 것이다. 이는 송나라 사람들이 회화작품에 대한 6종의 순서대로 증가하는 理性요구이다. 따라서 ‘終求其理’는 송대 화론의 기본적인 정신이라고 할 수 있다. 송대 이후에 ‘理’는 중국 고전 회화미학 중에서 전형적인 범주가 되었다.

Painting theorists in Song dynasty often spoke ‘Li’ when they talked about paintings. But ‘Li’ of the song dynasty is not limited to the ‘ethics’. First, it includes visible ‘natural’s truth’, such as the differences of ‘geography’ and ‘physics’ between the depicted objects. Second, it also includes ‘common sense’ which was based on both the observation and the thinking. The theorists thought if the ‘common sense’ was improper in the painting, the whole work was invalid. Thirdly, it also includes ‘the reasonable sense in special situation’, which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is ‘sound when the finger lift’ and the stringed instrument is ‘sound after the finger have left’ in that moment. Fourthly, it includes ‘art reason’, theorists call it as ‘ShenLi’ or ‘MiaoLi’. ‘ShenLi’ or ‘MiaoLi’ require the creator to join the spiritual concept besides his observation and thinking. For example, ‘banana in snow’ is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes ‘the principle of ethics’. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. ‘Geography’, ‘physical’, and ‘common sense’ are required the meticulous observation and the rational thinking for the painted object. And ‘the reasonable sense in special situation’, ‘the art reason’, ‘the principle of ethics’ are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making ‘technology’ into the ‘Tao’. This is the six reasonable increasing requirements for the painting work. Therefore, ‘seeking the final reason’ is the fundamental spirit of painting theory of Song Dynasty.

중국예술 화풍은 현시대에서도 계승을 요하지만 사실은 창작이라는 요 소로 부단히 발전되었다. 특히 자연과 인생의 경지에 대한 깨달음을 작품 자체의 이론적 해석으로 그치기보다 심미적 예술의 정신으로 보았다. 이런 심미적 특징에 대한 자각의식은 인생철학의 기초 위에 발전하여 구축되었 다. 중국예술작가들은 도를 체현하기 위한 구조적 조건에서의 방법은 마음 을 깨닫는 것이라 생각하였다. 사물에 대해 일어나는 감성과 심신이 합일 될 때 획득하는 것으로 보았다. 따라서 중국 옛 회화예술철학의 목적은 그 림을 통해 현실을 바라보는 것이다. 전통을 전제로 중국회화사상이 실제 발전하게 된 것은 선에 기초하여 영감을 통한 체득을 바탕으로 유발되었 다 볼 수 있다. 이런 영감은 허정한 심리상태를 바탕으로 사물을 통해 묘 필로 드러나곤 한다. 따라서 회화를 통해 대상을 잊어버리고 대상을 통해 홀연히 무아의 상태로 진입하는 과정을 선적 흐름을 바탕으로 전개하고자 한다.

The Chinese style of painting that needs to be inherited in the present era, has been continuously developed into an element of creation. Especially, the enlightenment of nature and stage of life was not just theoretically interpreted in a work itself, but viewed as a spirit of aesthetic arts. The self-consciousness of this aesthetic characteristics was developed and constructed on the foundation of philosophy of life. The Chinese artists thought that a method to embody Tao in the structural condition would be realizing the mind. They thought it could be obtained when the body and mind were united with the sensitivity rising about an object. Thus, the purpose of old painting & arts philosophy of China is to look at the reality through paintings. The Chinese painting thought with a premise of tradition was actually developed on the basis of learning through inspiration based on Dhyana. This inspiration is shown in an excellent piece of brushwork through objects on the basis of deceptive mental state. Thus, it aims to develop the process of entering the state of selflessness through an object after forgetting about the object through the painting, based on the flow of Dhyana. In Chinese arts, the nature was like a spiritual homeland to Chinese people, and the spiritual subject found in nature was deepened as an enlightenment. Forming a complete whole deepened in this endless relationship between nature and human, the poetry and painting show the mutually-converged look. This study aims to examine the characteristics of Chinese painting & arts by seeking for several basics of arts creation essential for Chinese painting. The Chinese painting arts were formed as a tradition continued for a long time through inheritance and development, and the sensuous unity through objects was established in the method of spiritual enlightenment. Also, of the structural characteristics of Chinese painting, the unity of image and spirit is a method of embodying Tao. When the mind is united through nature, the enlightenment could be obtained. Therefore, if the flow of painting arts is understood by viewing the painting arts as a subject and viewing the mind as body, it is possible to realize it as the expression by the interaction with Dhyana. By examining the flow of Dhyana of painting arts, it would be necessary to realize the stage of aesthetic arts acquiring the spiritual meaning by revealing the united look of nature and human, and also transcending the material meaning.

환경에 대한 관심이 높아지고 이에 대한 환경적 해결방안의 필요성이 제시되면서 도시녹지의 양적 확대를 목표로 한 도시공원의 조성, 도시 내 녹지네트워크 형성 등의 방안이 제기되었으며, 이를 통하여 도시 곳곳에 조성된 도시공원들은 시민들의 여가생활에 전환점을 갖게 한 동시에 휴양에 많은 도움을 주었다. 그러나 녹지공간의 양적 확대를 우선시한 결과 우리도시는 전통적 가치관 및 조형의식을 담지 못한채 외국의 유행에 따른 디자인의 답습 및 정부 정책 중심의 획일적인 디자인 등에 의해 계획되었다. 결과적으로 도시민들에게 공원은 그저 이름 없는 ‘휴식공간’ 그 자체일 뿐이고, 도시공원의 입지에 따른 장소적 특징들로 이루어진 디자인, 조경가의 미적인 감각과 이론에 의해서 이루어진 디자인을 통하여 도시공간에 보다 생기를 불어넣을 수 있는 잠재력의 활용은 기능 중심적이고 정책적인 측면에 의해서 외면당해왔던 것이다. 삶에 질을 중요시하는 현대사회에 있어 획일적인 공공 외부공간은 제고되어야 할 것이다. 본 연구에서는 설계의 질을 높이기 위한 다른 예술분야와의 연계, 특히 미술회화를 중심으로 조경에 있어서 예술의 무한한 응용가능성에 대하여 고찰해 보고자 한다. 하나의 회화 작품이 가지는 의미와 상징들은 커다란 도시공간 속에서 작은 캔버스로 인식될 수 있는 공원에서도 표현될 수 있으며, 그러한 공원 디자인을 통해 기능위주의 획일적인 구성의 휴게공간이 아닌 개성 있는 공원으로 변화시킬 수 있는 하나의 가능성을 엿볼 수 있을 것이다. 디자인에서 가장 중요하게 요구되는 것은 창의성, 즉 참신함이지만 실제로 생활에서 이용하여야 한다는 실용의 목적(실용성) 때문에 여러 가지 제약조건이 따르기 마련이다. 조경설계를 보다 심도 깊게 연구하기 위해서는 디자인의 기본원리에서부터 치밀한 연구와 실험이 이루어져야할 것이다.

Along with change of philosophic thinking, our contemporary society has gradually respected and spotlighted the importance of human being as principal, and conventional awareness about urban environment has been changing owing to higher interest in ‘a livable city' than ever. However, a lot of abandoned space would bring the design concept of cities to shame in the shade when we observe deeply the modern cities. Even though the design quality has been affected by the basic ability and knowledge of designer, the design methodology can improve the ability and quality of design. This study is concentrated on the connection of landscape architecture and other art fields for improving "the design quality". Especially, the unlimited applicable possibility of art is considered for the landscape architecture by focusing on the artistic pictures in this article. The fine art has affected directly and indirectly the landscape architecture activities. The meaning and symbolism for a piece of picture can express a city park as a small canvas in the modern mega-city. The picturesque concept of park design can give the possibility of not functional module but individually creativeness to the rest space of cities. Even though the most important element of design is the creativeness or originality, this element can have the limitation by the practical purpose in the real world. Therefore, the depth of design research can be deepen by the harder work through the basic functions and accurate studies.

본고는 동아시아의 보편적 고전인 『시경』이 전근대 한국 사회에서 거친 매체적 변용, 즉 OSMU(One Source Multi Use)의 양상을 종합적으로 고찰하고, 원천콘텐츠(IP; Intellectual Property)로서『시경』이 현대 매체 환경의 변화 속에서 겪은 부침(浮沈) 및 향후 전망에 대해 조망해 본 것이다. 근대 이전 까지 동아시아 문화권에서 강력한 문화적 권위를 떨쳤던 만큼 『시경』은 비단 시와 경전으로서의 전범이었을 뿐만 아니라, 문학과 회화, 음악의 모티프로 활용되었으며 외교 현장에서의 화술 기교로 인용되기도 하였다. 이에 본고에서는 시가의 이상적 모범, 외교 현장과 문학 작품 속에의 인용, 가악에서 가창과의 연결, 회화에서의 소재적 활용 등 네 가지 범주에서 그 구체적 양상을 살폈다. 나아가 근대 전환기 지식 생태계의 재편 과정에서 『시경』한국에서는 한문학의 쇠퇴 및 타자화와 맞물려 사장된 IP로 전락한 반면, 중국에서는 자국의 문화 자본으로 적극적으로 소환되면서 현대 매체와 성공적으로 결합한 상황을 대비하여 『시경』의 쇠퇴 및 계승의 원인을 진단하였다. 이를 통해 국내에서 『시경』을 비롯한 전통적 원천콘텐츠가 오늘날 생명력을 회복하기 위한 조건을 가늠해보고, 다문화·초국가적 인문학 연구의 방향을 모색해보고자 하였다.

This study comprehensively examines the aspects of media transformation, namely OSMU (One Source Multi Use), that the Shijing (詩經, Book of Odes)—a universal classic of East Asia—underwent in pre-modern Korean society. Furthermore, it explores the vicissitudes and future prospects of the Shijing as an intellectual property (IP) or source content amid changes in the modern media environment. As it wielded immense cultural authority in the East Asian cultural sphere prior to the modern era, the Shijing served not only as a paragon of poetry and scripture but also as a motif in literature, painting, and music, and was even cited as a rhetorical technique in diplomatic settings. Accordingly, this paper investigates its specific applications across four categories: as an ideal model for poetry, as citations in diplomatic arenas and literary works, as vocal performances connected to traditional vocal music (Gaak), and as subject matter in paintings. Moreover, this study diagnoses the causes of the decline and succession of the Shijing by contrasting its fate during the reorganization of the knowledge ecosystem in the modern transition period. In Korea, the Shijing was reduced to a dead IP in conjunction with the decline and "othering" (他者化) of Sino-Korean literature, whereas in China, it was actively summoned as national cultural capital and successfully integrated with modern media. Through this comparative analysis, the study aims to gauge the conditions under which traditional source content, including the Shijing, can regain its vitality in contemporary Korea, and to explore future directions for multicultural and transnational humanities research.

본 연구에서는 프랭크 볼링의 분실된 그림 <렌트Lent>(1963) 사례를 통해 한 그림의실물 복제품과 디지털 복제품 사이의 관계를 조명하였다. 원본은 볼링의 초기 경력에서 가장중요한 그림 중 하나였으나, 1980년대 초에 그의 작업실에서 사라져 버렸다. 따라서 <렌트> 의 복제는 볼링의 기억과 프로세스에 대한 설명에 기초해서 원본에 대한 (낮은 해상도의) 디지털 복제물을 이용해 실행되었다. 필자는 이 연구에서 복제물과 함께 텍스처, 제스처, 색상의 복제에 대한 도전을 중점적으로 다루었으며, 복제물이 쉽게 포착할 수 없는 회화의 고유한 특징에 대한 문제도 살펴보고자 하였다. 또한 원래 작품의 새로운 측면을 드러내기 위해서 디지털 복제물을 조작하는 방법에 대해서도 모색해 보았다. 볼링의 동의하에 필자는 이연구에서 복제품의 운명과 원작과의 관계를 고찰할 수 있었고, 이를 통해 원작과 관련된 회화 복제품과 디지털 복제품의 존재론적 상태, 기능, 가치에 대한 문제를 제기하고자 하였다.

This paper presents a case study of copying Frank Bowling’s lost painting Lent (1963) with his permission to examine the relationship between physical copies and digital reproductions of a painting. The original painting was one of the most important of Bowling’s early career paintings, but it no longer exists, having gone missing from his studio in the early 1980s. Consequently, the copy was made based on Bowling’s description, his memory of his process, and through using (poor quality) digital reproductions of the painting. The paper focuses on the challenges in replicating texture, gesture, and colour from a limited reproduction, and raises questions about certain inherent characteristics of paintings that cannot easily be captured by reproductions, while also highlighting the ways in which digital reproductions can be manipulated to uncover new aspects of the original work. Drawing upon an agreement between Bowling and the author regarding the copy’s destiny and the relationship to the original, the paper raises issues about the ontological status, function, and value of the painted copy and the digital reproductions in relation to the original painting.

신구법천문도 3점(국립민속박물관 소장 천문도(병), 신구법천문도 8폭 병풍, 일본 국회도서관 소장 황도남북양총성도)에 대한 채색 안료 분석 및 이를 통한 제작시기를 추정하 였다. 천문도(병)에서는 조선에서 널리 사용되어오던 석청(남동광), 청화(쪽), 석록(공작석), 하엽(아타카마이트), 주, 석간주(산화철), 연지(코치닐), 등황, 석자황, 연분, 활석 등과 같은 전통 적인 유⋅무기질 안료들이 사용되었다. 신구법천문도 8폭 병풍와 황도남북양총성도에서는 19세기 중엽 이후 유럽에서 유입된 합성 무기안료인 양록(에메랄드 그린)과 양청(울트라마린 블루)가 사용되었다. 신구법천문도 8폭 병풍에서는 녹색과 청색에 합성 무기안료만 사용되었 지만, 황도남북양총성도에서는 전통적으로 사용되어온 하엽과 청화도 함께 사용되었다. 신구 법천문도의 성도와 도설 연구와 연계하여 안료 분석결과로부터 추정한 제작시기는, 조선시대 전통안료만으로 채색된 천문도(병) 18세기 중엽 이후로 추정되며, 황도남북양총성도와 신 구법천문도 8폭 병풍은 19세기 중엽 서양의 녹색과 청색 안료가 도입된 후 제작되었다. 그리고 전통안료와 서양의 합성안료가 함께 사용된 황도남북양총성도가 신구법천문도 8폭 병풍 보다 제작시기가 빠른 것으로 추정된다.

The pigments of three old and new celestial charts folding screens(Celestial Chart(Folding Screen) and Old and New Celestial Charts, Eight-Panel Folding Screen of National Folk Museum of Korea and Koudou-Nanboku-Ryousouseizu of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the Celestial Charts(Folding Screen) was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the Old and New Celestial Charts, Eight-Panel Folding Screen and Koudou-Nanboku- Ryousouseizu were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the O ld a nd N ew Celestial Chart, Eight-Panel Folding Screen, only artificial inorganic pigments were used for green and blue colors. However in the Koudou-Nanboku-Ryousouseizu, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the Celestial Charts(Folding Screen) was painted post mid-18th century. The Koudou-Nanboku-Ryousouseizu and Old and New Celestial Charts, Eight-Panel Folding Screen were painted after green and blue artificial pigments were imported in the mid-19th century. The Koudou-Nanboku-Ryousouseizu in which both traditional and western artificial pigments were used, can be dated earlier than the Old and New Celestial Chart, Eight-Panel Folding Screen.

본 연구는 Magritte의 회화작업과 철학적 사유과정에 수반된 심리적 경험이 Magritte 자 신의 정신적 고통의 극복에 어떤 영향을 미쳤는지에 대해 미술과 철학의 치유적 기능을 고 찰하여 그 교차점을 살펴보고자 하였다. 따라서 선행연구들에 근거하여 철학을 통한 삶의 근원적인 문제에 대한 성찰이 삶에서 겪는 고통을 이겨낼 수 있게 하는 치유적 기능을 가 지고 있다는 점과 미술활동 과정에서 나타나는 치유적인 기능을 문헌 연구의 방법을 적용 하여 알아보았다. 선행연구에 의해 Magritte의 작품을 Platon의 이데아와 시뮬라크르, Hegel의 변증법, Wittgenstein의 언어의 임의성과 확실성, Foucault의 유사와 상사의 철학 적 담론으로 분석하여 작품 속에서 보이는 Magritte의 사유와 회화작업과정에서의 심리적 경험에 대해 탐색해 보았다. 그 결과 Magritte의 작품에서는 명료한 현실관, 고정관념의 탈 피에서 오는 통찰의 경험, 끊임없는 삶의 본질의 탐구로 이루어낸 삶의 긍정성을 볼 수 있 었다. 이와 더불어 Magritte의 철학적 사유와 회화작업 과정에서는 현실에 대한 탐구를 회 화로 표현하는 창조적 과정에서의 창조성의 경험과 몰입의 경험을 발견할 수 있었다. 이렇 게 Magritte의 철학적 사유와 회화작업과정에서 미술과 철학의 치유적 기능이 유기적으로 연결 되어 있었음을 탐색할 수 있었고 또한 미술과 철학이 서로 보완적 관계를 맺으며 그 효과를 배가 시키고 있었음을 유추해 볼 수 있었다.

This study examined the healing function of art and philosophy of Rene Magritte's painting work and the psychological experience accompanying the philosophical thought process on how he overcame Magritte's own mental suffering. Therefore, based on the previous studies, I have found that the reflection on the fundamental problems of life through philosophy has a healing function that can overcome the suffering in life. In addition, I examined the healing function in the art activity process by applying literature research. Magritte's works were analyzed by Plato's Idea and Simulacre, Hegel's dialectic, Wittgenstein's randomness and certainty, Foucault's philosophical discourse on resemblance and similitude, I tried to explore Magritte's thoughts and psychological experiences in the process of painting. As a result, in Magritte's work, we could see the affirmation of life made by the clarity of reality, the experience of insight from the stereotype, and the quest for the essence of life constantly. In addition, in Magritte's philosophical thought and painting process, we were able to discover the experience of creativity and immersion in the creative process of expressing inquiry into reality in conversation. In this way, the Magritte's philosophical thinking and process of painting were able to search for organic connection art and philosophy, suggesting that art and philosophy are complementary to each other, thus multiplying the effect.

아교포수는 안료가 한지에 번지거나 채색이 바탕에 흡수되는 것을 막아 바탕에 잘 고착되도록 하며 , 바탕재와 물감 사이의 접착력을 강화한다. 본 연구는 아교포수 시 사용되는 아교와 백반의 혼합비, 아교포수의 횟수 변화에 따른 포수의 특성이 한지의 색상과 견뢰도에 미치는 영향을 평가하기 위하여 촉진노화시험을 실시하고 결과를 비교 분석하 였다. 아교포수 된 한지의 색상 측정결과 아교수의 농도 및 아교포수의 횟수가 증가할수록 백색도 및 L*값은 감소하였으나, 황색도는 증가하였다.

The traditional sizing treatment for the Hanji is performed to give the following functions. Those are to stabilize the paint of the painting, to prevent the paint of painting and moisture from smearing into the painting itself, to prevent the paint of the painting and moisture from passing to the lining paper, and to make the colors of painting match the surrounding. This study analyzed a result of the effect of Hanji sizing characteristic according to glue and alum mixing ratio and applying times, affects to pigments of painting and fastness of Hanji using accelerated aging test. As a result of color measurement of sizing treated Hanji, the concentration of glue and the number of application increased, the brightness and the L* value decreased but the yellowness index increased.

동관왕묘(보물 제142호)는 조선시대(1602)의 건축물로서 관우, 장비, 우장군, 주창 및 조자룡 등의 소조상이 안치되어 있다. 이 소조상들의 채색층은 먼지 등 무기오염물로 인해 안료의 원색이 손상되었으며, 수차례의 보수 및 덧칠로 인해 원형이 훼손되어 있다. 소조상의 채색안료에 대한 정밀분석을 위해 X-선 회절분석, SEM-EDS, P-XRF 및 색도 측정을 실시한 결과, 적색과 갈색의 안료는 진사, 석간주, 연단이며, 연적색은 석고를 첨가하여 조색하였다. 흑색과 금색은 각각 흑연과 금(Au)박이 사용되었으며, 녹색 안료에서는 공작석, 염화동 및 해록석이 동정되었다. 매우 선명하게 발색된 청색은 현대 안료로 보채한 것으로 판단되며, 백색은 백악, 석고, 연백이 모두 검출되었다. 석황과 밀타승은 각각 황색과 연황색 채색에 사용되었다.

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a modern industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.

The work of Peter Greenaway poses a complex challenge since it ranges from films to artworks and tends to push against the limits usually accepted for both domains. The themes of his work, such as death, violence and sexuality, mixed with games and different kinds of measuring can be polemical. Furthermore, the treatment that they are given eschews well-known solutions, thus compelling the viewer to take an active role in order to enjoy the work. In this study, the Baroque is proposed as a key, relating different aspects of Greenaway's work that otherwise appear chaotic and incoherent. The term Baroque refers to historical period, but also, and more importantly, to a topic that has been given attention by both art and film critics who do not limit the period exclusively to the seventeenth century. The Baroque is seen instead as an ensemble of strategies that have informed the production of different works of present time. The aim of this study is to find the basic strategies of Greenaway' work that resulted in different formal and thematic manifestations linked to what has been conventionally identified as a Baroque aesthetic. The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the ‘interartial’ dimension and the ‘intermedial’ dimension in Peter Greenaway's films, <Draughtsman's contract>(1982), <A Zed and Two Naughts>(1986), <Prospero's Books>(1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media―the media is a condition of existence in art―but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. Specially we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance and the Baroque as well as pictorial techniques and language in order to question the nature of artistic representation.

Many types of ecological studies require the identification of individuals, which is frequently achieved by marking. The identification of individuals in the field can determine life history parameters of individuals, including the age at maturity, growth rates and longevity, etc. and can estimate the population size, rates of increase and survival, reproductive output, and recruitment levels. Methods for the identification of lizards involve a variety of marking techniques, such as toe clipping, scaled clipping, photographic identification, banding, painting, tagging and radio transmitter tagging. Due to the relatively small body size of lizards in the Republic of Korea, techniques such as toe clipping or painting are generally more appropriate for the identification of lizards than are techniques such as radio transmitter tagging, PIT tagging, and photographic identification.

We present a novel watercolor painting drawing system which can work even on low powered computing machine such as tablet PC. Most digital watercolor systems are generated to perform on desktop, not low powered mobile computing system such as iPad. Our system can be utilized for art education besides professional painters. Our system is not a naive imitation of real watercolor painting, but handles with properties of watercolor such as diffusion, boundary salience, and mixing of water and pigment.

Data mining is a technique for extracting valuable information from vast amounts of data by analyzing statistical and mathematical operations, rules, and relationships. In this study, we employed data mining technology to analyze the data concerning the painting poetry of Maehwado (plum blossom paintings) from the early Joseon Dynasty. The data was extracted from the Hanguk Munjip Chonggan (Korean Literary Collections in Classical Chinese) in the Hanguk Gojeon Jonghap database (Korea Classics DB). Using computer information processing techniques, we carried out web scraping and classification of the painting poetry from the Hanguk Munjip Chonggan. Subsequently, we narrowed down our focus to the painting poetry specifically related to Maehwado in the early Joseon Dynasty. Based on this, refined dataset, we conducted an in-depth analysis and interpretation of the text data at the syllable corpus level. As a result, we found a direct correlation between the corpus statistics for each syllable in Maehwado painting poetry and the symbolic meaning of plum blossoms.

This paper proposes an algorithm that automatically converts images into Pipo, painting images using OpenCV-based image processing technology. The existing "purity," "palm," "puzzling," and "painting," or Pipo, painting image production method relies on manual work, so customized production has the disadvantage of coming with a high price and a long production period. To resolve this problem, using the OpenCV library, we developed a technique that automatically converts an image into a Pipo painting image by designing a module that changes an image, like a picture; draws a line based on a sector boundary; and writes sector numbers inside the line. Through this, it is expected that the production cost of customized Pipo painting images will be lowered and that the production period will be shortened.

The current method for pavement sign marking operations is labor-intensive and very dangerous due to the exposure of workers to passing traffic. It also requires blocking traffic for a long period of time resulting serious traffic jam. This paper deals with the development of a robotic system for automating the pavement sign painting operations. The robotic system consists of gantry frame equipped with transverse drive rail and automatic paint spray system. The workspace of the gantry robot is extended to one-lane width with the transverse rail system. This research also includes the development of font data structures that contain the shape information of pavement signs, such as Korean letters, English letters and symbols. The robot path is generated with this font data through the procedures of scaling up/down and partitioning the signs to be painted depending on the workspace size.

The Fourth Industrial Revolution era requires people to have the ability of integrated thinking, critics, sensitivity, and creativity in an integrated manner. Therefore, teaching methods are expected to become more suitable for the trend. In this belief, current teacher-leading education method should move to students’ self motivating one and consist of programs in which students voluntarily involve. In this reason, this study suggests FPBL educational method model that is combines project-based learning with flipped learning by analysing preceding research and digital painting tool class was designed by applying it. As a result of applying the designed class model to the class, all of the class satisfaction, effectiveness, and interaction were evaluated positively. Problems such as limitations of project classes due to non-face-to-face classes, large amount of learning before class, and reduced concentration during class were found. Therefore, when the FPBL class model is conducted non-face-to-face, it will be necessary to further strengthen the role of the instructor, provide lecture videos summarizing the core contents, and improve concentration by providing active participation and fun using various digital tools. The result of the study looks significant by confirming the possibility of applying FPBL model not only in design education but also other educational settings.

It is noted that European pictorial technique was introduced during the Chosŏn dynasty via China and that Western objects exchanged through diplomatic activities by Chosŏn envoys played a significant role in the spread of this new painting style in Korea. However, it is not fully understood how Chosŏn people perceived Western painting techniques, which elements they favored and which were less appreciated. Nor do we know by what routes the new visual elements were transmitted. Focusing on multiple channels through which various images were imported and the diverse agents who took part in the cultural transmission between Chosŏn Korea and Qing China, this study explores Chosŏn Korea’s reception and understanding of Western painting techniques and the application of this new style in their works of art, such as “Han Palace” or “Towers and Pavilions” in the late eighteenth and nineteenth centuries. In addition, Chinese paintings and prints, which were mass-produced for larger markets and circulated throughout China as well as exported to other foreign countries are investigated as possible sources for the Chosŏn works. Taking paintings by professional painters in Beijing working outside of the Qing imperial court and Suzhou prints as vehicles of carrying the new artistic taste and pictorial techniques, this research proposes the assumption that these Chinese visual materials infused with Western style were imported to and circulated in Korea from the late eighteenth century onward and that these foreign images contributed to Korea’s (mis)perception and (mis)understanding of Chinese art and European pictorial conventions.

The dance drama Only This Green blends traditional culture with modern innovation, drawing its inspiration from the ancient Chinese painting A Thousand Miles of Rivers and Mountains. By placing the painting’s cultural symbols at its core, the production brings to life the deep aesthetic value and unique charm of Chinese heritage through the medium of stage art. Through the combination of modern stage technology and creative direction, the work successfully connects traditional art with modern audiences, setting a new standard for cultural inheritance and artistic reinvention. This study examines the strengths and communication strategies that have made Only This Green stand out in the cultural market, using the frameworks of Unique Selling Proposition (USP)) theory, brand image theory and story marketing theory. It outlines a cultural marketing strategy and a plan for aligning the work with an adaptable business model. Through precise branding, emotional storytelling and diversified business extension, the study provides actionable recommendations for the show’s continued growth at home and abroad and for its role in keeping traditional culture alive in a global context.