Relevant bibliographies by topics / Painting, Korea

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting, Korea'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Painting, Korea"

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Kho, Youenhee. "Meritorious Heroes." Sungkyun Journal of East Asian Studies 21, no. 1 (May 1, 2021): 1–25. http://dx.doi.org/10.1215/15982661-8873872.

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Abstract This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This article then turns to Chosŏn Korea, where two types of hawk paintings reflected the Korean reception of Yuan counterparts. One was the painting of a hawk sitting still, which indicated the hero's readiness for future achievements. Another, with the motif of a rabbit caught in the hawk's talons, emphasized the hero's successful achievements and gained popularity through the late Chosŏn dynasty. The Chinese and Korean allegories of heroic contributions emerged in response to complicated politics, as the Yuan government comprised multiple ethnic groups and the early Ming and early Chosŏn were newly established after the fall of previous dynasties. For the same reason, the hawk-hero allegory began to lose its relevance over time, and hawk paintings came to take on rather mundane meanings.
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Wang, Ching-Ling. "True Identity." Rijksmuseum Bulletin 66, no. 2 (June 15, 2018): 100–119. http://dx.doi.org/10.52476/trb.9750.

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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.
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Keene, Judith. "Framing Violence, Framing Victims: Picasso's Forgotten Painting of the Korean War." Cultural History 6, no. 1 (April 2017): 80–101. http://dx.doi.org/10.3366/cult.2017.0136.

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Picasso produced a large canvas, Massacre en Corée in early 1951 in response to reports of massacres taking place in the Korean War. Although, by then, he was probably the most famous painter of the twentieth century and his great work on the Spanish civil war, Guernica, enjoyed considerable renown, Picasso's Korean war painting was largely passed over at the time and has been forgotten, much as used to be the case of the Korean war itself. This article, using Judith Butler's insight into the effects of the frames that define an image, offers an explanation for the contemporary reading and the reception of Picasso's Massacre in Korea.
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Moon, Junghee. "Taiwanese Water and Korean Ink: Contemporary Ink Painting in Taiwan and Korea." Art in Translation 11, no. 1 (January 2, 2019): 3–21. http://dx.doi.org/10.1080/17561310.2019.1582913.

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김현권. "Yi Dukmoo’s Painting Style and Korea-China Exchange." Journal of Korean Studies ll, no. 49 (June 2014): 65–101. http://dx.doi.org/10.17790/kors.2014..49.65.

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Greenberger, Jason Paul, and Lee Gyungwon. "Of God and Neighbors." Nova Religio 25, no. 1 (August 1, 2021): 87–107. http://dx.doi.org/10.1525/nr.2021.25.1.87.

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Historically, Korea and Vietnam have been in the unenviable position of being surrounded by powerful neighbors who at times descend upon them as colonizers or occupying forces. East Asian new religious movements such as Daesoon Jinrihoe and Caodaism offer unique insights into each country’s national sentiments regarding such historicities. In particular, the painting in Daesoon Jinrihoe titled Five Immortals Playing Baduk (五仙圍碁 Oseon Wigi), and the painting in Caodaism titled The Three Saints (三聖 Tam Thánh) are strikingly similar in the manner in which both countries depict a national representative alongside foreign representatives. Generally speaking, Five Immortals Playing Baduk can be seen as providing a subtle and provocative critique of foreign interference, whereas The Three Saints has integral, reconciliatory, and diplomatic overtones. Sociological insight can be gained from analyzing the national sovereignty depicted in these paintings and related scriptural passages as a supernatural compensator as understood in Rational Choice Theory.
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Lee, Haw-Soo, Kyeong-Soon Han, and Sang-Jin Lee. "A Study on Painting Layer Fixative Processing of Mural Paintings of Buddhist Temples in Korea." Journal of the Korean Conservation Science for Cultural Properties 29, no. 1 (March 20, 2013): 81–92. http://dx.doi.org/10.12654/jcs.2013.29.1.08.

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Liu, Lihong. "Ethnography and Empire through an Envoy’s Eye: The Manchu Official Akedun’s (1685-1756) Diplomatic Journeys to Chosǒn Korea." Journal of Early Modern History 20, no. 1 (January 26, 2016): 111–39. http://dx.doi.org/10.1163/15700658-12342491.

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Akedun’s 1725 album Fengshi tu [Diplomatic Paintings] is an extraordinary example of the diplomatic painting genre popular during the High Qing era (1661-1796) that represents imperial delegations through the commissioners’ eye-witness experiences. Created after his four journeys to Chosǒn Korea, this album constructs a narrative in which Akedun carries out the role of an imperial ambassador while it captures ethnographic details of the lived places, curious customs, and courteous peoples of Korea. By rendering an imperial image of the Manchu Qing court, the album commemorates the amelioration of the Qing-Chosǒn relations after they had fraught confrontations during the Manchu’s post-conquest period. I argue that the Manchu ambassador Akedun keenly established his persona as an orthodox Confucian scholar in order to justify his position as a civil court-official whose missions were to negotiate for a mutual respect between the two regimes in the process of reaffirming an overarching Qing imperial order.
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Kang, Jiwon. "Aspects of Conceptual Flower Paintings of 19th Century Joseon Korea : Focused Peony and Lotus Flower Painting." Journal of Korean Association of Art History Education 31 (February 29, 2016): 77. http://dx.doi.org/10.14769/jkaahe.2016.02.31.77.

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Kim, Kyung. "Cats and the Meanings Expressed in Painting Poetries of Korea." Journal of Korean Culture 50 (August 31, 2020): 223–52. http://dx.doi.org/10.35821/jkc.2020.08.50.223.

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Dissertations / Theses on the topic "Painting, Korea"

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Shin, Ji-Young. "Writing women's art histories : the construction of national identity in South Korea and the tradition of masculinity in abstract painting." Thesis, University of Leeds, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588599.

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Maeng, Hyeyoung. "Documentation art and Korean Bunche painting : an investigation of Deleuze's Transcendental Realism through the painting process." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/125344/.

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This art practice-based research aims to rediscover Gilles Deleuze’s theory of art as an aesthetics of Transcendental Realism through the process of Korean Bunche painting. Bunche painting, which I have been working on for twenty years, refers to a thousand-yearold traditional Korean painting technique which uses powder pigments mixed with water glue (Agyo) on Korean paper (Hanji) in multiple layers. By means of an action research methodology, a series of my Bunche paintings’ processes were documented with digital photography and film, and reinvented as an independent video art piece which I call Documentation Art. This Documentation Art project challenges the conventional understanding of modern Korean Bunche painting in relation to the influence of Japanese Nihonga and Western abstract painting, and produces a new experimental potentiality, by means of interdisciplinary studies of Deleuze’s theory of art and the Korean art movement of Trueview (Jingyeong) realism. Throughout this research project, I explore how Deleuze’s process ontology and ‘virtuality’ give form to Documentation Art through ‘becoming’ and ‘desubjectification’ associated with transcendental time. Deleuze’s concept of the transcendental field of immanence, as a condition of real experience, radically recasts Plato’s Idea and subverts the notion of representation derived from Kantian transcendental aesthetic. This is the basis of the aesthetics of Transcendental Realism which integrates Deleuze’s ‘transcendental aesthetics of sensation’ with the aesthetics of ‘view from Tao’, based on Deleuze’s ontological position of the univocity of being. As a result, the Documentation Art is provisionally defined as Agencement machines, which operate by connecting different fields, and giving the connected assemblages entirely new sensesthrough the experimental process. In Deleuze’s aesthetics of Transcendental Realism, the Documentation Art project searches for the real in the deepest of Deleuze’s ontological layer, where transcendental time is encountered, underneath conceptual representation and interpretation.
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Yeo, Mun-Ju. "Kitsch et photographie : étude historique du kitsch et de son statut dans la photographie (XIXe et XXe siècles)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100037.

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Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero Toscani
Appeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani
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Lee, Chanju. "Birth and Women in Mythology." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.

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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.
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Mastovaara, Teemu. "Mit Inniger Empfindung : In-between stylistic pluralism." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2883.

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Mecsi, Beatrix. "How Bodhidharma came to the East : the visual representations of Bodhidharma in East Asian art, with a special emphasis on the Korean Bodhidharma-paintings and the formation of Bodhidharma's iconography." Thesis, SOAS, University of London, 2004. http://eprints.soas.ac.uk/29369/.

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The founder of meditational Buddhism according to tradition is the Indian born Bodhidharma, whose legendary figure can often be seen in visual art and popular culture of East Asian countries. In my thesis I focus on the visual representations of Bodhidharma, and for the first time, after summarizing the information about him revealed in primary and secondary textual and pictorial sources, I set down a comprehensive study on the formation of the Bodhidharma-iconography, and discuss Korean Bodhidharma-images in a wider context of East Asian images. This thesis introduces Korean Bodhidharma images for the first time in a Western language, and show them together with the already known Chinese and Japanese images. It raises several problems on the identification of these images and brings new evidence on the formation of the Bodhidharma- iconography. It shows how it derived from representations of Daoist immortals and Buddhist arhats. Earlier studies usually consider texts as primary to visual images, but in my thesis, introducing images from the eleventh and twelfth century, I show that in the case of Bodhidharma- iconography visual images had a considerable influence on written texts. Stressing the importance of visual representations of a religious founder in forming further written and visual legends is a new approach which opens new paths to further studies in religious imagery.
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Kang, Yun-Jeong, and 康倫禎. "Discussion on the Adaptation and Transformation of Ink painting in Korea and Taiwan-A Study of painting by Kang YunJeong\'s Exquisite Secret Garden." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/57tp78.

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博士
國立臺灣師範大學
美術學系
107
This thesis attempts to understand the development of modern ink paintings in Korea and Taiwan from the 1960s by the works of Korean and Taiwanese ink painters, the background of the times, and the development of culture. At the same time, with reference to the statements of art critics and artists, the differences and developments of modern ink paintings between Korea and Taiwan are compared with the past ones to be a reference for the development of personal ink painting. Because the development of the ink and wash circles in Korea and Taiwan changed dramatically in the 1960s, I decided to explore the evolution of the ink art from the 1960s to the present day. During my study abroad in Taiwan, I tried to make further comparative studies on the development of ink painting in Korea and Taiwan. I also have a deeper insight into the natural culture, environment and society of Taiwan. I thus found that the processes of modernization of ink painting development in Taiwan and Korea are very similar. In the past, when the artists were active, they developed many creative and personal styles. Although the knowledge I absorbed, learned and internalized is too many to mention, it has become my inspiration. Furthermore, this article also shows my different painting psychological journey in Korea and Taiwan and my attempts to use different materials to create, pursuing my career towards ink art. The theme of my paintings are landscapes, and I have always been adhering to the exquisite and elaborate concept of creation, like the artistic conception of my personal exhibition "exquisite and secret wonderland", and explores whether the artistic conception is still effective in modern ink art. For new generation ink painters, landscape paintings are considered a kind of classic traditional paintings in the past but similar to western landscape painting. Therefore, the identity of landscape painting is gradually forgotten. In this thesis, I took landscape paintings as the main point, planned to analyze the artistic conception and its works with modern language and concepts, and associated it with my own landscape creation concept. Tracing back to the past from modern times, we can not only understand landscape painting, but also research the possibility of the development of it to inherit traditional arts authentically. In the aspect of ways to express, I usually use ink pen instead of a traditional brush. I believe that art is not limited to materials and that contemporary artists can research and create landscape paintings with various materials. I also hope to expand the possibilities of the development of ink painting.
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WON, LEE SEUNG, and 李承遠. "A Study on Differences Between Madenn Korean and Taiwaneses Gouache painting.(1910∼)." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/36985863468332152111.

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Han, Jin. "Picasso's Massacre in Korea and War and Peace paintings in the context of the postwar French intellectuals' movement /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/32216709.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 1994.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 43-46).
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jung, cho hyo, and 曹孝政. "The Study of HUA YAN’s Art Work(The effect that Eccentric of Yang-Zhou had on the fine Korean paintings of 17、18 century)." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/78927481683285838002.

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碩士
中國文化大學
藝術研究所
88
This thesis is to research the qing dynasties Flower and Bird painters, and Eccentric painters of Yang-Zhou’s Xinluo Shanren Hya Yan. The content and main focus is on his paintings and his success. Also all of the in formation pertaining to his paintings and artwork；furthered explains the effects of paintings. This thesis is broken up in to 8 chapters. Chapter 1:content Chapter 2:The time period and its background. As well as the total background of the Eccentric painters of Yang-Zhou. Chapter 3:The total accomplishments of his life. His life’s accomplishments divided into 4 parts；his friends and their backgrounds. Chapter 4:The main focus was on his paintings, with an in-depth look at his flower and bird, water and mountains, people. And to brake up his work into three parts morning, noon and night to better understand his progress. Chapter 5:The special artistic views and his artwork’s special points. Chapters 6:his place in history；his relationship with the other artist of the Eccentric painters of Yang-Zhou, And how did the other artist, and critics think about his work. And how his work effected the artist after him. Chapters 7:Eccentric painters of Yang-Zhou；the research maternal that was used for this particular chapter was taken from Korean documents. The explanation of this art works in the eyes of the Korean of that period. The effect of that the Eccentric painters of Yang-Zhou had on Korean paintings of the 17 and 18 century. Chapters 8:Summery, this is a brief summery of the art of Hya Yan.
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Books on the topic "Painting, Korea"

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Hanʼguk hyŏndae misul, onŭl ŭi ŏlgul. Sŏul-si: Atʻŭ Bullu, 2008.

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Hanʼgukhwa silgi chʻongsŏ: Techniques of Korea painting. Sŏul-si: Misul Kongnonsa, 2007.

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Asian Art Museum of San Francisco. Hopes and aspirations: Decorative painting of Korea. San Francisco: The Museum, 1998.

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(Korea), Kahoe Pangmulgwan. Arŭmdaun sansuhwajŏn =: Beautiful landscape painting . Sŏul-si: Kahoe Pangmulgwan Chʻulpʻanbu, 2007.

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Uri kŭrim iyagi, minhwa esŏ kungjunghwa kkaji: Korean paintings, grom folk painting to court painting. Sŏul-si: Pona, 2015.

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1931-, Kim Chʻŏl-sun, and Yi Chung-sik, eds. Chosŏn sidae minhwa: The Folk painting of Korea. Sŏul-si: Yegyŏng Sanŏpsa, 1989.

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Tanwŏn Kim Hong-do: Chosŏnjŏk in nŏmuna Chosŏnjŏk in hwaga. Sŏul: Yŏrhwadang, 1998.

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Symbolism in Korean ink brush painting. Kent: Global Oriental, 2006.

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Hwi-jun, An. Changsŏgak sojang hoehwa charyo. Kyŏnggi-do Sŏngnam-si: Hanʾguk Chŏngsin Munhwa Yŏnʾguwŏn, 1991.

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Hwi-jun, An. Changsŏgak sojang hoehwa charyo. Kyŏnggi-do Sŏngnam-si: Hanʼguk Chŏngsin Munhwa Yŏnʼguwŏn, 1991.

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Book chapters on the topic "Painting, Korea"

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Kim, Kumja Paik. "Re-Evaluating Court and Folk Painting of Korea." In A Companion to Asian Art and Architecture, 339–64. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch14.

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Lee, Hwa Soo, You Na Song, Gyu Seong Han, and Kyeong Soon Han. "Analysis and Diagnosis of the Buddhist Wall Paintings in the Josadang Shrine, Buseoksa Temple, Korea." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 265–86. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_15.

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Kang, Mingi. "The Search for Modernity in Korean Ink-Wash Painting." In Interpreting Modernism in Korean Art, 39–48. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429351112-7.

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Vaporis, Constantine Nomikos. "Painting of the Korean Embassy’s Visit to Our Country [Japan], 1748, by Hanegawa Tōei." In Voices of Early Modern Japan, 223–27. Other titles: contemporary accounts of daily life during the age of the Shoguns Description: 2nd edition. | Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003005292-55.

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Kendall, Laurel, Jongsung Yang, and Yul Soo Yoon. "Korean Shaman Paintings Collected." In God Pictures in Korean Contexts, 45–68. University of Hawai'i Press, 2015. http://dx.doi.org/10.21313/hawaii/9780824847647.003.0003.

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Kendall, Laurel, Jongsung Yang, and Yul Soo Yoon. "What Are Shaman Paintings?" In God Pictures in Korean Contexts, 17–44. University of Hawai'i Press, 2015. http://dx.doi.org/10.21313/hawaii/9780824847647.003.0002.

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"South Korea’s encounter with North Korean art: between barbershop paintings and true art." In De-Bordering Korea, 173–89. Routledge, 2013. http://dx.doi.org/10.4324/9780203084571-22.

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"3. Korean Shaman Paintings Collected." In God Pictures in Korean Contexts, 45–68. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824857097-004.

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"2. What Are Shaman Paintings?" In God Pictures in Korean Contexts, 17–44. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824857097-003.

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"Glossary of Korean Terms." In The Paintings of Korean Shaman Gods, 205–7. Renaissance Books, 2018. http://dx.doi.org/10.2307/j.ctv8pzbr8.10.

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Conference papers on the topic "Painting, Korea"

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Kang, Dongwann, Hyounoh Shim, and Kyunghyun Yoon. "Mood from painting: Estimating the mood of painting by using color image scale." In 2015 21st Korea-Japan Joint Workshop on Frontiers of Computer Vision (FCV). IEEE, 2015. http://dx.doi.org/10.1109/fcv.2015.7103707.

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Cho, Seong-Rak, Jung-Seok Ha, Seong-Yeop Jeong, and Kuk-Jin Kang. "Study on Friction Characteristics Between Ice and Various Rough Plates." In ASME 2015 34th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/omae2015-41023.

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Ice is a very particular material that does not obey Amonton’s law of friction. Research on frictional phenomena between sea ice and ice-class vessels or platforms in arctic regions is still in its early stage, even though ships and platforms are greatly influenced and moved by the friction force of sea ice. In this paper, various friction tests were carried out, using freshwater ices and model ices in the Korea Research Institute of Ships and Ocean Engineering (KRISO) ice tank, to find the fundamental friction characteristics of ice and to estimate accurate ice friction force between ship and sea ice. As a result, we not only evaluated a painting method by using matting powders for ice-breaking ship models, but also found that the friction with an ice depends on the fundamental roughness and the supplemental roughness of material by measuring the roughness parameters of the plates. This study is intended to contribute to the understanding of the friction characteristics with ice.
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Choi, Yoon-Seok, Soonchul Jung, In-Su Jang, TaeWon Choi, and Jin-Seo Kim. "Automatic perforation system for korean traditional painting." In SA '18: SIGGRAPH Asia 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3283289.3283331.

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