• Journal of ILASS-Korea
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• v.13 no.1
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• pp.42-50
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• 2008

In the present work, atomization characteristics of shear-thinning liquid slurry discharging from fan spray nozzles were studied experimentally for spray painting applications. The effects of solid particle size and concentration on the properties (especially on the viscosity) of suspensions and mean drop size were examined by using model fluids. In the range of low particle concentration (below 3 wt%), the fluid viscosity was primarily determined by the particle size. On the other hand, in the range of high particle concentration (higher than 10 wt%), the agglomeration phenomenon and the oil absorption capability of solid particles played major roles in determining the fluid viscosity. In the high concentration region, which most of the paints belong to, the fluid became more viscous and the shear thinning behavior appeared more prominent as the particle concentration was increased. In this region, mean drop size(SMD) decreased more rapidly with the increase of the injection pressure. Also, SMD became larger with the higher particle concentration and the larger particle size.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• The Journal of Art Theory & Practice
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• no.8
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• pp.185-215
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• 2009

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.

• Corrosion Science and Technology
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• v.7 no.5
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• pp.265-268
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• 2008

Prestressed Concrete Cylinder Pipe(PCCP) had became one of the dominating kinds of pipes substituting for steel pipes because of its unique feature (high intensity, high pressure and high leakproofness). PCCP was produced firstly by Bonna company in France. By the end of 20th century, there were over 19000 km of this product installed in America. PCCP was introduced from Ameron company by Shandong Eletric Power Pipeline Engineering Company in 1988. As the statistical data in 2002, 700 km of PCCP had been applied in China, and the application trended towards rapid increase.Since prestressing wire would be corroded in environment, Several accidents due to the breakdown of pipe had happened. Consequently the external wall of pipe should be covered with protective coatings. There was a lack of technical study in corrosion and control of PCCP, because PCCP had been applied for a short time in China. in order to ensure the service life of PCCP, we have developed a kind of protective coating for concrete pipe, which had high intensity and anti-corrosive property with convenient applicability. The physical and chemical properties, painting technology and field application of this coating was introduced in the paper, at the same time, the future of external protective coating for PCCP was looked into.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.20-37
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• 2017

It is called the "Painted lead glaze pottery" that is painted green, brown, yellow over white or light yellow glazed base among glazed pottery in the Northern Qi Dynasty. Even though the white glazed pot painted green with three ears and the yellow glazed jar painted green with long neck is found in the Fan-cui Tomb in Honghetun Village, Anyang City, Henan Province in 1971, these potteries were not focused in academic circles. While the white glazed pottery found with them was thought as the earliest evidence of the white porcelain that the date is clear, it has constantly been discussed so far. In this paper, focused on the painted lead glaze pottery, the materials from tombs and kiln sites are organized, and based on them, the decoration feature and production technique is analyzed. The emergence time of this pottery is checked by the date of tombs and the social value of this pottery is considered by the position of the buried person. The painted lead glaze pottery of the Northern Qi Dynasty has independent character such as porcelain clay, twice firing burning and painting technique over glazed base. This character emerged from several glazed potteries in the Northern Wei Dynasty and it continued to the Northern Qi Dynasty. At last, the white painted lead glazed pottery appeared. The painted lead glaze pottery was formed by the combination of a shape of the ceramic in Southern China and painting technique after the Northern Wei Dynasty in Northern China.

• Journal of People, Plants, and Environment
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• v.22 no.2
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• pp.145-157
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• 2019

This study was conducted to examine the effects of horticultural therapy on depression and emotional balance of women with hearing impairment. Ten women with hearing impairment registered in the Mokpo branch of the Korean Association of the Hearing Impaired were selected, and participated in the horticultural therapy program composed of 14 sessions from May 15 to July 31. The horticultural therapy program consisted of 'planting tropical orchids,' 'making a dish garden,' 'making plum pickles,' 'decorating a table with flowers,' 'making a hanging pot with succulent plants,' 'making pressed flowers with hydrangea,' 'making a fan with pressed flowers,' 'making a terrarium,' 'making a flower basket,' 'making a mosquito repellent spray,' 'decorating a heart-shaped cup with flowers,' 'making a natural herbal soap,' 'making a hydrangea bouquet' and 'making watermelon salad.' The depression and emotional balance scales were used to examine the effects of the program and the pre- and post-program scores were compared. The mean value of depression statistically significantly decreased from 49.0 points before the program to 43.9 points after the program. In addition, the mean value of emotional balance statistically significantly increased from 0.3 points before the program to 2.3 points after the program. The activity of drawing a picture after each session was effective in reducing depression and improving positive emotional balance by expressing emotions through pictures. The programs preferred by women with hearing impairment included 'making plum pickles,' 'making pressed flowers with hydrangea,' 'planting tropical orchids,' 'making a mosquito repellent spray,' 'making a natural herbal soap,' and 'making watermelon salad.' In conclusion, horticultural therapy programs were effective in reducing depression and improving emotional balance of women with hearing impairment.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.859-879
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• 2004

As a result of research, the characteristics of the general costumes from the king Young-Cho period to the king Jung-Cho period in Genre Paintings of Mung-Hyun Oho, Yong Yun, In-Sang Lee, Hee-Eon Kang follows. First, the typical man wore his hair in a topknot(sangtu), and put on 'Bung-gu-ji', 'Lip', or a scarf on his head. The length of the 'Jeogori'(Korean traditional jacket) was long enough to cover the waist. Dress for work had side slits, and had half length sleeve Jeogori, and short pants looked like 'Jam-bang-i'. They went barefoot and wore 'Jipsin'(Korean traditional straw shoes). Dress for outdoor was 'Po' that knot at front of chest by band. 'Baji'(slacks) were with knot below knee, worn 'Hang-jun'(ankle band) and the width of slacks was suitable. They were 'Beoseon'(Korean traditional socks) and shoes. Second those in the upperc1ass and those in the military put on 'Mang-geon', 'Gat', 'Sa-bang-gan', 'Tang-geon', 'Bok-geon' on their head on a topknot. Most of them wore 'So-chang-i', 'Jung-chi-mag' or 'Do-po'. The length of Jeogori covered the waist or the hip and were tied with 'Go-rum'(ribbon). Baji was tied with Hang-jun and 'Dae-nim'. The waist of the slacks were tied with a dark colored waist-band and folded down their waist of slacks. They wore white color Beoseon and 'Hye' or dark color leather shoes. They wore 'Sup'(assistant of arm) for bow. It showed the lifestyle of the 18C with fan, 'Be-ru', 'Mug', 'Yun-jug', teacup, pot, etc. Third, child's hair was short or knotted to the back of the head. The length of Jeogori reached waist line, Git of Jeogori was 'Dunggurai-Kit'(shape of round) and other style Jeogori, which reached the hip line, had side-slit. Baji was tied with Dae-nim, and the width of the slacks is suitable. They hang 'Yum-nang'(Pocket). Final, most women worked outdoors wearing their hair in a high twisted style, or covered it with scarf. They wore Jeogori and 'Chima'(Korean traditional skirts), Bagi. They folded up the sleeves of the Jeogori. And they folded the 'Jambang-i-styled' pants to just above the knees, fastening at the waist. When they wore skirts, they also wore underpants under the skirt that went down to the knees. Most of them went barefoot and wore straw shoes, Jipsin. Through genre paintings, we can understand the ways and forms of our ancestor's clothing. And with our understanding, interest, and passion, we can be familiar with Hanbok in our daily life by succeeding and creating its peculiar style. And then we can promote the globalization of Hanbok.