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>

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>

관정기 기타가와 우타마로의 오쿠비에에 관한 일고찰

이미림(Ryee, Mi Lim) 동아시아일본학회 2014 일본문화연구 Vol.0 No.52

Utamaro is one of the best among many Ukiyoe painters. It is meaningful to go through the list of his major artwork, however, the most significance of his artwork is an expression of his subtle mind shown in the face and pose of woman as well as an expression of female fragrance and the texture of female body. His later artwork from Hujinsogakujuttai 《婦人相?十?》 Hujinnsogakujuppon(婦人相?十品) to kasenkoinobu 《歌撰?之部》 Hokkokugosikizumi 《北?五色墨》composes the genealogy of the ‘Large neck picture of beautiful woman(美人大首?)’. The genealogy was held back after Hokkokugosikizumi 《北?五色墨》 yet it was succeeded by Hujinsogakujittai 《婦人相?拾?》(大判十枚?) in 1801 during the Kyouwa period. However, the series of his successive artwork of the ‘Large neck picture’ during the Kyouwa period were criticized by the lack of depth because of excessive lucidity. One of the reason that the ‘Large neck picture’ of Utamaro during the Kansei period is most highlighted today derives from the resulting effect by close-up of woman"s face in his artwork. On each page of the Assortment consisted of 5 to 10 pages, significantly different and unique women"s inner beauty is well expressed, which could not be thought previously. Later, the genealogy the ‘Large neck picture’ of Utamaro was ended, however, the ‘Large neck picture’ introduced the new form which was most unique and innovative at that time. His artwork of the ‘Large neck picture’ added a new chapter in the genre painting of beautiful woman and it was considered most advanced before the introduction of photography.

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.

간세이기 우키요에 화면 속 여성 풍속 일고찰

이미림(Ryee, MiLim) 중앙대학교 일본연구소 2018 日本 硏究 Vol.0 No.49

This research newly covered Japanese woodblock prints drawn by Utamaro and Kitagawa school as a basic material for women’s customs such as cosmetics, hairstyle, costumes culture, etc which became popular in the latter period of Edo period. Japanese woodblock prints is, in short, an Edo period genre painting. At that time, quite a number of subjects were drawn on the Japanese woodblock prints, including An actor’s picture depicting the stage of the popular actor and private life, and A prostitute portrait depicting the beautiful Prostitute of Yoshiwara. Yoshiwara was called bad places of City of Edo, but ironically it was a representative cultural attraction of the city. Yoshiwara was a noncontiguous space separated from the Edo, but it was a sustainable space that constantly had a deep connection to the Edo through the Japanese woodblock prints. In the culture of Edo today, most of the things Japanese are proud of and picked up have bloomed around fleshpot. As I mentioned in the text, the point that a common-class woman imitated the customs of prostitute et al. Without sacrificing to sash, hairstyle and a kimono was never ended by The Tokugawa shogunate period. A high level prostitute Tayu is an enchanting existence for Edo male, City of Edo women as a fashion leader in Tokyo as an unusual existence parallel with the real life of the city, sustainably, Edo It was. Yoshiwara brothels was a noncontiguous space separated from Edo, but it was also a sustainable space that constantly had a deep connection with the Edo through the Japanese woodblock prints. Japanese woodblock prints was an important medium that demonstrated the function as a medium that uplifted Edo culture with constantly disseminating the special culture produced in Yoshiwara brothels to Edo. In daringly speaking, the culture of Edo is also the culture of Yoshiwara brothels.

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.

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.

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.

미인화에 그려진 슬픔에 대하여

이미림(Ryee, MiLim) 중앙대학교 일본연구소 2021 日本 硏究 Vol.- No.54

This thesis focuses on Tsunetomi’s intense and impressive painting Double Ssuicide and Shohaku’s A Ppicture of a Bbeauty, A typical example of the succession method of Japanese visual culture and love and betrayal depicted in paintings was examined. The image of pain and sorrow of a woman leading to death due to this was considered. As a result, the prostitute, who plays a traditional sex role required by the Confucian society and men, created a new image of becoming a ghost of death. In general, ukiyoe and School of Maruyama depict women as having idealized beauty, whereas the femininization of Tsunetomi and the beauty of Shohaku discussed in this thesis demonstrate their uniqueness and match the works of Japanese paintings from the late 19th and the early 20th centuries, which are transforming into a new female image with continuity. It can be said that these works refer to the beautification tradition in the beautification genre, where further development of the subject repetition and series is impossible, clearly further showing the differences. In particular, it can be said that the work showed a wealth of possibilities beyond traditional painting techniques in terms of the diversity and expression methods of beautification subjects.

쓰타주의 우키요에 미인화와 야쿠샤에 출판에 대한 일고찰

이미림(Ryee, Mi Lim) 동아시아일본학회 2015 일본문화연구 Vol.0 No.56

우키요에시로서 처음으로 유럽에 이름을 알린 것은 우타마로로 공쿠르 『18세기 일본의 화가』에 의해서였다. 두 번째는 쿠르트 『SHARAKU』이였다. 이는 두 화가를 발굴하고 기리 기억에 남을 작품을 기획 출판한 출판인 쓰타주가 있었기에 가능했던 일이다. 1772∼1801년에 이르는 기간 중 쓰타주의 기획 하에 제작된 우타마로와 샤라쿠의 대표작을 중심으로 우키요에의 성립의 메카니즘과 함께 에도시대 서민문화의 일면을 파악하였다. 우타마로는 쓰타주의 전속 화가처럼 거의 모든 작품 제작에 참여하여 치밀한 묘사가 돋보이는 작품을 제작하였다. 뿐 만 아니라 미인의 상반신에 주목한 오쿠비에의 창안하여 우키요에 황금기를 이루었다. 샤라쿠도 쓰타주와 만나기 이전, 화가로서의 행적을 알 수 없는 수수께끼 화가이다. 최근 연구에 의하면, 아와구니에서 노 배우로 활동했다고 하지만 의문점이 남는다. 그가 남긴 야쿠샤에 표현은 일본 회화사에서도 전무후무한 대담한 데포르메로 매우 강한 개성을 표출하고 있다. 본고에서는 두 화가의 작품의 표현을 길러낸 배경으로 에도 서민문화와 작품의 출판 기획한 출자자 쓰타주의 존재를 고찰하였다. This thesis focuses on Tsutaju as the publisher of the most representative publication of popular culture of the Edo period. He was the local wholesaler who received the most national attention for about 20 years during the Edo period. He published many color prints. The study of his origin, such as his family tree and his parents, has not been carried out sufficiently until now. This thesis is about his origin based on several materials to fill in the missing parts. Moreover, it looks into one aspect of the culture of the Edo period, along with the establishment of Ukiyoe by Utamaro and Sharaku, which was produced under the supervision of Tsutaju between 1772 and 1801. The painter Utamaro encountered Tsutaju, and then worked exclusively for him, taking part in most of his works. They produced the most cautiously described pieces of work like 『靑樓人和嘉女藝者部』, one of the representative paintings of Ukiyoe. Before Sharaku met Tsutaju, he was an unknown painter of Ukiyoe. Sharaku’s paintings of actors were co-produced with Tsutaju, and their forceful characteristics became the unprecedented deformation of boldness in the history of Japanese painting. This thesis sheds new light on Tsutaju as an investor who not only contributed to the development of the expression of Utamaro and Sharaku, but also to the maturity of popular culture of the Edo period.