‘수묵화’가 아시아의 역사적 정체성을 띠고 서구에 대항하는 수단이 되면서 미술시장에 서 변화를 만들고 있다면, 그 차별화된 미술시장에서 새로운 변화는 무엇일까? 본 연구는 중 국의 개혁･개방 이후로 경제 발전기인 1990년대부터 ‘당대 미술(컨템포러리 아트)’로서 ‘수 묵화’를 중심으로 그 의미와 한계를 고찰해 보고자 한다. 1990년대부터 시작된 미술품 경매 시장의 성장과 더불어 2010년대에 이르면 아트페어와 같은 시장이 현지화한다. 따라서 본 논문은 사회주의 중국에서 반(反)전통과 반(反)서구적 방법으로 모색했던 ‘신수묵’의 범주에 속한 ‘실험수묵’이 어떤 당대적 의미를 담거나 포기하고 있는지를 살펴본 것이다.

디지털 정보 기술의 급속한 발전에 따라 사람들은 점점 더 자연스럽고 편리한 방식으로 인간과 컴퓨터의 상호작용을 실현하는 경향이 있습니다. 본고에서는 Leap Motion 센서를 하드웨어 플랫폼으로 하고 Unity3D 와 Leap Motion 플러그인을 소프트웨어 플랫폼으로 하여 가상 거문고의 상호작용 설계를 개발합니다. 또한 Leap Motion 장치의 개발과 연구를 통해 Leap Motion 센서에서 수집된 제스처 정보의 처리와 인식을 알고리 즘으로 구현하고, 제스처 인식 알고리즘을 이용하여 서로 다른 제스처를 분리하여 서로 다른 응답을 가능하 게 합니다.

중국 수묵화는 당송시대에 가장 발달하였고, 대표적인 문화 장르 중 하나이며, 중국 수묵화를 표현하는 방식은 여러 가지가 있다. 오늘날 게임과 애니메이션 제작기술이 발전함에 따라 기존 수묵화 표현방법을 게임에 적용하여 표현효과를 고양하려는 시도가 있다. 따라서 본 논문에서는 3D 게임 환경에서 중국 수묵화를 표현하는 방법에 대해 연구를 하였으며 기존 게임 엔진에서 PBR 기술을 이용하여 중국 수묵화를 표현하고 실제 게임 제작에 적용하였다. 이를 통해 중국 수묵화의 표현효과를 게임에 재현하였다.

Chinese ink and wash painting, taking ink as the carrier and based on the variation of the colour of black and white, has been developed under the deep influence of the Han nationality's philosophy- the theory of Yin Yang and five elements. With the development of metaphysics in Wei and Jin dynasties, the rudiment of ink landscape, which was mainly manifested with the stroke of hook, cracked and ink dye. Wang Wei, in Tang Dynasty, once wrote in his essay Skills of Landscape Painting: wash and ink painting is a very high level of painting. This interpretation has established the aesthetic orientation in Chinese wash and ink painting. After the rising of the literati paintings in Song Dynasty, lots of ink flower-and-bird painting and ink figure painting have been seen. Till this time, the Chinese ink and wash painting, taking water and ink as its basic materials, and the theory that man is an integral part of the nature as its core value, has become mature gradually and a system was eventually formed. Zhang Yanyuan in Tang Dynasty, wrote in his the Famous Paintings of History that five colours would be presented through different strokes of ink. He classified five types of using water and ink in painting. There are many different interpretations for the five colours and the author tends to divide them into five stroke types: thick (containing more ink), light (containing less ink), dry (containing less water), wet (containing more water), extremely thick (containing the most ink). Moreover, combining her practice of water and ink paining for decades and her study of Yi-ology, the author tries to bring the five types of using water and ink (they might be called the five types of water- and- ink-using in painting temporally) into the studies of Yin Yang and five elements (including the Feng Shui Theory, numerology and traditional Chinese medicine, which were originally developed from the Yi-ology). Wood of the five elements, corresponding to Light of the five types of water-and-ink using in painting, is positive, with an elegant and refined character; Fire, corresponding to Dry in painting, is extremely positive, with a high stated character; Earth, corresponding to Thick in painting, is neutral, with a steady character; Metal, corresponding to Extreme Thick in painting, is negative, with a deliberate character; Water, corresponding to Wet in painting, is extremely negative, with a soft and smooth character. A painter is a part of the universe. Hence his/her location and horoscope inevitably connects the five types of his/her ink and wash paintings. One's external presentation is the embodiment of the internal quality and the internal quality includes not only one's subjective practice in mentality, but also one's health conditions in physiology. If the painter's horoscope agrees with the five types of his/her ink and wash paintings, the mental happiness and physical health shall be ensured; if not, the spiritual happiness and physical health might be influenced. In this essay, the author classifies painters' horoscope into four types, which are lack-of-metal type, lack-of-water type, lack-of-wood type, lack-of-fire type, and analyze the connection between them and the five types of the wash-and-ink paintings. The main idea of the Yi-ology is that a man is an integral part of the nature and a man should conform to nature. In Qian Gua, the first divinatory symbols among the eight ones in Zhou Yi (the ancient text of Yi-ology), it interpreted the idea in a metaphor that haughtiness invited ruin. A proper application of the stroke of thick, light, dry, wet and extremely thick to the painting can help the art work keep balanced of Yin and Yang and is presented with a lively spirit and charm. Otherwise, the art work will be a failure. If a painter can understand the dialectical relationship between the theory of Yin and Yang and the five elements and the five elements and the five stroke types in ink painting, he/she shall be able to understand his/her artistic creation and arts appreciation. This is also the significance of studying oriental art philosophy.

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun- Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.

수묵화는 가장 동양적인 느낌을 낼 수 있는 스타일이다. 컴퓨터 그래픽스 학계에서 수묵화 스타일 렌더링 연구가 시작된 이후 CF와 애니메이션 등에 적용되고 있다. 최근에는 게임 산업에도 수묵화 스타일이 적용되고 있다. 본 논문에서는 영상 산업 및 게임 산업에서의 수묵화 스타일 적용 사례를 살펴보고, 이를 바탕으로 게임 산업을 위한 수묵화 렌더링의 발전 방향에 대해 살펴본다.

잇꽃의 안전다수확(安全多收穫) 재배기술(栽培技術) 확립(確立) 일환(一環)으로 경기도농촌진흥원특용작물시험국장(京畿道農村振興院特用作物試驗國場)에서 중북부지역(中北部地域) 파종기(播種期) 설정(設定)과 P.E. 피복(被覆) 재배(栽培) 및 적정(適正) 재식거리(栽植距離) 를 구명(究明)코자 시험(試驗)한 결과(結果)를 요약(要約)하면 다음과 같다. 1, 파종기(播種期)가 10일 빠를수록 출아소요일수(出芽所要日數)는 3~4일(日), 개화기(開花期)는 2일(日), 성숙기(成熟期) 1~2일(日) 빨랐고 주당화두교(株當花頭敎)와 화두당립수(花頭當粒數)가 많았으며 100립중(粒重)도 무거웠다. 2. 파종기별(播種期別) 종실수양(種實收量)은 조파(早播)할수록 많아 파종적기(播種適期)는 해빙직후(播種適期)인 3월(月)20일(日)경(頃)으로 10a당(當) 종실수양(種實收量)은 86.0kg이었다. 3. P.E.피복(被覆) 재배(栽培)는 무피복(無被覆)에 비(比)하여 출아기(出芽期), 개화기(開花期)가 2~3일(日)빠르며, 주경장(主莖長), 분지장(分枝長)이 길고 주당분지수(株當分枝數)도 많은 경향(傾向)이었다. 4. P.E.피복(被覆)이 무피복(無被覆)보다 m2당(當) 주수(株數)와 주당화두수(株當花頭數)는 많아 통계적(統計的) 유의차(有意差)가 인정(認定)되었고 재식거리간(栽植距離間)에는 모든 수양구성요소(收量構成要素)가 유의차(有意差)를 보였다. 5. 10a당(當) 종보수양(種寶收量)은 P.E.피복(被覆)이 무피복(無被覆)(177,9kg/10a)에 비(比)하여 20% 증수(增收)되어 P E.피복재배(被覆栽培)가 유리(有利)하였고, 조간거리(條間距離) 70+30cm 2열(列)로 할때 주간거리(株間距離)는 무피복(無被覆) 재배시(栽培時) 10cm (20천주(千株)/10a) , P.E.피복 재배시(被覆 栽培時) 15cm (13.3천주(千株)/10a)가 적정(適正) 재식거리(栽植距離)로 생각된다.