{"product_id":"155472","title":"Materials and techniques of Korean painting ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYDOVuC43fPJFY683W7vDz0YYOufz.png?v=1765017067\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Materials and techniques of Korean painting \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/117976254\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e  \u003cdiv\u003eThis is a book by painter Jeong Jong-mi, who has broadened the horizons of Korean art by creating a modern form of the formative language of murals, Buddhist paintings, and folk paintings in our art and by using unique coloring techniques using traditional materials.\u003cbr\u003e 『Materials and Techniques of Korean Painting』 introduces the microscopic analysis of pigments and the characteristics, functions, and usage methods of each type of paint according to the colorant, based on materials science research on traditional painting.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The author says that knowing the identity of our aesthetic sensibility is “knowing ourselves,” and that this is “the path to opening the future of Korean art.”\u003cbr\u003e He also says that the controversies and conflicts between Eastern and Western painting, or between color and ink, can only “advance to the integrated dimension of painting” when they are overcome through “material studies.”\u003cbr\u003e The author's profound insight into Korean art invites us into a world of colorful paintings. \u003cbr\u003eThis book is recommended to general readers and researchers interested in Korean painting or those who wish to establish basic concepts in materials science, as well as those who wish to experience the traditional aesthetics and emotions of Korean art in a three-dimensional way.\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003c\/div\u003e \",\"\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Recommendation\u003cbr\u003e preface\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 1.\u003cbr\u003e pigment\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Overview of Korean painting pigments\u003cbr\u003e 2.\u003cbr\u003e Types and properties of pigments\u003cbr\u003e 1) Natural pigments\u003cbr\u003e Natural stone mortar | Natural water mortar\u003cbr\u003e\u003cbr\u003e 2) Artificial and synthetic pigments\u003cbr\u003e Shinseokchae | Synthetic stone chae | Synthetic powder chae | Dry pigment | Bongchae\/Anchae\/Pyeonchae | Tube paint\u003cbr\u003e\u003cbr\u003e 3.\u003cbr\u003e Pigment particles and color development\u003cbr\u003e 1) Color development principle of pigment particles\u003cbr\u003e 2) Types and particle sizes of Korean painting pigments\u003cbr\u003e 3) Types of Korean painting paints and particle sizes\u003cbr\u003e\u003cbr\u003e 4.\u003cbr\u003e Characteristics of pigments by color\u003cbr\u003e 1) White\u003cbr\u003e Powder | Chalk | Kaolin | Clay | Marble Powder | Mica | Pumice | Talc | Titanium White |\u003cbr\u003e Lead powder\/lead white\/white powder | Barium white\/Blancfix | Gypsum | Silica\u003cbr\u003e\u003cbr\u003e 2) Yellow  \u003cbr\u003eStone yellow | Yellow clay | Yellow powder | Yellow dandelion\/long dandelion | Cadmium yellow | Yellow dandelion | Yellow dandelion | Gardenia | Gwaehwa | Curcuma longa |\u003cbr\u003e Indian Yellow\u003cbr\u003e\u003cbr\u003e 3) Red\u003cbr\u003e Injection | Coral powder | Evening pearl | Silver pearl\/Cinnabar\/Vermilion | Red powder | Lotus | Cadmium red | Thousand-grained chrysanthemum |\u003cbr\u003e Safflower | Sapwood | Red\/Cochineal | Cochineal\/Rack\u003cbr\u003e\u003cbr\u003e 4) Green\u003cbr\u003e Green | Green Clay | Green Powder | Copper | Cobalt Green | Phthalocyanine Green\u003cbr\u003e\u003cbr\u003e 5) Blue\u003cbr\u003e Stone blue | Navy blue | Indigo | Blue powder | Ultramarine blue | Phthalocyanine blue | Cobalt blue |\u003cbr\u003e Manganese Blue | Prussian Blue | Cerulean Blue | Verdigris Blue\u003cbr\u003e\u003cbr\u003e 6) Brown\u003cbr\u003e Dazai | Raw Sienna | Raw Umber | Indian Red | Light Red | Sepia | Persimmon Juice or Tangerine Extract |\u003cbr\u003e Acorn shell extract | Walnut inner shell extract | Other brown pigments\u003cbr\u003e\u003cbr\u003e 7) Purple\u003cbr\u003e Ultramarine Violet | Cobalt Violet | Mars Violet | Manganese Violet | Mauve\u003cbr\u003e\u003cbr\u003e 8) Black  \u003cbr\u003eBlack Stone\/Graphite | Spinel Black | Iron Oxide Black\/Mars Black | White Carnation | Pomegranate Black | Pine Black |\u003cbr\u003e Flexible black | Gallic ash | Black lacquer\/lacquer | Lamp black | Charcoal | Bone black\/ivory black | Carbon black | Other synthetic black pigments\u003cbr\u003e\u003cbr\u003e 9) Metallic pigments\u003cbr\u003e Gold and silver leaf | Gold and silver teeth | Gold-plated\u003cbr\u003e\u003cbr\u003e 5.\u003cbr\u003e How to use pigments\u003cbr\u003e 1) How to use each type of pigment\u003cbr\u003e 2) How to open the pigment\u003cbr\u003e 3) Paint production and coloring techniques\u003cbr\u003e White pigment | Yellow pigment | Red pigment | Green pigment | Blue pigment | Brown pigment | Purple pigment |\u003cbr\u003e black pigment\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 2.\u003cbr\u003e Indian ink\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e The concept of food\u003cbr\u003e 2.\u003cbr\u003e Origin of food\u003cbr\u003e 1) Korean food\u003cbr\u003e 2) Chinese food\u003cbr\u003e 3) Japanese food\u003cbr\u003e\u003cbr\u003e 3.\u003cbr\u003e Types of food\u003cbr\u003e 1) Song Yeon-muk\u003cbr\u003e 2) Flexible ink\u003cbr\u003e 3) Seven-color ink\u003cbr\u003e 4) Color ink and blue ink\u003cbr\u003e Anseokmuk | Cheongmuk | Chaemuk\u003cbr\u003e 5) Liquid ink\u003cbr\u003e\u003cbr\u003e 4.\u003cbr\u003e Manufacturing of ink\u003cbr\u003e 1) The process of making food\u003cbr\u003e Selection of high-quality soot | Selection of high-quality tea | Selection of medicinal herbs | Mixing tea | Steaming | Pounding | Weighing |\u003cbr\u003e Training | Drying in the shade | Feeding in the light\u003cbr\u003e 2) The reality of food manufacturing  \u003cbr\u003eHow to Make Yeonmuk | How to Make Pine Ink\u003cbr\u003e\u003cbr\u003e 5.\u003cbr\u003e Silent and silent\u003cbr\u003e 1) Silent\u003cbr\u003e 2) Silence\u003cbr\u003e Flame and ink | Particle size and ink color | Ink and ink color\u003cbr\u003e\u003cbr\u003e 6.\u003cbr\u003e Ink wash painting and soft ink\u003cbr\u003e 1) Eastern and Western color concepts\u003cbr\u003e 2) Ink wash painting and black and white painting\u003cbr\u003e 3) The role of Yu Yeon-muk in the history of Oriental painting\u003cbr\u003e\u003cbr\u003e 7.\u003cbr\u003e Selection and use of food\u003cbr\u003e 1) Choice of food\u003cbr\u003e 2) Use of food\u003cbr\u003e\u003cbr\u003e 8.\u003cbr\u003e ink stone\u003cbr\u003e 1) Origin of the inkstone\u003cbr\u003e Korean inkstone | Chinese inkstone\u003cbr\u003e 2) Choosing an inkstone\u003cbr\u003e\u003cbr\u003e 9.\u003cbr\u003e brush\u003cbr\u003e 1) Origin of the brush\u003cbr\u003e 2) Structure and name of the brush\u003cbr\u003e 3) Type of brush\u003cbr\u003e 4) Making a brush\u003cbr\u003e The process of making a calligraphy brush | The process of making a calligraphy brush\u003cbr\u003e 5) Choosing a brush\u003cbr\u003e 6) How to use the brush\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 3.\u003cbr\u003e school\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e The concept of a color changer\u003cbr\u003e 2.\u003cbr\u003e The color of Korean painting, Kyo\u003cbr\u003e 1) Components and properties of doctrine\u003cbr\u003e 2) Type of doctrine\u003cbr\u003e\u003cbr\u003e 3.\u003cbr\u003e Professor Manufacturing\u003cbr\u003e 1) Facilitating the teaching\u003cbr\u003e 2) Dissolution of doctrine\u003cbr\u003e 3) Professor's storage\u003cbr\u003e\u003cbr\u003e 4.\u003cbr\u003e Bridge catcher\u003cbr\u003e 1) The concept of catcher\u003cbr\u003e 2) Making a stirrer\u003cbr\u003e 3) Catcher\u003cbr\u003e Authentic Stir-fried Rice Cakes | Easy Hot Rice Cakes | Mixed Rice Cakes for Various Bases | Various Mixing Methods for Different Colorants\u003cbr\u003e\u003cbr\u003e Material information\u003cbr\u003e References\u003cbr\u003e index\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e \",\"\u003cdiv\u003e  \u003ch5\u003e\n\u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate4132\/MidCate008\/413177328.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e \",\"\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Unlike music and literature, art is an expression through materials and physical properties.\u003cbr\u003e Therefore, art can only be complete through the various expressive techniques of material properties.\u003cbr\u003e If music expresses emotions through sound waves and literature through language, art communicates through materials such as pigments and colorants.\u003cbr\u003e Since each genre of painting has its own unique capturing method, color, and finishing materials within a series of organic relationships, material techniques become the main elements that determine the style.\u003cbr\u003e There are many questions, such as why Joseon portraits were made of silk, why the West used oil paintings while the East used gyo-hwa, and why the West did not use ink.\u003cbr\u003e Chinese ink painting is a good example of how materials determine style, based on the discovery of ink.\u003cbr\u003e The history of art cannot be considered complete if the basis and development of material techniques are excluded.\u003cbr\u003e\u003cbr\u003e ---\"preface\u003cbr\u003e \u003cbr\u003eRegardless of whether it is Eastern or Western painting, traditional paintings have a creative element in which the artist creates his own colors by directly adjusting the concentration and amount of pigments, colorants, and water.\u003cbr\u003e Because the process of creating pigments was very cumbersome, a training process of handling the materials and refining the techniques was absolutely necessary.\u003cbr\u003e However, after the Industrial Revolution, most people started using newly created tube paints, which brought convenience, but also limitations in terms of expressiveness, preservation, and aesthetics.\u003cbr\u003e\u003cbr\u003e ---Chapter 1 Pigment\u003cbr\u003e\u003cbr\u003e In the philosophy of the Five Elements, blue corresponds to the east in terms of direction, wood in terms of the Five Elements, and spring in terms of season.\u003cbr\u003e The word youth also originates here.\u003cbr\u003e Natural pigments that produce blue include inorganic pigments such as stone blue and ultramarine, and organic pigments such as indigo. \u003cbr\u003eIn addition to natural mineral pigments such as stone blue and ultramarine blue, there are also smalt, Maya blue, and Egyptian blue, but these are ancient pigments and are rarely used today.\u003cbr\u003e It is a natural plant pigment extracted from the remaining parts and has been widely used since ancient times.\u003cbr\u003e There are also Seokcheong and Guncheong in Shinseokchae, but there may be confusion in the names, so they will be called Shinseokcheong (新石靑) and Shinguncheong (新群靑).\u003cbr\u003e\u003cbr\u003e ---From Chapter 1 Pigment\u003cbr\u003e\u003cbr\u003e If you can freely change the base and color of the painting as needed and choose freely, there is no need to maintain the boundary between Eastern and Western painting.\u003cbr\u003e As long as you have a precise understanding and mastery of the materials, integration and expansion into a pictorial dimension will not be difficult.\u003cbr\u003e The plate on the side was painted with a color technique using blue and yellow powder on the paper, and then colored again with red powder. \u003cbr\u003eAnd the red color inside was colored only with water, excluding the glue.\u003cbr\u003e That is, it is a technique of reduction.\u003cbr\u003e Traditional teaching is a very functional painting that creates various spaces just by the presence or absence of teaching.\u003cbr\u003e I believe that it is not respectful to ourselves to only consider imported products as good and ignore or discard our own strengths.\u003cbr\u003e We must make good use of the strengths of these traditions to create our own unique horizon of creative painting.\u003cbr\u003e\u003cbr\u003e ---From Chapter 1 Pigment\u003cbr\u003e\u003cbr\u003e Ink is a very important material in traditional painting, possessing the properties of both pigment and dye, and is closely related to calligraphy as well as dyeing.\u003cbr\u003e Since ink is a special material that exists only in the East and not in the West, understanding it will allow you to naturally accept the differences in worldviews and aesthetics between the East and the West. \u003cbr\u003eIn addition to its simple physical function as a material, ink itself possessed a high level of spiritual meaning, creating an extremely metaphysical painting style called 'sumuk (水墨)'.\u003cbr\u003e However, as these tendencies become excessively absolutized and biased, the most basic physical properties of food tend to be overlooked.\u003cbr\u003e Trying to understand everything about ink with only a high level of spirituality, without understanding the ultrafine nature of carbon, the basic unit of ink, or the glue that coagulates and disperses carbon, will not be the condition for a balanced and true ink painting.\u003cbr\u003e This obsession with losing balance has led many modern artists to use low-quality materials such as acrylic paints or liquid ink, such as 'synthetic resin + carbon black', and yet they call it 'ink painting' and claim the supremacy of ink. This has even led to the contradiction of these artists. \u003cbr\u003eInk painting, along with color painting, is a form of glue painting.\u003cbr\u003e It is natural that neither ink nor color has its own identity, except for the color of the painting.\u003cbr\u003e Just as oil becomes an emulsion when used as a vehicle, acrylic resin becomes an acrylic when used as a vehicle.\u003cbr\u003e This is another form of conversation that is completely different from teaching.\u003cbr\u003e If you use synthetic resin paints such as acrylic, you will never achieve ink painting; it will only be a 'black and white painting' or 'monochromatic painting'.\u003cbr\u003e 'Ink and ink supremacy', which does not take into account the physical properties of the material called food, can be considered a very dangerous idea.\u003cbr\u003e Only when the concept of ink painting begins with this most fundamental understanding and affirmation can ink painting be reborn as a healthy art form of our time, rather than a shadow of tradition.\u003cbr\u003e\u003cbr\u003e ---From Chapter 2, Food\u003cbr\u003e \u003cbr\u003eThe three countries of Korea, China, and Japan have shared a food culture while also developing their own unique characteristics.\u003cbr\u003e Goryeo's paper and ink were so excellent that even Su Shi (1037-1101), a writer and calligrapher of the Northern Song Dynasty, praised them, and their reputation was so high in China that it is no exaggeration to say that our current ink culture is shameful compared to our glorious past.\u003cbr\u003e Even in this superficial age, it is absolutely necessary to properly understand food and establish a new food culture.\u003cbr\u003e Food culture, which holds the core of well-being and healing, has long played a significant role as a tool of expression and communication within us. Even in our modern society, where communication is lacking, it remains an essential emotion, and therefore must be revived to elevate our lives.\u003cbr\u003e\u003cbr\u003e ---From Chapter 2, Food\u003cbr\u003e\u003cbr\u003e This aspect of Mibul as a materials expert was largely unknown to us. \u003cbr\u003eIn this regard, we must realize that there is a major blind spot in our perspective on art, and we must also urge reflection on our art education.\u003cbr\u003e Now, we should not only pay attention to the philosophical artistry of the late literati painter, but also pay tribute to his experimental research on the knowledge and use of such materials.\u003cbr\u003e Here, we come to realize that truly true art is created when the subject and object are deeply immersed in an impartial encounter.\u003cbr\u003e As an artist who majored in Oriental painting, you should learn the attitude of innovating while respecting the past through this attitude of not paying attention.\u003cbr\u003e\u003cbr\u003e ---From Chapter 2, Food\u003cbr\u003e\u003cbr\u003e The brush is a very meaningful tool that has made it possible to pass down traditions through records in human history. \u003cbr\u003eIt is a recording tool of a slightly different dimension from modern writing instruments, so through long-term practice and acquisition, it became a part of the body of writers and painters and was loved as the most suitable tool for conveying the language of their hearts.\u003cbr\u003e In particular, Oriental brushes, unlike Western brushes, are unique tools that possess high density of expressiveness and excellent flexibility, allowing for a variety of expressions on multiple levels.\u003cbr\u003e The fact that a single brush can express ten thousand different things is a difference from Western brushes, but the most powerful difference is that the brush is not a simple tool, but is embodied\/incarnated as a part of the artist's body, revealing his thoughts and energy.\u003cbr\u003e This is easily understandable when we consider that calligraphy and paintings of the Four Gentlemen are arts that attempt to expand expression through the ‘vibration of energy.’\u003cbr\u003e\u003cbr\u003e ---From Chapter 2, Food\u003cbr\u003e \u003cbr\u003ePaint is a combination of pigment and colorant, and all paintings use the same pigments, with the only difference being that the pigments are high-quality and low-quality.\u003cbr\u003e Therefore, the genre of a painting is determined by the color scheme.\u003cbr\u003e Before examining the basic color medium of Korean painting, we will learn about the materials commonly used in painting, such as binder, medium, and varnish. Representative genres of painting include murals, glue paintings, oil paintings, tempera, watercolors, crayon paintings, and acrylic paintings.\u003cbr\u003e There are wet and dry murals, and wet murals are the only painting style that does not use any colorants.\u003cbr\u003e In the case of dry murals, local coloring agents such as oil, glue, and egg yolk were used.\u003cbr\u003e The colorant for ink paintings and color paintings is glue, for oil paintings it is drying oil, for tempera it is egg yolk, for watercolors it is gum arabic, for crayons, pastels it is wax, and for acrylics it is acrylic resin. \u003cbr\u003eAmong these, the most commonly used painting genres throughout history are probably oil painting and calligraphy.\u003cbr\u003e Along with this, other genres such as tempera and watercolor have also been verified as paintings.\u003cbr\u003e Acrylic painting is the only genre of painting that has not yet been verified as having been created after the Industrial Revolution.\u003cbr\u003e\u003cbr\u003e ---From Chapter 3, Teachings\u003cbr\u003e\u003cbr\u003e The base of a painting must be surface treated before painting.\u003cbr\u003e If the absorbency of the base material such as paper or cloth (silk\/cotton) is too strong, it is difficult to apply the pigment properly.\u003cbr\u003e So, it is necessary to create an intermediate layer called a ground by applying glue or filling in small holes.\u003cbr\u003e This is to settle the color layer that follows.\u003cbr\u003e The process of creating these intermediate layers is called sizing or binding.\u003cbr\u003e In other words, a catcher can be said to be a method of converting a base that cannot be painted into a base on which a picture can be painted. \u003cbr\u003eThat is, without a catcher, no background can become the basis for a conversation.\u003cbr\u003e As such, the catcher plays an important role in conversation.\u003cbr\u003e In the case of architecture, it is very important to solidify the foundation, such as by digging the ground and covering it with gravel, in order to build a sturdy and stable building.\u003cbr\u003e Painting is like architecture; the better the foundation, the more solid the painting becomes and the better it can be preserved.\u003cbr\u003e In order to create a painting with a solid foundation, you must be able to properly start with the capturing process that solidifies the foundation.\u003cbr\u003e\u003cbr\u003e ---From Chapter 3, Teachings\u003cbr\u003e\u003cbr\u003e Any screen can be used as a base for a painting if it is processed as a catcher, so you can draw on it. However, no matter what base you draw on, the genre of the painting must be determined by the color theme. \u003cbr\u003eFor example, if you draw on jeans, if you draw on the pants and then paint with pigment and oil, it will be an oil painting, and if you draw on jeans and glue, it will be a colored painting.\u003cbr\u003e Now, it is right to classify conversations by their names based on the colorants (materials).\u003cbr\u003e In other words, if oil is used, it should be called oil painting, not Western painting, and if it uses teachings, it should be called teachings.\u003cbr\u003e Color painting and ink painting are just specific names for Gyohwa, and it seems more reasonable to call them Gyohwa, which is the general term.\u003cbr\u003e By increasing our understanding of materials science, we can overcome the conceptual distinction between Eastern and Western painting and move toward an integrated dimension of painting.\u003cbr\u003e However, Korean painting, which is a style that continues the tradition of traditional painting, should be considered as a separate field in order to secure and foster its own identity and independence.\u003cbr\u003e To achieve this, research and education on traditional Eastern and Western painting techniques must be conducted in parallel.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e ---From Chapter 3, Teachings\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e \",\"\u003cdiv\u003e  \u003ch5\u003e\u003cb\u003ePublisher's Review\u003c\/b\u003e\u003c\/h5\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eKorean painter Jeong Jong-mi conveys\u003cbr\u003e A Materialistic Study of Traditional Painting and Color\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 『Materials and Techniques of Korean Painting』 is a material technique book that contains microscopic analysis of pigments and the characteristics, functions, and usage methods of each type of paint according to colorant, based on material studies of traditional painting.\u003cbr\u003e This is a book by painter Jeong Jong-mi, who has broadened the horizons of Korean art by creating a modern form of the formative language of murals, Buddhist paintings, and folk paintings in our art and by using unique coloring techniques using traditional materials.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e This book consists of three main chapters.\u003cbr\u003e Chapter 1, “Pigments,” explores the types and properties of Korean painting pigments and examines the coloring principles of pigment particles.\u003cbr\u003e It introduces the characteristics of each pigment, from white, yellow, red, green, blue, brown, purple, black, and metallic pigments, and organizes the basic concepts of pigments.\u003cbr\u003e In particular, the section on ‘paint production and coloring techniques’ among the methods of using pigments is noteworthy. \u003cbr\u003eThrough examples of the dual-color technique using primary colors, it is specifically shown that an infinite variety of multi-layered colors can be expressed using only the five cardinal colors.\u003cbr\u003e Chapter 2, “Eat,” examines the origin, concept, and types of eat.\u003cbr\u003e In particular, the process of ink production is examined in detail through the illustrations of Han Sang-muk and Yu Pil-mu, and the manufacturing methods of yeonyun ink and songyeon ink are introduced, respectively, providing a variety of ways to use ink.\u003cbr\u003e In addition, it provides detailed information on the characteristics of ink and ink brush, the concept of ink painting and soft ink, and information on inkstones and brushes.\u003cbr\u003e Chapter 3, “Kyo,” establishes the concept of kyo as a Korean painting medium, including its components, properties, and types, and introduces methods of capturing and preserving it.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The author says that knowing the identity of our aesthetic sensibility is “knowing ourselves,” and that this is “the path to opening the future of Korean art.” \u003cbr\u003eHe also says that the controversies and conflicts between Eastern and Western painting, or between color and ink, can only “advance to the integrated dimension of painting” when they are overcome through “material studies.”\u003cbr\u003e The author's profound insight into Korean art invites us into a world of colorful paintings.\u003cbr\u003e This book is recommended to general readers and researchers interested in Korean painting or those who wish to establish basic concepts in materials science, as well as those who wish to experience the traditional aesthetics and emotions of Korean art in a three-dimensional way.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e \"]\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e March 22, 2023\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 360 pages | 928g | 188*257*21mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9788940806722\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 8940806727 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default 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