A Study on the Changes and Attributes of Contemporary Landscape Paintings

The landscape is always the center of Oriental style paintings that portrays the balance of nature, and as Wang Yu once said, "landscape is the best painting." Since the introduction of Chinese landscape paintings to Korea, landscape painting has developed its dimension by retaining its spiritual and philosophical inheritance. Since 1945, modern Korean landscape paintings were influenced by actual rendering technology, ink philosophy, Western technology, and social change of the surrounding environment.

Chinese landscape paintings changed over time, especially in the 1920s; painters brought new ideas about landscape painting in nature, and these concepts experienced major changes in society. Because mountains and water vapor are no longer subject to observation and research, the position of the people in the landscape has undergone significant changes, so the audience will "lose themselves and forget the dusty world" due to the revolutionary change (Sullivan, "Symbols" 182) Nature's appearance, so the painters found new lands and media to portray their landscape works. New technologies such as Chinese architecture were internalized, and the painter discovered a new view on landscape paintings. However, mountains, rivers and other natural elements have become powerful forces in cultural heritage and China, still in the memory of people, still a source of strong inspiration for artists It is getting.

When considering contemporary landscapes, a series of new papers by EHTZ professors Chistophe Girot and Dora Imhof took on the important task of creating a unified understanding of the landscape. The contents of these articles are not as cohesive as the editor said. But, as the editor insists, if you harmonize the rationality of harmony with poetry, it seems like such scattering is as good as other methods. Some articles describe important issues at the local level and how to strengthen rather than blur the design. In his article Giro pointed out that the tendency of homogenized ecological design missed the opportunity to engage in dialogue with the local environment. Girot believes that its dependence on 2D mapping technology is getting higher and higher. Substitute? Of course it is 3D. Girot is an effective salesman for point clouds, a special feature accessible to designers.