Comparative study of DFT+<i>U</i> functionals for non-collinear magnetism

Ryee, Siheon,Han, Myung Joon IOP 2018 Journal of Physics, Condensed Matter Vol.30 No.27

<P>We performed comparative analysis for DFT+<I>U</I> functionals to better understand their applicability to non-collinear magnetism. Taking LiNiPO<SUB>4</SUB> and Sr<SUB>2</SUB>IrO<SUB>4</SUB> as examples, we investigated the results out of two formalisms based on charge-only density and spin density functional plus <I>U</I> calculations. Our results show that the ground state spin order in terms of tilting angle is strongly dependent on Hund <I>J</I>. In particular, the opposite behavior of canting angles as a function of <I>J</I> is found for LiNiPO<SUB>4</SUB>. The dependence on the other physical parameters such as Hubbard <I>U</I> and Slater parameterization <img ALIGN='MIDDLE' ALT='' SRC='http://ej.iop.org/images/0953-8984/30/27/275802/cmaac79cieqn001.gif'/> is investigated. We also discuss the formal aspects of these functional dependences as well as parameter dependences. The current study provides useful information and important intuition for the first-principles calculation of non-collinear magnetic materials.</P>

Quasiparticle self-consistent GW calculation of Sr2RuO4 and SrRuO3

Ryee, Siheon,Jang, Seung Woo,Kino, Hiori,Kotani, Takao,Han, Myung Joon American Physical Society 2016 Physical Review B Vol.93 No.7

<P>By using quasiparticle self-consistent GW calculations, we reexamined the electronic structure of Sr2RuO4 and SrRuO3. Our calculations show that the correlation effects beyond the conventional local density approximation and generalized gradient approximation are reasonably well captured by the QSGW self-energy without any ad hoc parameter or any ambiguity related to the double-counting and the downfolding issues. While spectral weight transfer to the lower and upper Hubbard band is not observed, the noticeable bandwidth reduction and effective-mass enhancement are obtained. Important features in the electronic structures that have been debated over the last decades such as the photoemission spectra at around -3 eV in Sr2RuO4 and the half-metallicity for SrRuO3 are discussed in the light of our QSGW results and in comparison with the previous studies. The promising aspects of QSGW are highlighted as a first-principles calculation method to describe the moderately correlated 4d transition-metal oxides along with the limitations of QSGW.</P>

19세기 구니사다 미인화의 양식적 변천 연구

李美林(Ryee MiLim) 중앙대학교 일본연구소 2023 日本 硏究 Vol.- No.58

샤라쿠의 야쿠샤에 일고찰

李美林(Ryee, MiLim) 중앙대학교 일본연구소 2022 日本 硏究 Vol.- No.56

I have considered the Kansai Region, Tsutaya, the notable publisher and the circumstances of the surrounding publishing industry in this paper, amidst the cultural background which generated expressions through pictures similar to actors drawn by Sharaku. As a result, Sharaku had a deep connection with the Edo Kabuki industry. The facial depiction of Kabuki actors by Sharaku was also made by focusing on the relationship between the appearance and personality of the actor in his own unique way, regardless of the flowerbed or style of painting at the time. In this paper, we considered the relationship between the fashion of metoposcopy, which can be referred to as the origin of Sharaku’s interest in the trends of publisher Tsutaya, and the publishing industry along with its work at the time. It is probable that Tsutaya and Sharaku shared the common interest to produce a large drawing of an actor’s upper body- Okubi-e in the wake of the epidemic of metoposcopy that occurred in both Kyoto and Edo at the time.

우키요에와 사진과의 연속성에 관한 일고찰

이미림(Ryee, MiLim) 동아시아일본학회 2021 일본문화연구 Vol.- No.80

우키요에(浮世絵)와 사진이 공존한 시기인 막부 말기부터 메이지(明治) 초기 무렵의 우키요에와 사진 두 분야는 각각의 영역에 침투하여 융합되면서 새로운 양상으로 발전 전개되었다. 흑백사진에 착색한 작품 그리고 사진 그대로의 효과를 추구한 판화나 육필화(肉筆畵) 등에서 새롭고 다양함이 추구되었다. 그림과 사진 두 영역에 속하면서도 영역에서 벗어난 새로운 작품의 탄생을 본 것이다. 사진의 계란지(鷄卵紙)에 착색한 ≪도쿄메이쇼샤신조(東京名所写真帖)≫와 ≪에도메이쇼햐쿠닌비조(江戸名所百人美女)≫ 등은 흑백사진에 채색을 가한 작품으로 우키요에 소로에모노(揃物) 방식과 사진의 융합이 돋보이는 작품이 제작된 것이다. 오가와 가즈마사(小川一真, 1860~1929)가 촬영 제작하여 도쿄(東京) 아사쿠사(浅草) 료운카쿠(凌雲閣) 건물 상층부에서 전시한 ≪료운카쿠햐쿠비진(凌雲閣百美人)≫은 우키요에 미인화 소로에모노 방식의 방대한 사진첩이다. 그 중 <신바시 다마기쿠(新橋玉菊)>는 흑백사진에 채색을 가한 사진으로 에도시대의 우키요에 전통을 잇는 발상의 새로운 미인화의 탄생이며, 우키요에 다색판화를 잇는 시각문화의 변화상을 보게 된 것이다. Such as ukiyoe around early years of Meiji era and two fields of picture permeated the respective territory from the Shogunate last years in the time when a picture coexisted with ukiyoe, and fusing, it developed by the new aspect. There are a print and an own handwriting vision which pursued the effect by which a colored work and a picture are just as it is on a black and white picture. Birth of a picture, a picture and the colorful work which came off from territory though it belonged to 2 of territory, was seen. 『東京名所雀々帖』 and the 『江戸名所百人美女』 etc. colored on egg paper of the picture are the work which has added colored to a black and white picture, and picture fusion of an ukiyoe yumono system is a work which stands out. The ukiyoe and the transition in the sight Bunka when a multicolored print is set were made a hit of an eye.

에도시대 미인풍속화 속 여성의 머리형태에 대하여

이미림(Ryee, MiLim) 중앙대학교 일본연구소 2020 日本 硏究 Vol.0 No.52

It is undeniable that for women, the head is worth burning up all of their own vitality, regardless of age, region, class, occupation and age. The Edo period is the time when In the history of Japanese women, Japan, Japan, has bloomed most beautifully. Not only that, but it is also a special time when various measures were sought to make their black hair more beautiful. Prostitute was part of the role of creating the beauty of the Japanese hair until the middle and late years with an unbound sense of the times. And it was Yakusha, or the actor, who was in charge of the other part. When the beauty of a young boy became popular due to the popularity of the play(Wakasyukabuki-若衆歌舞伎), it was Wakasyu(若衆髷) that upgraded the beauty of her Ironically, the places of the two Big Bad Places in the Edo period, and a theater became the birthplace of popular culture. The people who succeeded this development were none other than the merchant class in Edo period , which was helped by the economic recovery(Chonin-町人). In this study, more than 300 types of hair styles were created in the Edo period, and as of now, Japanese hair, which is actively used in traditional arts or non-day-to-day fields.

1860년대 제임스 티소의 화업과 일본미술의 차용

이미림(Ryee, MiLim) 중앙대학교 일본연구소 2017 日本 硏究 Vol.0 No.47

The works of Tissot, Manet, Monet, Degas, Whistler, Georges Croegaert (1848-1923)and many other Impressionist painters are constantly appearing on the screen. Degas" portraits of Tissot are also a message that Tissot was a special painter who took charge of the circumstances of the Paris flower garden at the time, who was enthusiastic about Japanese taste, and the picture map of Akita Ke who was the head of the Delegation of the Paris Expo. In addition The portrait of Tisso is unique in that it is related to the problem of denying the long-standing perspective / perspettiva tradition in Western art at the time. At that time, the painters of the French art scene accepted Nishiki as a fresh shock to the bold composition of the screen, simplification of form, intense color contrast, soft shading. As a result, japanism has become an occasion to open up the possibility of new artistic development of French art. In the paintings of a series of painters such as Braque and Picasso in the early 20th century, spatial representation and depth of spatial disappear, and they did little to conform to the order of perspective, and had little influence on the entry into cubism that reshaped the space.

歌麿의 《北國五色墨》와 그의 우키요에에 관한 연구

이미림(Ryee, MiLim) 중앙대학교 일본연구소 2016 日本 硏究 Vol.0 No.41

Kitagawa Utamaro is a master of the painting of the beauty who is excelled in soft line drawing, variety of figure and delicate facial expression of a woman. He was well known as an Ukiyo-e painter of the Edo period among European countries in the modern times. When he represented 《Northern Goshikisumi(北国五色墨)》to the public in 1794, the figure of the beauty included prostitutes from the lowest class that was considered far from the ideal figure of woman. The figure of the beauty in his paintings is shown as femme fatal and seems so sensual that nothing can have been parallel to such expression in history. In his painting, 〈Oiran(花魁)〉 and 〈Geigi(芸妓)〉 seduce a man by fascinating readings and hand gestures. Especially 〈Teppo(鉄砲)〉 among the three of the lowest prostitute is drawn as a death-threatening femme fatal who puts a life of a man into deadly dangerous situation. In his 《Northern Goshikisumi(北国五色墨)》, Utamaro considered these prostitutes equal to himself whose painting activity had been restricted by Kansei reforms and described the tragic reality of them who had been driven to the world of filth by unilateral decision of somebody. In other words, he wanted to reveal the cruel reality of the Edo period through the media of painting. Despite of the restriction of publishing by Bakuhu(幕府), Utamaro was bold enough to continue his painting of the beauty and represented 《Taiko gosai rakuto yukan no zu (太閤五妻洛東遊観之図)》 in 1804 that is based on Toyotomi hideyosi(豊臣秀吉). The painting was understood as a parody of hideyosi(秀吉) expressed like Tokugawa ienari(徳川家斉), the 11th general of Bakuhu in the Edo period. Because of this, he was sentenced by 2 days in prison and 50 days of being handcuffed. In short, Utamaro used the media of Ukiyo-e, one of the most popular journalism, to transmit the important messages to the society.

近世後期<美人風俗圖>の繪畵的特徵

李美林(Ryee, Mi Lim) 동아시아일본학회 2012 일본문화연구 Vol.41 No.-

In the late Chosen period of the latter half of the 18th century lived a painter named Sinjunfuku. Sinjunfuku was to become the greatest painter of beautiful women in the history of Korean painting. His main interest was in depicting prostitutes from relatively lower classes and the men and women who enjoyed entertainment in town. Sinjunfuku?l?ks painting were a bit flamboyant and unusual, considering that Indian ink painting dominated Korean painting and (see Document 1). Surprisingly, the Chosen period did not produced painters of beautiful women in daily life until Sinjunfuku. It was in the period of change that marked the end of the 18th and early 19th century that this genre was reborn. Sinjunfuku played a primary role in its subsequent formation and decline. In my dissertation I develop a perspective that considers images from the Chosen period of beautiful women in daily life in reference to Sinjunfuku?l?ks work. One reason this genre did not take off during the Chosen period can be found in Chushi Confucianism. Chushi Confucianism had a firm hold on Korea as the principle of government. In the fields of arts and letters it did not permit the emergence of a genre devoted to a subject such as beautiful women. given that Sinjunfuku found himself firmly rooted in this sort of feudal society, how was he able to paint beautiful women? Keeping this question in mind, I shall compare Sinjunfuku?l?ks work-work that appeared suddenly in Chosen Koreawith the work of genre artists in late Edo Japan.

에도명소와 우키요에풍경화에 관한 일고찰

이미림(Ryee MiLim) 동아시아일본학회 2017 일본문화연구 Vol.0 No.61

본 논문은 에도시대에 제작된 우키요에 풍경화에 그려진 테마 즉, 에도명소와의 연관관계와 그 제작 경위에 대해 고찰한 연구이다. 에도 명소관련 에도 명소그림에는 에도시대의 다양한 요소 즉 풍속과 민속 그리고 신불습합 등 종교적인 요소가 상호 작용하여 제작된 시대정신의 결과물이라고 생각된다. 그러므로 우키요에 명소그림을 단지 순수한 회화로서 감상하기보다는 이를 기획하고 제작한 우키요에시들의 시대 의식과도 연관시켜 이해할 필요가 있다. 실재로 에도 명소그림의 대가인 히로시게를 비롯한 우키요에시의 작품에는 화면의 서정적인 이미지와 달리 그들이 에도를 와유(臥遊)하여 얻은 우키요(浮世-현세)의 모습과 에도 일반 서민계층의 다양한 메시지가 담겨져 있다는 점도 시야에 넣어 고찰하였다. The attraction sights during the Edo period, the Mayshow-e (Pictures of Edo Attraction Sights), reflect the spirit of the age from a variety of interactions. An appreciation of the works should consider the stream of consciousness of the ukiyo-e painters who planned and produced them. The study of manners, customs, and folk culture of the common people of those days is necessary to gain a better understanding about the works. The pictures that were painted by the ukiyo-e masters, including Hiroshige, depict the stories of common people and they are not rendered as idealized images. The theme contains two opposing elements: one portrays a religious ceremony for common people while the other shows the secular side of life, such as irrigation and Kabuki entertainment, and is presented as a solid structure with the scenery of the Edo period.