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Journal articles on the topic 'Painting, Korea'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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8

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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9

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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10

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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11

Hong, Sunpyo. "Introduction of Landscape Painting during the Modernization Period in Korea." Art History Forum 52 (June 30, 2021): 101–31. http://dx.doi.org/10.14380/ahf.2021.52.101.

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12

Lee, Seul, and Kyeong Soon Han. "A Study on the Weathering Resistance of Fixatives Used on Conservation of Painting Layer of Korea Wooden Painting." Journal of Conservation Science 34, no. 5 (October 30, 2018): 397–405. http://dx.doi.org/10.12654/jcs.2018.34.5.08.

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13

Young taik Park. "Relations between Pictures and Characters in Contemporary Oriental Painting of Korea." Review of Korean Cultural Studies ll, no. 35 (November 2010): 265–300. http://dx.doi.org/10.17329/kcbook.2010..35.010.

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Park, Seonghee. "Paintings of Sinmi(1811)-Tongsinsa and Korea-Japan Relations Mediated by Painting in the Early 19th Century : Focused on Yi Uiyang’s Landscape Paintings in Imitation of a Painting by Tani Bunchō." Art History Forum 41 (December 31, 2015): 167–90. http://dx.doi.org/10.14380/ahf.2015.41.167.

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15

Shin, Ji‐Young. "The construction of national identity in South Korea and the tradition of masculinity in Korean Abstract Painting." Inter-Asia Cultural Studies 8, no. 3 (August 29, 2007): 367–89. http://dx.doi.org/10.1080/14649370701393741.

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Mingi Kang. "The Transmission of Japanese Style Painting in Korea from 1890s to 1910s." KOREAN JOURNAL OF ART HISTORY ll, no. 253 (March 2007): 215–51. http://dx.doi.org/10.31065/ahak..253.200703.008.

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Russell-Smith, Lilla. "Stars and Planets in Chinese and Central Asian Buddhist Art in the Ninth to Fifteenth Centuries." Culture and Cosmos 10, no. 1 and 2 (October 2006): 99–124. http://dx.doi.org/10.46472/cc.01210.0213.

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This essay introduces the earliest known representations of planets and other stellar deities in East and Central Asian Buddhist art, especially in China. The five biggest planets, Venus, Mars, Jupiter, Saturn and Mercury, were observed and named at an early stage in China. However, their anthropomorphic representations became popular only after the arrival of Buddhism. It is likely that Western traditions regarding their appearance were transmitted through India. In Buddhist sutras the planets are often described as paying homage to the Buddha and listening to his teachings, and this is how many paintings represent them. A Chinese painting from Dunhuang shows a seated Buddha (the Buddha of the Blazing Light) on a chariot surrounded by the planets, represented as human figures with their attributes. Such representation of this Buddha was always associated with the planets. This essay introduces later Chinese paintings as well as a hitherto misidentified Uygur example of this representation, and points out that the iconography of the planets remained remarkably constant in East Asian art. The essay also includes relevant sections of sutras, as these determined the iconographic method for showing the planets up to recent times in China, Japan and Korea.

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18

Kee, Joan. "Jung Tak-young and the Making of Abstract Ink Painting in Postwar Korea." Art Bulletin 101, no. 4 (October 2, 2019): 117–41. http://dx.doi.org/10.1080/00043079.2019.1602456.

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19

Maire, Benoît, and Anne-Françoise Schmid. "Le sens-sans-signe: Pour une éthique de la création." Labyrinth 19, no. 2 (December 29, 2017): 132. http://dx.doi.org/10.25180/lj.v19i2.99.

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The meaning-without-sign: For an ethics of creationThe following article is the result of a collaboration between a painter and a woman philosopher. They worked previously on an experimental documentary film about objects and art objects, which was realized at Palais de Tokyo. The painter had illustrated in black and white fictions of philosophy, written during a festival on lost films organized by UNdocumenta in South Korea, and then he made photographs of oil paintings of the English translation. This article about painting and philosophical ethics is their first common text. It aims to show that there is no interdiscipline or passage known between the philosophical work and the painting. The philosopher can not imitate the recognition of the painter nor the painter to repair the philosophical non-encounter. The question then is: What can ethics in this non-symmetrical space? Rather than being a product of philosophy, it is what organizes this space between recognition and non-encounter. It is an ethics for philosophy, rather than the other way around. Ethics force to greet the other philosophers without the grudge of the loss necessary to the invention and allows the painter to know the distances that make him feel the recognition. This ethical space is unknown and can not be covered by the artist's philosophy of access or pre-nomination by indexes. Ethics is this unknown, i.e. it is a sense-without-sign, it is without rules-said but process of indexation and acceptance of the loss.

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Kyoungkook Choi. "A Comparative Study on the Chinese Painting 'Tiger with Cubs' in Korea and Japan." Journal of Japanese Language and Literature 74, no. 2 (August 2010): 137–56. http://dx.doi.org/10.17003/jllak.2010.74.2.137.

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21

Lee, Su-kyung. "A Study Of A Korean Kindergarten's Use Of Buddhist-Oriented 'Meditation Projects' to Increase Creative Art Expression In Painting." Buddhist Studies Review 28, no. 1 (July 8, 2011): 121–41. http://dx.doi.org/10.1558/bsrv.v28i1.121.

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This article gives an overview of Buddhist-oriented meditation techniques that were integrated with art projects for four and five year old kindergarten children at Dong Guk Kindergarten, Gyeongju City, South Korea. The article assesses the effect of this program on the creatvitiy levels of the children.

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22

Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (January 1, 2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?

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23

Kim, Dae Woon, Sun Hye Jeong, Min Young Lee, and Yong Jae Chung. "Thermal Environment Analysis for Preserving Ancient Mural Painting in Songsan-ri Tomb No. 6, Gongju, Korea." Journal of Conservation Science 32, no. 4 (December 20, 2016): 521–34. http://dx.doi.org/10.12654/jcs.2016.32.4.07.

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24

Kim, Mijeong. "A Study on Kim Yongjun(1904-1967)’s Activities and Painting after Moving to North Korea." Journal of Korean Modern & Contemporary Art History 39 (July 31, 2020): 7–40. http://dx.doi.org/10.46834/jkmcah.2020.07.39.7.

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25

Park Eun-soon. "A Study of Relationship of Paintings between Korea and Japan in the 19th Century based on “The Record of Calligraphy and Painting of Joseon”." KOREAN JOURNAL OF ART HISTORY 273, no. 273 (March 2012): 133–62. http://dx.doi.org/10.31065/ahak.273.273.201203.005.

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26

Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.

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Romanenkova, Julia V. "Archetypes of Boris Smotrov`s works as a tool for national self-identification of the individual in chaotic conditions of the turn of the 21st century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 237–48. http://dx.doi.org/10.37816/2073-9567-2021-60-237-248.

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The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative baggage and his decorative manner. The paper addressees the main archetypes in the works of Smotrov (firebird, cow, apple, spring, Maslenitsa, etc.). The propensity for allegorical language is explained by his competent use of artistic means of creating a poster. The author analyzes individual features of B. Smotrov’s work with color, the creation of his own author's “patchwork” style as a result of creative transformation and rethinking of the influence of various styles and manners of individual artists, from A. Matisse to K. Petrov-Vodkin. The art of the master acts as an effective tool for debunking myths about the cheap popular character of Russian national motifs, and for combating superficial perceptions of them. The paper highlights worldview universals in culture as well as main problems of the art of the turning periods, one of which includes the creative path of B. Smotrov. The author pays special attention to the works of B. Smotrov as a tool for national self-identification of a creative person in conditions of cultural chaos at the turn of the century since they are on display at personal and collective exhibitions not only in Russia, but also in Austria, China, Korea, the United States and stored not only in Russian museums (Moscow, Perm, Tula), but also in private collections in China, USA, Switzerland. The study comes to the conclusion that “patchwork style” by Boris Smotrov is a quintessence of the Russian in his works.

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Yoon, Min-Kyung. "Visualizing History: Truthfulness in North Korean Art." Journal of Korean Studies 25, no. 1 (March 1, 2020): 175–201. http://dx.doi.org/10.1215/07311613-7932298.

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Abstract In North Korean paintings, history is mobilized to legitimate the North Korean system and its leaders. Utilizing the mode of socialist realism, North Korean paintings give visual form to a socialist world, a utopian vision full of unremitting heroism, harvest, and happiness centered on the ruling Kim family. In these paintings, positive heroes such as laborers, workers, farmers, and children are depicted in historically correct scenes that always propel the North Korean revolution forward. After adopting socialist realism from the Soviet Union, North Korea localized this creative method to meet its specific political needs through medium and content. Through this process, socialist realism came to reflect the ideals of juche, the state ideology of North Korea. Informed by North Korean theoretical writings on art and art reviews, this article examines how history is visually mobilized in three paintings created in 1985 and 2000 through the language of juche realism.

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Yu, Okkyong. "A Review of the Painting of UndaeJumyeon by Kim Hong-do in the National Museum of Korea." Art History Forum 45 (December 31, 2017): 227–49. http://dx.doi.org/10.14380/ahf.2017.45.227.

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Song, H. R., and Y. H. Jo. "DIGITAL COLOR REPRODUCTION AND DOCUMENTATION OF OIL PAINTING USING IMAGE PROCESSING." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 693–95. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-693-2021.

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Abstract. Digital photography is a method easily employed to capture images. Mobile devices such as smartphones and tablets as well as dedicated cameras are used to capture images. Furthermore, as hardware continues to improve, the resolution of images in 100 MP and 8K videos has recently been increased, and the quality of images enhanced through various types of image processing software. However, because the focus of photography is to record a moment activity, recording the orginal color of subject has been pushed back from priority. Digital photographs of cultural heritage are mainly captured for aesthetic appreciation and database construction. Those images for the purpose of the latter should record the exact color and shape of the subject. However, the theoretical approach of this is difficult and relatively complex procedures are able to create images that differ from the original color. Thus, it means falling in value that culture heritage data of important for color conservation. Various attempts have been made throughout the industry to capture the original colors of the subject accurately. The color management system (CMS) is a typical method of such. In this study, digital color reproduction and record studies were conducted on representative oil paintings of modern times in Korea. Accordingly, the light source’s color index and color temperature were measured. Furthermore, a color recording environment was established and digital images were acquired. Subsequently, it was able to record the original color through CMS-based image processing. It is believed that this study will enable one to understand the production techniques of works through the color record of oil paintings and help one to monitor conservation conditions such as discoloration.

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Lee, Sang Hwa, and Jung-Yoon Kim. "Classification of the Era Emotion Reflected on the Image Using Characteristics of Color and Color-Based Classification Method." International Journal of Software Engineering and Knowledge Engineering 29, no. 08 (August 2019): 1103–23. http://dx.doi.org/10.1142/s0218194019400114.

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Paintings convey the composition and characteristics of artists; therefore, it is possible to feel the intended style of painting and emotion of each artist through their paintings. In general, basic elements that constitute traditional paintings are color, texture, and composition (formative elements constituting the paintings are color and shape); however, color is the most crucial element expressing the emotion of a painting. In particular, traditional colors manifest the color containing historicity of the era, so the color shown in painting images is considered a representative color of the culture to which the painting belongs. This study constructed a color emotional system by analyzing colors and rearranged color emotion adjectives based on color combination techniques and clustering algorithm proposed by Kobayashi as well as I.R.I HUE & TONE 120 System. Based on the embodied color emotion system, this study confirmed classified emotions of images by extracting and classifying emotions from traditional Korean painted images, focusing on traditional painted images of the late Joseon Dynasty. Moreover, it was possible to verify the cultural traits of the era through the classified emotion images.

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Choi, Taewon, Soonchul Jung, Yoon-Seok Choi, Hyeong-Ju Jeon, and Jin Seo Kim. "Acquisition System Based on Multisensors for Preserving Traditional Korean Painting." Sensors 19, no. 19 (October 3, 2019): 4292. http://dx.doi.org/10.3390/s19194292.

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Rapid industrialization has significantly influenced people’s lifestyles in the recent decades, and the influence of traditional culture is diminishing. Recently, several studies attempted to simultaneously utilize various sensors to record delicate and sophisticated performances of intangible cultural heritage (ICH). Although painting is one of the most common ICH of human history, few research studies have recorded traditional painting work. In this paper, we aim to lay the groundwork for reviving Korean painting, even if there would be no painters to produce these traditional Korean paintings in the future. We propose a novel multisensor-based acquisition system that records traditional Korean painting work while minimizing interference in the work. The proposed system captures real-time data originating from the painter, brushes, pigments, and canvas, which are the essential components of the painting work. We utilized the proposed system to capture the painting work by two experts, and we visualize the captured data. We showed the various results of statistical analysis, and also discussed the usability.

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Lee, Yeon-Seo, and Yeon-A. Kim. "Application of Pictorial Elements in Body Art: Focusing on the Buddha expressed in Buddhist art in the Unified Silla Period." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 311–24. http://dx.doi.org/10.18693/jksba.2020.21.3.311.

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In modern society, with its coexistence of diverse culture, it is a process of genuine cultural development to remember the beauty of the traditions in our cultural heritage and allow it to continue to evolve through art and cultural exchange and creative work. The truth and concept of religion are invisible in our daily lives. To expose it, help from art is needed. Buddhism, in which people realize truth on their own, samsara, and the redemption of all people are recognized as the highest values, has long been entwined with the history of the Republic of Korea. During the era of the Unified Silla Dynasty, Buddhism was beyond a mere religion and was an official state religion. Since it was directly connected with the country’s fate, Buddhist temple-related fine arts flourished. Therefore, this study attempted to reinterpret the images of Buddha based on a theoretical review of Buddhist concepts and characteristics of Buddhist art during the Unified Silla period and suggested new styles of both Korean and modern ambivalence by expressing pictorial element-applied design through body painting in a torso mannequin style. It is expected that these works would offer an opportunity to contemplate the meaning and value of Korean traditional patterns by expressing the Buddhist art of the Unified Silla Dynasty. It is also anticipated that they would be available as art and aesthetic cultural contents in a creative and diverse fashion.

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조선희 and 박옥련. "A Comparative study on the Shape of Ginyeo Clothing in the Early Modern Genre painting, Korea to Japan." Japanese Modern Association of Korea ll, no. 39 (February 2013): 297–323. http://dx.doi.org/10.16979/jmak..39.201302.297.

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Shin, Jaewoo, Seokwon Lee, Kyoungho Lee, and Hyunwook Kim. "Effect of Unmeasured Time Hours on Occupational Noise Exposure Assessment in the Shipbuilding Process in Korea." International Journal of Environmental Research and Public Health 18, no. 16 (August 22, 2021): 8847. http://dx.doi.org/10.3390/ijerph18168847.

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Occupational noise is known to be one of the most hazardous risk factors, frequently exceeding the exposure limit thus causing hearing loss and other health outcomes among many field workers in various industries and workplaces. This study aims to characterize the levels of occupational noise exposure during the daily working hours and break periods (sampling preparation and lunch break), identify work-related characteristics affecting the noise exposure levels when including or excluding the break periods and finally determine the most effective approach for occupational noise exposure assessment by using the Korean and U.S. OSHA’s guidelines. A total of 1575 workers employed by a large shipbuilding company participated in this study, and the historical exposure datasets of noise dosimeters, collected from 2016 to 2018, were classified by characteristics. A threshold level (TL) for the noise dosimeter was set as a value of 80 dBA during the break periods, including the preparation time for sampling instruments and one hour for the lunch break. The shipbuilding workers were exposed to high levels of occupational noise during the break periods, especially for those working in heating, grinding, and power processes in the painting-related departments. Out of 1575 samples, most cases were related to the preparation time (N = 1432, 90.9%) and lunch break (N = 1359, 86.9%). During the break time, the levels of noise exposure were measured depending on task-specific characteristics. When including the break time, the noise levels increased by approximately 1 dBA during the break, combining 0.8 dBA in the lunch hours and 0.2 dBA for the preparation of the sampling instrument. When excluding the break time, the levels of noise exposure collected using a Korean Occupational Safety and Health Administration (KOSHA) guide tended to be underestimated compared to those using the U.S. OSHA method. When including the break times, the proportion of noise exposure levels exceeding the compliance exposure limit declined from 37.9% to 34.5%, indicating that the break times might affect the decrease in the noise exposure levels. Taken together, shipbuilding workers could possibly be exposed to much greater amounts of noise exposure during break times in the shipbuilding processes, and the noise exposure levels in the department of painting were high. Therefore, it is recommended that industrial hygienists collect exposure monitoring data of occupational noise one hour after their job tasks begin and then consecutively monitor the noise exposure levels for at least 6 h including the break periods for each day.

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Jisuk Hog. "Original Color and Natural Color: Debates on the Color of Joseon-Painting in North Korea during the 1960’s." Journal of History of Modern Art ll, no. 39 (June 2016): 155–75. http://dx.doi.org/10.17057/kahoma.2016..39.006.

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조형래. "Prosperity and Decline —A Study on the Intersection and Paradox of Historic Images of Seoul／Gyeongseong in Korean Literature and Painting Korea since the Opening Port—." 사이間SAI ll, no. 27 (November 2019): 313–46. http://dx.doi.org/10.30760/inakos.2019..27.009.

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서유리. "Division of Abstract: Geometric abstract design of magazine cover and the discourse on abstract painting in 1920-30s Modern Korea." Misulsahakbo(Reviews on the Art History) ll, no. 35 (December 2010): 171–212. http://dx.doi.org/10.15819/rah.2010..35.171.

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Gabriel, Douglas. "Smoke on the Water: Jong Yong Man’s Evening Glow over Kangsŏn and the Grounds for Landscape Painting in North Korea." Art Journal 80, no. 2 (April 3, 2021): 84–100. http://dx.doi.org/10.1080/00043249.2021.1872299.

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Seonghee Park. "About a reception of modern painting and the influence in Korea and Japan -focus on Ko Hei Tong and Kuroda Seiki-." Japanese Language and Literature Association of Daehan ll, no. 49 (February 2011): 239–59. http://dx.doi.org/10.18631/jalali.2011..49.013.

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Jang, Sunye. "Development and Characteristics of Kaeseong Painting Circles in the 1920s and 1930s in Korea: Focusing on the Art Organization, Sponsor and Exhibitions." Journal of Korean Modern & Contemporary Art History 41 (July 31, 2021): 61–93. http://dx.doi.org/10.46834/jkmcah.2021.07.41.61.

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김승희. "Fantasy in Korean Buddhist Painting: Images of Preta in Amrita Paintings." Korean Bulletin of Art History ll, no. 50 (June 2018): 7–31. http://dx.doi.org/10.15819/rah.2018..50.7.

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Tabarev, A. V., A. E. Patrusheva, and N. Cuevas. "Burials in Anthropomorphic Jars in the Philippines." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 2 (June 26, 2019): 40–47. http://dx.doi.org/10.17746/1563-0110.2019.47.2.040-047.

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The fi rst joint study by Russian and Philippine archaeologists addresses an unusual variant of a burial tradition distributed in Island Southeast Asia – burials in anthropomorphic clay jars, found in Ayub Cave (southern Mindanao Island, Philippines), excavated by specialists from the National Museum of the Philippines in 1991–1992, and tentatively dated to 500 BC to 500 AD. Of special interest are lids of jars shaped as painted human heads with individualized facial features and expressions. The fi nds suggest that Ayub Cave was a necropolis of the tribe elite, and that vessels were produced by a special group of potters using elaborate “prestige technologies”. The Ayub ceramic collection has various parallels relating to clay fi gurines and decoration including painting, among Late Neolithic and Early Metal Age assemblages from the Philippines (Luzon, Palawan, and Negros Islands), Indonesia (Sumba, Flores, and Bali Islands), and other regions of the Pacifi c Basin from Japan (Jomon) and Korea (Early Iron Age burials) to Vanuatu Islands (Lapita culture). These parallels suggest that the source of the anthropomorphic symbolism was the Austronesian migration with one of its routes passing from southern China via Taiwan, the northern Philippines, Mariana Islands, and further south to Melanesia and Polynesia.

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Choi, Yeob. "The Characteristics of Buddhist Painting during Japan’s Modern Period and Their Influence on Korean Paintings." Journal of Japanology 46 (May 31, 2018): 249–76. http://dx.doi.org/10.21442/djs.2018.46.12.

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Heegyeong Song. "Lee, Cheoljoo's Korean Painting." Korean Cultural Studies 32, no. ll (June 2017): 109–40. http://dx.doi.org/10.17792/kcs.2017.32..109.

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Heegyeong Song. "Won, Moonja’s Korean Painting." Korean Cultural Studies 34, no. ll (June 2018): 211–46. http://dx.doi.org/10.17792/kcs.2018.34..211.

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Kim, J., J. Y. Jun, M. Hong, H. Shim, and J. Ahn. "CLASSIFICATION OF OIL PAINTING USING MACHINE LEARNING WITH VISUALIZED DEPTH INFORMATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 617–23. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-617-2019.

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<p><strong>Abstract.</strong> In the past few decades, a number of scholars studied painting classification based on image processing or computer vision technologies. Further, as the machine learning technology rapidly developed, painting classification using machine learning has been carried out. However, due to the lack of information about brushstrokes in the photograph, typical models cannot use more precise information of the painters painting style. We hypothesized that the visualized depth information of brushstroke is effective to improve the accuracy of the machine learning model for painting classification. This study proposes a new data utilization approach in machine learning with Reflectance Transformation Imaging (RTI) images, which maximizes the visualization of a three-dimensional shape of brushstrokes. Certain artist’s unique brushstrokes can be revealed in RTI images, which are difficult to obtain with regular photographs. If these new types of images are applied as data to train in with the machine learning model, classification would be conducted including not only the shape of the color but also the depth information. We used the Convolution Neural Network (CNN), a model optimized for image classification, using the VGG-16, ResNet-50, and DenseNet-121 architectures. We conducted a two-stage experiment using the works of two Korean artists. In the first experiment, we obtained a key part of the painting from RTI data and photographic data. In the second experiment on the second artists work, a larger quantity of data are acquired, and the whole part of the artwork was captured. The result showed that RTI-trained model brought higher accuracy than Non-RTI trained model. In this paper, we propose a method which uses machine learning and RTI technology to analyze and classify paintings more precisely to verify our hypothesis.</p>

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LEE, Hye Seung. "TRADITION OF KOREAN LANDSCAPE. ITS HISTORIC PERSPECTIVE AND INDIGENIZATION." International Journal of Korean Humanities and Social Sciences 2 (November 29, 2016): 49–70. http://dx.doi.org/10.14746/kr.2016.02.04.

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This paper aims to provide general presentation of Korean landscape painting with historic consideration. Some Korean elements of landscape were introduced in the early 5th century, and since the 7th century, mountains have become an important theme in the formation of the image space. From the 10th to the 17th centuries, the Korean landscape developed under Chinese rule. However, in the early 18th century a new painting trend – “Koreanization of the Korean landscape” – appeared and there also had emerged the folk landscape style. Furthermore, in the contemporary Korean landscape there are various attempts towards the search for one’s own artistic vision.

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Heegyeong Song. "Figurative Painting Traditional of Korean Painting in the 1950s." Korean Cultural Studies 28, no. ll (June 2015): 137–72. http://dx.doi.org/10.17792/kcs.2015.28..137.

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Lee, Jungsil Jenny. "J.P. Park: A New Middle Kingdom: Painting and Cultural Politics in Late Chosŏn Korea (1700–1850). xii, 284 pp. Seattle: The University of Washington Press, 2018. ISBN 978 0 295 74325 7." Bulletin of the School of Oriental and African Studies 83, no. 2 (June 2020): 384–86. http://dx.doi.org/10.1017/s0041977x20002396.

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