People have more expectations for arts and design and accordingly, various artworks were combined with fashion to meet the consumer needs. As people live a decent life, the development of leisure activities and industry has a much effect on apparel. With this phenomenon, a free and active casual look is making progress centering around the practical apparel, pursuing diversified efficiency irrespective of a season and considering sensibility not formality. In this study, paintings of Henri Matisse were analyzed in every respect and were applied in apparel design with diverse color arrangement and a motif originating in the phenomenon of modern fashion design which leads to the integration of arts and design. Painting image and color of Henri Matisse were used. Sportive casual and cultural casual was used in design as well. Originality of its color in the paintings which were used an a motif is coming from Gauguin and Gogh. Henri had influenced to the next generation with pursuit of violent color. The following conclusions were drawn from this study. First, the color of Henri Matisse's paintings has a strong contrast effect. It combines notable violent color with a simple yet decorative motif. Therefore color from Matisse's paintings suit for apparel of marked individuality with its free color arrangement. Second, free and active image in Henri Matisse's paintings is easy to express efficiency and popularity. It accords with the feature of casual wear. Third, through adding a flowing curved line in Henri Matisse's paintings to materials and applying various colors putting into a curved line image to a rib section, a decorative effect which goes with the whole shape is obtained. This study presents possibility of emergence of unique design using free color arrangement and motif from the image of paintings and aims development of modern fashion design in accordance with modern fashion giving importance to the difference and sensibility by integration of modern garments and artworks.

In modern society as people adapt to social and cultural changes, people prefer high-scarcity designed products rather than standardized ones. Consequently, this adaptation lays a foundation in art and cultural domains to express uniqueness and individuality. The purpose of this study is to develop fashion designs by fusing fashion painting and handicraft techniques through creative and various artistic expressions. The researchers studied the sociocultural background of modern handicraft fashion using document-based research methods. Based on the characteristics of modern handicraft, we produced six garments that applied fashion painting techniques. In this study, the origin of fashion painting was found in ornaments such as tattoo or body-painting. We determined that modern designers were using various fashion painting techniques and motives as unique and advanced ornamentary skills. Harmonizing various handicraft techniques(dyeing, embroidery, quilt, patchwork, beads, fashion painting, etc.) centered on fashion painting enabled creation of unique fashion design through varieties of artistic expressions.

In Malaysia, figurative painting has increasingly become a means for artists to pose questions about presumptions of power and assumptions of history. The body, its potentially breached boundaries and defenses, forms an integral component of the battle for political influence. The degree of control over one's own and other people's bodies has become a measuring stick to determine the power of potential political leaders. Anxiety about boundaries and access to powerful bodies is intertwined with the questions of who has the right to hold power; the relevance of moral bodies and of what comprises an ideal self or selves. These questions are raised in intriguing ways in contemporary Malaysian art. While eschewing a direct take on current politics, Malaysian artists have increasingly turned to the body to address issues in Malaysian history, culture and the distribution of power. This paper will explore some works by three artists in particular, Wong Hoy Cheong, Nadiah Bamadhaj and Ahmad Fuad Osman use the figure to problematise dominant narratives in Malaysian history. Their work variously challenge political, racial and gender hierarchies and in so doing, reveal them as social constructions.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

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.

The aim of these studies is to confirm the red and blue painting damages during the fire suppression of wooden cultural assets by using the loaded stream charge extinguishant. As a results of these experiments, the ingredients of extinguishant existing on the surface of wooden cultural assets were perfectly eliminated by the water washing only. Any changes on the surface of wooden cultural assets couldn't be detected. Moreover, any color changes of the red and blue painting didn't occur.

This study intends to consider about the food culture during the latterly Chosun Dynasty through the genre paintings which are depicted realistically about the total food life figures for example not only the foods, but also that people who eat and drink the food and eating implements, eating methods. There are 9 pieces of works Kim hong-do's which are the best appraisal on the incorporated Korean emotion and on the real life of general public. Those are selected for this study's characteristics through the literature consideration. The characteristics of the tableware pottery and food culture are following things. The first is a white porcelain's development and popularization. In the latterly Chosun Dynasty period, the development of the agriculture and commerce made been connected to the affluent food cultures, these made increase the porcelain's use of upper classes and these made been connected to the development of the porcelain's cultures. The second is the development of various pottery with a dark brown glaze manufactures. The development of agriculture and economy power made bring the development of the kinds of sauces and Kimchi culture with an inflow of foreign crops and these made making the large an earthenware pot or jar which could store something during the long time. The third is the development of the small dining table on the eating the bread of idleness. In the Chosun dynasty period, the food style was been unified to he eating the bread of idleness and been lowered. These made developed of various small dining table through the underfloor heating system's generalization. The fourth is the development of the spoon with the soup culture. It is the East Asia called that the spoon culture boundary, this show the characteristic that we use the spoon mainly compare with another countries. Finally, it is universal use of the fixed quantitative implements. They could live quantitative life with the scales which are jar of soy sauce, liquor jug, jar, scoop leading a set of tableware.

Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki’s paintings have been recognized as linked with ‘blue’ in spite that he used colors within the category of ‘Colors of Five Directions(五方色)’, which are traditional oriental colors composed of red, blue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki’s dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that ‘dark blue’ of the dot painting is ‘Hyun-saec(玄色)’. Eventually we can make sure that Kim Whan-ki’s view of Art originated in oriental philosophy and beauty.

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the ‘crisis of painting’ is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting but also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

The Chosun Dynasty in the 18th century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's 60th birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's 60th marriage anniversary by an unknown artist presumably in the 18th century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

This present study suggests a wider view of our ancestors' food culture by examining the generality and peculiarity of the food culture of the Chosun Period by associating the culture with genre paintings made in the 18th~19th century in Korea. People in the Chosun Period outwardly advocated the Confucian idea reflecting the life philosophy of Chinese. However, the vitality of common people's frank and simple lifestyles saturate genre paintings and display Korean food culture and sentiments of the age. Initially this paper examines the history of food sociology through Namjong literary artists' paintings. The meaning and philosophy of drinks are considered in relation to the trend of declining tea culture among scholars in the mid-Chosun Period with the policy of promoting Confucianism and oppressing Buddhism. Secondly, this paper investigates the background of genre paintings in the late Chosun Period, and examines the unique food culture of Koreans appearing in paintings, particularly with regard to the abundance and variety of seasoned vegetables appearing in genre paintings, our ancestors' sentiment appearing in milk-gathering painting, humanity in guest reception, food culture and view of nature in farm villages, fishing life history, food distribution culture, soybean-curd culture, etc.

This study is resource planning of painting lines in Korean motor company using simulation techniques. The painting lines have bottle neck problems that is considered production capacity, number of lines and so on. The alternative solutions is decided by the result of simulation techniques. This Paper is focused on resource planning using simulation techniques.

The essence of Chinese landscape architecture is realization of a space that embraces nature and human integrating the openness and encloseness. The concept of landscape architecture that artificially furnishes natural elegance into urban areas coincides with the spiritual basis of Chinese literati-painting which subjectifies the scenery of objective world and entrusts personal feelings on that. In other words, the ultimate ideal of Chinese landscape architecture is embodying the Utopia of confucian intellectual in a city. This paper has tried to shed a light on inter-relationship of literati-painting theory and Chinese landscape architecture theory through comparing them. It is the identical spiritual basis they shared harmoniously that made landscape architecture, poetry and painting possible to meet.