Zigbee환경에서 효율적인 Cluster Header 선출 기법 (pp.346-350)

이주현(Joohyun Lee),이경화(Kyunghwa Lee),이준복(Junbok Lee),신용태(Yongtae Shin) 한국정보과학회 2010 정보과학회 컴퓨팅의 실제 논문지 Vol.16 No.3

현재, Zigbee환경에서 센서 노드는 자원 제약적인 특성 때문에 효율성을 높이기 위한 다양한 연구가 진행되고 있다.[1] 계층적 구조를 가지는 클러스터링 기법은 정보의 중복 전달 방지와 네트워크 확장 용이성을 제공한다.[2] 그러나 클러스터 헤더 선출 시 오버헤드 발생하며 잘못된 클러스터 헤더 선출은 자원을 효율적으로 사용할 수 없다는 한계가 있다. 본 논문에서는 계층적 클러스터링 기법에서 노드의 위치나 에너지 정보를 싱크노드에서 알고 있는 중앙 처리식을 활용하여 거리와 노드의 밀도를 기반으로 하는 클러스터 헤더의 선출기법을 제안하고자 한다. Since sensor nodes have restriction of using resources in Zigbee network, number of study on improving efficiency is currently ongoing[1]. Clustering mechanism based on hierarchy structure provides a prevention of duplicated information and a facility of a network expansion[2]. however overheads can occurs when the cluster header is elected and the election of a incorrect cluster header causes to use resourcesinefficiently. In this paper, we propose that the cluster header election mechanism using distances between nodes and density of nodes in accordance with the operation of the central processing system in which the sync nodes are having information of location and energy with respect to general nodes based on hierachy clustering mechanism.

後文革시대(1977~1984)의 중국현대미술

李周玹(Lee Joohyun) 미술사연구회 2010 미술사연구 Vol.- No.24

The period of time between the end of the Cultural Revolution (CR) in 1976 and 1985 is considered the Post-Cultural Revolution (後文革) era. The main goal of modern art in this period was to right the wrongs of the CR, while conceptually art was still very much influenced by the tradition of realism. Two major tends in realist painting emerged in art academies. ‘Scar Painting’, which principally described the calamities and spiritual wounds caused by CR, and‘Rustic Realism’, which sought to express a humanistic feeling by depicting ordinary peasants. The most distressing theme of the‘Scar Painting’ was the violence between factions of young Red Guards as we can see in Cheng Conglin’s〈Snow on a certain Day of 1968〉(Fig. 2). The painters of the‘Rustic Realism’ adopted photorealist approach. Luo Zhongli’s〈Father〉creates an image of an old man by using the skill of photorealist (Fig. 7). A wrinkled and weather-beaten face and his sad eye tell the viewer to pay heed the ignored realities of real life with backbreaking work. The extraordinary range of experiences undergone by the young artists of the period are reflected in a painting by“The Stars, Xingxing (星星)”. These amateur artists in their twenties were mostly self taught artists. They were united nothing less than a vision of bringing a new art to the people, free from the political dictates that strapped Socialist Realism to propaganda. On September 27, 1979 the group held an unofficial and groundbreaking show of their art in the small park outside the National Museum of Fine Art Beijing. On the forty-meter long iron railing in the park neatly hung about 150 works by twenty four artists. Despite the positive feedback from the audience, the exhibition was shut down by the police. The Stars staged a demonstration, arriving in front of the Beijing Municipal Party Committee (Fig. 15). The government granted The Stars permission to have an exhibition at the National Museum of Fine Art Beijing the following year. Their works showed in two exhibitions attracted public attention by highly abstract style and socio-critical message, which was forbidden in the Period of CR. Wang Keping’s〈Blind and Silent〉has a face with one eye patched over and a cork in its mouth, the image of all the Chinese people who has been oppressed (Fig. 16). Ma Desheng’s woodcut print〈A Rest〉depicted a peasant returning home from his hard farm work (Fig. 17). The awkward arbitrary strokes and the heavy contrast between white and black background recall the cutting style of Kaethe Kollwitz. The leather factory laborer, Huang Ru’s〈Seamstresses in a street production unit〉shows his interest on Cubism in the using of abstractly divided color surfaces, while the ink painting of Bao Yun〈At the Beginning of a Century〉indicate his acquaintance with Abstract Expressionism in his calligraphic ink brush strokes (Fig. 19, 22). Despite the affirmative reaction of the audience, some Articles and exhibition reviews in art magazines called their work“too derivative”and“incomprehensible to the masses”. The Stars lost their space for exhibitions, 1983 onwards the members of The Stars had to moved to USA, France and Japan.

19세기 廣州의 外需風景畵 연구

李周玹(Lee Joohyun) 미술사연구회 2013 미술사연구 Vol.- No.27

Waixiaohua(外需畵, “export”) paintings is the name given to paintings produced in Chinese open ports such as Guangzhou, Macau, Hong Kong and Shanghai between the late 18th and early 20th centuries and sold to Westerners. Examples of well known painters of export paintings include Guan Qiaochang(1801~1860), a student of George Chinnery(1774~1852), and his younger brother Guan Lianchang. In their studio on New Chinese Street in Guangzhou, Guan Lianchang and his apprentices painted local scenes using perspective and foreshortening techniques modelled after Western copperplates. Export landscapes paintings frequently depicted exotic scenes from areas around the Pearl River, such as the Bocca Tigris(虎門) and the 13 Factories(十三行商館) in Guangzhou. The 13 Factories comprised groups of Western-style buildings housing the trading offices of companies from countries such as the United States, the United Kingdom and the Netherlands. The district burned down and was rebuilt three times. Historically significant scenes depicted in export paintings include fires in the 13 Factories, the trial of an English sailor from the ship Neptune for the murder of a Chinese citizen, and the besieging of the trade district by Qing government forces immediately before the First Opium War. The realistic, objective depiction techniques used in these works are a good illustration of the function of export paintings as historical records. Export paintings can be divided into three periods according to style. The first of these lasted from the late 18th century to the First Opium War. It was at this time that painters such as Thomas Daniell, William Daniell and Auguste Borget visited Guangzhou and produced landscape paintings. Export landscapes produced during this period show an emphasis on three-dimensional depiction and perspective and are similar to Western landscapes. The second period lasted from 1840 to the beginning of the Second Opium War in 1856. By this time, foreigners were permitted to travel in China, leading to visits by painters such as George R. West, William Heine and Philip Bedingfield. The export paintings of this period displayed enhanced Chinese-style characteristics; it was at this time that some works painted solely in ink appeared(Fig. 14) and styles emphasizing Chinese-style colours and lines emerged(Fig. 15). The third period began after the Second Opium War of 1856; at this time, centre of export painting began to shift from Guangzhou to Shanghai. The arrival of photographic technology in Guangzhou at this time meant that many landscapes were produced based on photographs; within the landscape painting new styles featuring long-distance bird’s eye views emerged. Western styles accessed through export paintings influenced the painters of the Lingnan School, formed in Guangzhou from the end of the 19th century. The realistic and schematic flower paintings of Ju Lian and Ju Chao shared common elements with export plant paintings, while the sense of presence and realism of the landscapes portrayed by second-generation Lingnan School painters.

금속버너 가스열량계를 이용한 메탄의 발열량 측정

이주현(Joohyun Lee),권수용(Su yong Kwon),김용규(Yong-Gyoo Kim) 대한기계학회 2015 대한기계학회 춘추학술대회 Vol.2015 No.11

乾隆帝의 西畵인식과 郞世寧 화풍의 형성

李周玹(Lee Joohyun),정석범 미술사연구회 2009 미술사연구 Vol.- No.23

The intermarriage of Chinese and European painting technique began when a handful of European missionary artists were accepted into the Qing court. The most famous of the Jesuit missionary painters was the Giuseppe Castiglione, Lang Shining(1688-1766), who arrived China in 1715 and went on to serve emperor Yongzheng and Qianlong. He created new style of court painting, in which european chiaroscuro and scientific perspective intermingled with Chinese traditional pigments. On the one hand Qianlong, the great admirer of european civilization, supported Lang Shining to portray imperial family or to record important historical events, on the other hand the emperor controlled and managed Lang’s painting process. The detailed daily record in Archives of the Department of the Imperial Household(淸?) informs us that Qianlong ordered Lang Shining to fullfil following duties for this purpose: 1. Lang Shining had to made sketches or drafts before he formally start to paint. The works could not be executed until the emperor agreed to Lang’s draft. 2. On the instruction of Qianlong, Lang Shining had to collaborate on a painting with chinese court painter. The main subjects which need realistic rendering of light and shadow such as emperors face, muscles of horses or magnificent feathers of peacocks were mostly executed by Lang Shining, the background with trees and mountains of calligraphic brushstrokes executed by chinese painters. 3. Lang Shining had to copy the works of great chinese masters in traditional chinese style. Throughout his life Qianlong had a strong affection for his horses, many of which he had portrayed by Lang Shining. Although horses had been a popular subject in Chinese painting since the Tang Dynasty, the emperor seems to have preferred the European naturalistic treatment of his horses to a more traditional Chinese linear rendering. However Qianlong also wished that the western characteristics did not overshadow traditional chinese aesthetics. Eight Imperial Horses by Lang Shining for example shows an interesting intermarriage of european and chinese painting techniques. The naturalistically rendered horses are superimposed on landscapes painted in Chinese style. The green and blue colors of the background and the composition devided by trees and river remind Noble Steed in autumn landscape of Zhao Mengfu. Ten Imperial Horses -Ruyicong shows typical western painting technique in the naturalistically rendered horse muscles and realistic patterns on skin. However the simple composition and the inscription in which the name and size of each horse appeared in Chinese, Manchu and Uighur, remind us Five Horses by Li Goglin. In the inscription on this painting Qianglong named Lang’s style as“convexo-concave painting method, aotudanqingfa, 凹凸丹靑法”. In Steeds dedicated by Dzungar tribe three envoys of Dzungar tribe and horses dedicated to Emperor Qianlong are depicted. The whole subjects of the work are described just in ink without any color. The thin ink line and the lateral pose of the horse are similar to the technique“baimiao”of Li Gonglin in Song Dynasty. Lang Shining’s horse painting exemplify the new direction of court art during the reign of Qianlong. Lang brought wih him, in person, to the imperial court itself, scientific knowledge of anatomy, light and perspective, and more naturalistic means of representation. For the first time European and Chinese painters were able to share their skill and collaborate on paintings, creating works that were a new fusion of western and chinese painting technique.

近代 北京 傳統畵壇의 형성

이주현(Lee Joohyun) 한국미술사학회 2007 美術史學硏究 Vol.256 No.256

中國畵學硏究會는 전통회화의 보존과 발전을 목적으로 북경에 세워진 中國畵교육기관이었다. 金城(1877-1926)과 陳師曾(1876-1923), 陳漢第(18714-1949 )등, 신공화국의 관료화가들이 주축을 이루었으며, 친일 성향이 농후하였던 봉천파 군벌 徐世昌(1857-1936) 총통의 재정적 지원을 받으면서 친군벌적이고 친일적인 성향을 드러내었다. 그 대표적인 예가 4회에 걸쳐 행해진 中日繪畵聯合展이었다. 1919년 5ㆍ4운동 이후 증폭된 반일감정가운데서도 川合玉堂(1873-1957), 竹內栖鳳(1864-1942), 山元春擧(1871-1933) 등의 작품이 중국화가들의 작품과 함께 일본(동경, 오사카)과 중국(북경, 상해)에서 전시되었다. 당시 북경에는 서양화의 사실정신을 받아들여 중국화를 개량하고자하는 中國畵改良論이 팽배하였다. 이들은 전통 中國畵가 畵院畵家들의 사실적 묘사 능력을 폄하하고 四王의 정통주의에 사로잡혀 지나치게 古畵의 臨摹만을 중시하였다고 비판하였다. 이의 개선을 위해서 實景을 묘사할 것, 畵院畵風을 본받을 것, 揚州八怪와 石濤, 八大山人등 개성주의 화가의 창작성을 본받을 것 등을 제시하였다. 김성의 「北樓論畵」와 「畵學講義」, 진사증의 「文人畵의 가치」와 「中國畵는 진보적이다」 등을 살펴보면 이들이 중국화개량론자의 요구를 많은 부분 수용했던 것을 알 수 있다. 예를 들어 상해박물관 소장 石濤의 〈山水淸陰圖〉를 정확히 임모한 김성의 1911년 작〈倣石濤山水圖〉와, 金農의 화풍을 방작한 김성의 〈倣金農鐘?圖〉는 개성주의 화풍의 영향을 잘 보여준다. 또한 실경을 묘사한 진사증의 1915년 작〈泰山圖〉와 원근법과 음영법을 참조한 〈臨淵閣圖〉는 서양화법을 참조하였음을 잘 보여준다. 한편 1924년 작 김성의〈野溪放艇圖〉는 張路와 李唐 등 北宗 화풍의 면모를 보여주며, 김성의 1924년 작〈孔雀圖〉는 渡邊晨畝가 중일회화연합전에 출품한 〈孔雀圖〉와 매우 유사하여 일본화풍을 적극 참조하였음을 보여준다. 중국화학연구회가 1926년 김성의 사후 해체되자, 그의 제자들이 湖社를 조직하여 1937년까지 운영하였다. 반일감정이 팽배하였던 당시 일본화풍을 참조하였고, 엄격한 시승관계 속에서 고화임모를 지나치게 주장함으로써 후학들의 창조성을 제한한 점은 비판받아야 할 부분이다. 그러나 급속히 확산되어가던 서양화의 위력 속에서 전통 중국화가들을 결집시켰고, 湖社月刊을출간하여 전통 회화의 중요성을 이론적으로 뒷받침한 점은 업적으로 평가되어야 마땅할 것이다. Research Association for Chinese Painting(Zhongguohuaxue yanjiuhui) was the most representative private institute for education of traditional chinese painting in Beijing. Most of the members including Jin Cheng(1877-1926) and Chen Shizeng(1876-1923) are not only a painter but also an official of the first Republic of China. RACP received financial support from the president Xu Shichang(1857-1936), one of the leading figures the militarists of Manchuria. Their pro-japanese political standpoint influenced on the painting style of the RACP members. The main source of japanese influence was the Chinese-Japanese Painting Exhibition which was held four times in Beijing, Shanghai, Tokyo and Osaka between 1920 and 1926. Through the frequent contact with Japanese painters and their works, the members learned the japanese painting style. In the early 20th century, the reformists who asserted the reformation of traditional ink painting played an important role. They criticized the painting style of Four Wangs and emphasized the importance of sketching true scenery of nature in the manner of western realism. The reformists demanded that the ink painters had to learn the creativity of individualist such as Shitao and the Eight Eccentrics of Yangzhou in 18th century. The articles of]in Cheng and Chen Shizeng 'Transcript of Lectures on traditional painting", "Worth of Traditional painting" indicate that they accepted most of the suggestions of reformists. For example Jin Cheng's Landscape after the style of Shitao is an exact copy of Shitao's Pure shadow of Mountains and Rivers in Shanghai Museum whereas Jin Cheng's Zhongkui after the Style of fin Nong reveals the influence of Jin Nong, one of the Eight Eccentrics of Yangzhou in composition and blush strokes. Chen Shizeng's Mountain Tai of 1915 and Pavilion nearby River showed western painting style in the use of perspective and shading methode. After Jin Cheng's death in 1926, his disciples organized Hushe, and published Hushe yueean, the monthly magazine. Under the prevailing influence of western art, Research Association for Chinese Painting and Hushe played an important role as an guardian and successor of traditional chinese painting.

近現代 書畵, 篆刻에 보이는 吳昌碩(1844-1927)의 영향

李周玹(Lee Joohyun) 한국근현대미술사학회 2004 한국근현대미술사학 Vol.12 No.-

광 기록을 위한 런 - 길이 제한 코드의 간단한 DC - 제어 방법

이주현(Joohyun Lee),이재진(Jaejin Lee) 한국통신학회 2001 한국통신학회 학술대회논문집 Vol.2001 No.7

증강현실 기반 채점 시스템

이주현(Joohyun Lee),김진우(Jinwoo Kim),김정빈(Jungbin Kim),안상철(Sangchul Ahn),고희동(Heedong Ko) 한국HCI학회 2014 한국HCI학회 학술대회 Vol.2014 No.2

충돌형 인젝터 설계변수에 따른 모사 젤 추진제 분무특성 연구

이주현(Joohyun Lee),이동근(Donggeun Lee),김정원(Jungwon Kim),강태곤(Taegon Kang),문희장(Heejang Moon) 한국추진공학회 2023 한국추진공학회 학술대회논문집 Vol.2023 No.11