Folk Painting Research Articles

지등 문화상품 도안에서 조선후기 풍속화의 적용에 관한 연구

Korean culture is attracting attention both domestically and internationally as its international status has risen. Among them, genre painting in the late Joseon Dynasty can be said to be an important medium of Korean traditional culture that captures the lifestyle of ancient Korean society as a visual image, and it is of great significance to inherit and promote Korean traditional culture by using this genre painting as a design for geographical cultural products. This study seeks to explore new applications of genre painting in the late Joseon Dynasty to design geographical cultural products, expand its scope, and express Korean traditional culture in various ways. First, through literature research, the characteristics and artistic values of genre painting in the late Joseon Dynasty were analyzed, and the application status of cultural products based on the market was considered. Second, as a result of analyzing the application cases of genre painting in the late Joseon Dynasty in geographical cultural products, it was found that genre painting in the late Joseon Dynasty was emphasized only on specific holidays and places, so it was not fully utilized in cultural products such as everyday land, and the style appeared relatively simple. Finally, through case analysis and market survey results, an alternative to applying the genre painting in the late Joseon Dynasty to geographical products was suggested. This study aims to explore a new way to use folk paintings in late Joseon Dynasty cultural products by combining modern geodge materials and other design practice processes to provide new implications and methods for the convergence of traditional culture and modern cultural products, and to provide useful data for the succession and innovation of traditional culture.

조선 후기 <해도(蟹圖)> 연구 - 조선시대 게 그림

Crab paintings referred to as Haedo(蟹圖) were mainly drawn with auspicious meanings such as congratulations on passing the state examination. Its origins date back to the Five Dynasties and Northern Song periods in China, and Haedo became popular during the Ming Dynasty when Wu or Wumen School, including Shen Zhou and Xu Wei, started drawing them in the style of literary painting. Literary style Haedo refers to a crab painting with poetic sentiment produced by an ink-and- wash/boneless brush technique for the light-and-shade effect; it greatly influenced East Asian Haedo from the Qing Dynasty of China to modern times and even to Joseon. Exactly when Haedo was first introduced into Korea is unknown, but it is thought that crabs were drawn along with various fish icons at the latest during the Goryeo Dynasty. However, Haedo was drawn in earnest after the introduction of the literary style Haedo during the Ming Dynasty, and painters representing the late Joseon Dynasty, such as Kim In-gwan, Shim Sa-jeong, Choi Buk, and Kim Hong-do, enjoyed drawing them. In particular, Kim Hong-do left behind many works with strong pictorial qualities by adding original elements under the influence of Xu Wei, which greatly influenced the paintings of later painters. Popular throughout the late Joseon Dynasty, the literary style Haedo expanded as far as folk paintings, and the tradition was passed down from the late Joseon Dynasty to modern times. Meanwhile, apart from how the literary style Haedo was developed, a new style of realistically depicting the subject with fine brushes, intertwined with various social and cultural backgrounds, was attempted by Jang Han-jong, a painter at the Dohwaseo (court painting institution), in the 19th century. Jang Han-jong accurately captured the appearance and ecology of each fish species with a hyper-realistic painting style based on detailed sketches that were even reminiscent of a collection of illustrations, and he also created fish and crab paintings in the form of folding screens, which inspired later painters.

Metamorphosis of Tradition: Dong Arts from Folk Dong Painting to Contemporary Expressions

The Dong ethnic minority in southwest China possesses a distinctive cultural heritage. Dong's painting emerges as a unique and diverse form within Dong's artistic endeavors, capturing the essence of daily life among the Dong people. Regrettably, Dong paintings often endure neglect compared to the more recognized Dong architectural art. To revive appreciation for Dong culture, this study delves into traditional Dong folk paintings, aiming to discern various painting types and explore the impact of these traditional forms on contemporary Dong paintings. The similarities and differences between traditional Dong folk painting and contemporary Dong painting are obtained through the investigation and artistic practice of the Dong nationality. It mainly focuses on literature analysis, case studies, and art practice-based research. This investigation reveals that contemporary Dong paintings continue incorporating and reinterpreting symbols, architectural motifs, and dress patterns from traditional Dong folk art. This continuity in artistic expression contributes significantly to preserving and disseminating Dong culture in evolving artistic forms.

The Expression of Vietnamese Folk Art in the Painting Series “Technique du Peuple Annamite”

Vietnamese folk painting art, a traditional art form, is the quintessence of the nation's cultural heritage and historical significance, expressing rustic beauty but containing a Vietnamese culturally conscious mind. In order to preserve the typical beauty in the daily life of ancient Vietnamese people, a genre of folk painting rich in visual art and meaning appeared in the early 20th century. That expression is a set of paintings in an ethnographic research work by Henri Oger, a French scholar. The "Technique du peuple Annamite" series of paintings was produced in large quantities by Vietnamese artisans and reflects the daily life of the Vietnamese people in the capital Hanoi and the Red River Delta. This research was conducted to clarify the elements that create the folk character of the painting from the perspective of visual arts. The results of this study show that the paintings, from themes to forms of expression, all reflect the quintessence of Vietnamese folk art.

ART IN DEFENSE OF UKRAINE (TO THE CREATIVE WORK OF ALEXANDER LYHOSHERST)

The article examines the influence of modern folk art on the formation of patriotic attitudes and psychological support of the soldiers of the Armed Forces of Ukraine, on the roots and origins of folk art in the struggle for the independence of Ukraine, using the example of the work of the artist Oleksandr Lyhosherst. Today's cultural and artistic arena is a very heterogeneous phenomenon – the dominant artistic processes have shifted dramatically. Martial law, military actions of the state prompted the creative community to change the system of values – to readjust to a different plot, a figurative series. Agitation art dominates – daily reality dictates the need for creative personalities to find ways to psychologically support those who defend the borders of the state from the end of February 2022. The task of the research is the possibility of positioning art to accelerate the victory of Ukraine in the war with the Russian invaders, considering art as a method of raising the patriotic mood of the population, on agitation, moral support of Ukrainian soldiers, which is analyzed on the example of the works of the Kyiv painter Oleksandr Lyhosherst. Emphasis is placed on changes in the dominant forces in the cultural and artistic field of modern Ukraine, the cause of which is military aggression. Emphasis is placed on the war as the reason for a radical change in the storyline of the work of Ukrainian artists. The leading characteristics of Oleksandr Lyhosherst's work are highlighted, a brief overview of the formation of his creative path is given. Individual examples of the artist's work are presented, the influence of those phenomena that were important for the formation of his creative language is characterized. The plots, images, and principles of creating the main compositions that are in demand among the soldiers, who are the main customers of the artist's works, are emphasized. Parallels are drawn with the work of artists that influenced the formation of the painter's stylistics. Folk painting, nayiv positioned as dominant phenomena, on which O. Lyhosherst nurtured his art.

ХУДОЖЕСТВЕННЫЕ ОСОБЕННОСТИ РОССИЙСКИХ ПРОМЫСЛОВ ЛАКОВОЙ МИНИАТЮРЫ В СОВРЕМЕННОМ ДЕКОРАТИВНОМ ИСКУССТВЕ И ДИЗАЙНЕ

This article examines the Russian crafts of lacquer miniature painting in the context of the manifestation of their artistic features in modern decorative and applied arts and design. The authors’ goal is to identify stylistic techniques of Russian varnishes and analyze the possibilities of using authentic characteristics of folk art in the author’s design of design objects and decorative arts. The article presents the general and specific in the visual arts and technologies of Fedoskino, Palekh, Kholuy and Mstera. It has been determined that Fedoskino has the artistic features of realistic oil painting, and Palekh, Kholui and Mstera, formed on the basis of icon painting, acquired the features of conventionally decorative painting with tempera paints. The article lists the specific artistic features of each of the declared crafts of lacquer miniatures. The authors come to the conclusion that the original Russian traditions of folk painting have recognizable traditions that have developed over decades, which may represent an “artistic code” of Russian culture. Using the wealth of artistic expressiveness of lacquer miniatures in our country, the opportunity has been formed to create modern works of art with decoding the source of inspiration in the process of designing new products of design and applied creativity.

한국민화의 사신도(四神圖)와 오방색(五方色)을 활용한 판타지 메이크업 작품제작

한국민화의 사신도(四神圖)와 오방색(五方色)을 활용한 판타지 메이크업 작품제작

The Use of Smalt in the Japanese Folk Paintings, Doro-e and Megane-e (Vue d'Optique)

ABSTRACT Doro-e refers to a genre of Japanese folk paintings: it is a group of works, likely to be produced from the mid-eighteenth to the nineteenth century, that emerged during a time when some of the techniques of European paintings, such as vanishing point, perspective, and mirror image were being incorporated into traditional Japanese paintings. Indeed, doro-e paintings played an important role in familiarising the Japanese public with these new techniques. However, the process of painting doro-e including materials and painting techniques used has not been interpreted, and the definition of doro-e remains elusive. This article begins by exploring Kamigata doro-e, particularly megane-e (vue d'optique), which was painted in the initial period of doro-e works. Materials analysis indicates the use of smalt, which is not often found in traditional Japanese paintings. Indigo was also used to depict landscapes, indicating that traditional blue dye was still the preferred colour for European-influenced paintings during the Edo period (1603–1868). This study also discusses the application of gold-coloured outlines identified as brass. A diversity of colourants and techniques was used in doro-e, a fact that is not reflected in the current definition regarding doro-e, and is discussed in this article.

향파 이주홍 書畵의 미학적 고찰

Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
 I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
 I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.

A methodological approach to the organization of the understanding of the decorative image by future specialists of decorative and applied arts

The study highlights the methodological approach to organizing the creative process of future specialists in decorative and applied arts of a higher pedagogical educational institution under conditions of the modern education system of Ukraine. The purpose of the study was to present the content of special methodological work on how to organize the creative process aimed at forming students' understanding of the decorative image features. The problem is how to achieve a high result of creative tasks, students' works, along with the development of technologies for painting fabrics (batik), which together will help a future specialist to become a professional in the future. The methods of the study were: theoretical – the analysis of scientific sources on the problem related to the formation and determination of its formation signs in students; practical – the analysis of pedagogical experience – in order to highlight effective forms of work with students within the educational environment of a higher education institution, which contributes to the formation of students' understanding of the organization of the creative process. The professional literacy of the future specialist majoring in 023 "Fine Arts and Decorative Arts, Restoration" is based on his/her ability to build activities according to aesthetic laws (to understand contemporary fine and decorative arts, folk art); it consists of a system of special knowledge and skills. It is substantiated that folk art is our self-identification, we need to know the traditions of our people, modern fine arts; it is important to revive them in original modern forms, to promote the development of experimental trends, to work creatively with folk paintings in the process of teaching the disciplines of the course "Decorative and Applied Arts", to show how promising it is today. The article describes the methodological approach to the organization of the creative process in solving the thematic tasks within the academic course "Fundamentals of Fabric Painting". One of the ways to renew assignments of the academic disciplines "Fundamentals of Fabric Painting" and “Decorative and Applied Arts" has been presented. It is shown that on the basis of the conducted pedagogical experiment and its results, the creative activity of understanding and creating a decorative image as a holistic process that improves professional skill and competence is confirmed. We see the prospects of scientific research in the extension of the study of the necessary modern methodology which develops students' interest in various types of activities, including scientific, research-centred, artistic and creative, as well as in the increasingly extensive implementation of methodological findings in the process of studying Decorative and Applied Arts.

Compare Between the Scenes of Teaching in South Korea and Vietnam in the Folk Painting

Painting is one of the most important and popular forms of art. It serves not only as a means of appreciation but also as a document expressing of a local culture, a country, or a continent. This study selects two folk paintings: "Village School" by Kim Hong Do (1745-1806?) from the Danwon Folk Painting Collection - a Korean national treasure (number 527) dating back to the late Joseon period (1700~1850); and " Village School" by the Hồ, Hoàng, and Nguyễn families in Vietnam, created in 1440 during the Le so Dynasty. The objective is to explore the teaching and learning cultures of Korea and Vietnam, with a specific focus on the cultural aspects of Han character education in both countries.

WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS

This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of several novels by different authors, with Wu Chen’en’s novel being the most renowned classic. And it is the very process of turning a real story and real people into a legend, a myth, geographical movement and physical travel into a metaphysical path, followed by characters whose image goes back to ancient archetypes that made the novel so popular during different centuries and in different countries. Furthermore, the article highlights the distinctive features of the novel that make it particularly suitable for adaptation through animation. Unlike written art, visual art can directly incorporate the images and forms of various folk art forms such as folk painting, sculpture, popular print, shadow theatre, Peking Opera, and traditional painting. Chinese animation based on the novel has successfully utilized these art forms. Additionally, one should consider the genre of the novel, which is rooted in the collective unconsciousness and rich in formal, plot, and thematic elements. As noted by Russian philologist and semiotician J. Lotman, animated cinema is the most appropriate means for adapting fantastic stories. At the same time, Wu Chen’en’s novel «Journey to the West» has the value of not only a national cultural heritage, but also a global one. The author notes the important idea of the Canadian media theorist Marshall McLuhan about the relevance in the information society of the Chinese way of thinking with its idea of a net world and a net person. Animated films based on the plots of «Journey to the West», can effectively broadcast the values of the Chinese worldview and mentality and thereby contribute to the mankind’s response to the challenges of the time.

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

Present Pasts of Colonial Modernity: Embroideries by Lucie Kamuswekera

민화의 조형성을 활용한 디지털 패션 일러스트레이션 연구 - 한복을 중심으로 -

Modern society is an age of communication. Communication involves sharing personal opinions, emotions, and information in the changing digital environment. The communication contains individual messages that gather to form an identity. Folk paintings came from the public, and fashion illustrations reflect individual aesthetic characteristics. These two concepts are common in expressing an individual or containing an individual

ART SPEAKS LOUDER THAN WORDS: INDIAN FOLK ART FOR ANTHROPOCENE

This paper is an attempt to foreground how art and especially folk art has the potential to transform the way we view our relationship with the environment. It takes into consideration the Anthropocene, the epoch where the planet is bearing the load of disastrous human activities and looks at how Indian Folk Art might offer a solution. Folk Art, the paper argues has always adhered to a critical posthumanist ideology and aesthetic. The portrayal of nature in these artforms can offer us potent responses to Anthropocene. The first section of the paper talks about the connection between Folk Art and nature within a critical posthumanist framework. Folk art, not just through its themes but also through the elements it uses, is intricately intertwined with nature, and responds to the Anthropocene. Subsequent sections take into consideration different folk and tribal artforms and talk in depth about their connection with nature and prevalent themes. The paper also analyses some tribal and folk paintings and the folk artworks presented in India Art Fair in 2018. The scope of this paper is limited to four major folk artforms (Gond, Pattachitra, Madhubani, Warli) but the arguments made in this paper pertain to all folk arts in general.

박생광의 회화: 한국적 이미지의 추구

This study is aimed to examine ‘Park Saeng-gwang's painting focusing on the pursuit of Korean image’ from a humanities perspective based on empirical data. Until now, research on Park Saeng-gwang has been written within the framework that his painting expresses the beauty of the Korean people. Specifically, many of the papers focused on material and color in terms of the works’ forms or traditional elements such as folklore, shamanism, and folk painting in terms of the contents. Those studies were written while focusing on the point that Park Saeng-gwang sublimated our folklore or religious elements through the bold use of color in the aspects of reinterpreting tradition. It was attempted to find the meaning by stressing the aspect of rediscovering the beauty of Korea and reinstating our color painting; however, this author deems that it was not enough to interpret the fundamental ground of Park Saeng-gwang's works. It is difficult to analyze the true significance of his works without considering why he paid attention to shamanism in his later years and what he wanted to express through his works. Therefore, it should be prioritized to interpret the nature of shamanism, and we should never be too silly to analyze his works only fragmentarily. The meaning of Park Saeng-gwang's works is in the fact that he broke away from the existing worldview and restored the base culture of the Korean people with shamanism that other people were reluctant to pay attention to. Shamanism was what was despised by the ruling class in the Joseon Dynasty, persecuted as the people's faith during the Japanese colonial period, and underestimated as irrational superstition by Western values after the liberation; however, it has continued to exist till now with its tenacious vitality. For this reason, this study attempts to understand the nature of Korean image he pursued and extend the discussions that have been carried out by exploring shamanism preferentially.

A study on the development of fashion cultural products by applying Korean folk painting

A study on the development of fashion cultural products by applying Korean folk painting

The Role and Significance of Chinese Folk Paintings by Nunminhua in Propaganda and Education

The content of Chinese folk paintings by nongminhua is based on morality and national philosophy, which can inspire and raise the morale of citizens. This type of incentive differs from agitation and advertising in the usual sense of these concepts. This is a form of complex artistic expression combining symbolic lyrics and philosophical reflections, which has in its arsenal methods of active stimulation aimed at gaining the trust of the audience and expanding the coverage of propaganda activities. The object of this study is the Chinese folk paintings of nongminhua, and the subject is their educational and propaganda functions. The pictorial language of Chinese folk painting with a clearly defined theme, rich illustrative language, features of mass art, as well as its inherent tendency to widespread distribution distinguishes nongminhua from other art forms. All these differences inevitably become the reason for a completely different, unique force of social impact of folk paintings. The main conclusion of the study is that the simplicity of creating folk paintings, their inherent features of information dissemination and cultural functions have led to a wide range of their existence at different stages of China's social development. Brightness and visibility made the nongminhua understandable to the general population, determined their effectiveness in the implementation of educational and propaganda functions.

Immigrant Birds

Immigrant Birds

한국 전통 민화의 화문을 활용한 여성 레깅스 디자인 개발

초록 · 키워드 목차 오류제보하기 The purpose of this study was to develop and suggest a women"s leggings design applying the floral patterns of Korean traditional folk paintings of the Joseon Dynasty. The study was analyzed using literature and web sites regarding the flower patterns of Korean folk paintings, athleisure-look with leggings, and floral print design of leggings. The development tools of leggings designs used design CAD programs. The results of the study are as follow. First, the floral patterns of Korean traditional folk paintings had symbolic meanings expressed splendidly and richly. Second, the athleisure look was fashion that suited the lifestyle of modern people in pursuit of well-being and work-life balance. Leggings as the athleisure look was sportswear and daily wear. Third, as a result of examining floral leggings sold at the top five domestic online shopping malls, the main print design of floral leggings was totally printed with one type of floral. Fourth, five peony and five chrysanthemum paintings were selected for the leggings design. Leggings designs were tied to colorway with black color and four chromatic colors on the background. Leggings designs were developed applying items with beautiful floral patterns. The floral patterns of Korean traditional folk paintings were very aesthetic and unique resources that could be applied as print designs of leggings. #Floral patterns of Korean traditional folk paintings #Peony painting #Chrysanthemum painting #Leggings design development #Athleisure look #민화의 화문 #모란도 #국화도 #레깅스 디자인 개발 #애슬레저룩 AbstractⅠ. 서론Ⅱ. 한국 전통 민화의 화문Ⅲ. 레깅스 패션 현황Ⅳ. 화문을 활용한 레깅스 디자인 개발Ⅴ. 결론REFERENCES