• Journal of the Korean BIBLIA Society for library and Information Science
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• v.21 no.3
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• pp.109-122
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• 2010

This study is to suggest some ideas for improvements of classification and expansion of the arts in the KDC. In order to this study, analysed changes of terminology, auxiliary tables and notes, and expansion of classification number of the arts from 1st edition to 5th edition of the KDC. The arts of KDC did not changed from 1st to 3rd edition and changed in the 4th edition and 5th edition, and errors and problems of previous edition were not improved, and Classification number and expansion of KDC found out poor rather than different classification schedule because had a lot of Including notes. The result of analysis proposed to improved method to solve the problems.

• Journal of architectural history
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• v.21 no.5
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• pp.69-82
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• 2012

This study is basically about four-guardian-statutes-building-gate in 17th Century. In the field of art-history, there are four-guardian-statutes made of clay in order that the statutes are so gigantic and grotesque enough to threaten all the devils. This purpose of this study is to make sure that the similar variation occurred at the four-guardian-statutes-building-gate in 17th century. The results of this study are as follows. First, only Da-Po style four-guardian-statutes-building-gates were built in famous four temples separately from 1612 until the Manchu war of 1636. And there are gigantic four-guardian-statutes made of clay in the building. Second, there are Chul-mok Ik-gong style buildings were built in 1660s at Bo-Rim-Sa and Neung-Ga-Sa. The buildings including four-guardian-statutes-building-gate of Song-gwang-sa built in 1636 probably are all similar to earlier Da-Po style four-guardian-statutes-building-gates in the viewpoint of structural type and size of building. Third, it began to build Ik-gong style four-guardian-statutes-building-gates in 1676 at Su-ta-sa.

• International Journal of Costume and Fashion
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• v.11 no.2
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• pp.37-52
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• 2011

The purpose of this thesis is to study how Physical Distortion has been developed on the fashion from a surrealistic point of view and how it could be contributed to development of clothing design. This body distortion phenomenon has been started from primitivism times and it is still going on with various ways. Each era's distortion has been changed due to social cultural and environment matters. Especially influences of surrealism on the 20th century art transcended the limit of thought. Since appearance of surrealism 21th century fashion design has been opened up for new possibilities. There are no stereotypes no boundaries and our society is getting increasingly diversified. People in those society is longing to have another esthetic requirements. Also surrealistic physical distortion in the contemporary fashion has been produced unique design with new technology and new material. Physical distortion in fashion possess an infinite possibilities that could concoct the most amazing clothes. Also it has another strong potential that conducting us the way to produce design in novel ways. There is no doubt that surrealistic physical distortion in the contemporary fashion is absolute necessity to continue on evolution of clothing design.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.145-159
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• 2007

Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. As the 20th century art put premium on self-expression, the body itself became a powerful medium of expression in fashion. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the fragmentation of the body in fashion. In order to inquire the formative style and aesthetic values expressed in fragmentation of the body in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century, The results of the study are as follows. Fragmentation of the body in fashion means the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. The formative aspects of fragmentation are achieved through body casting, displacement, and deconstruction. The absence of physicality in fashion opposes the sartorial convention and symbolism that results in the discord between signifiant and $signifi{\tilde{e}}$ of clothing. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze fragmentation of the body in fashion, focusing on the relationship between the clothes and body.

• The Journal of Art Theory & Practice
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• no.6
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• pp.123-145
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• 2008

Artist-in-residence which gets chances to create by artists' moving and encountering new culture is heightening its level in 21th century. Under the circumstance that issue of cultural diversity and the role of artists which is for city revitalization and sustainability are affect residency program in the midst of highly proceeded globalization that international exchange. Therefore, in the aspect of creative city, a new model is creating by reuse of abandoned industrial facilities and Asia or Eastern country become the subject in residency program management, the issue of cultural diversity is getting more important, programs based on project not just residence are managing. Furthermore, it has inter-country cooperating system in the rage of cultural management. It means that artists' space of creating activity has a new, social role in spontaneously we need to approach to following model in Korea, as well.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.40-40
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• 2003

People calls the 21th century when they have just entered 'the age of culture'. In the end of the last country, they reflected the trend of materialism and with this the business of knowledge, art and culture which leaded the information revolution arose as the dominant form of industry. The world opened 'the age of culture'. In the new paradigm called 'the age of culture', the color has become the leading medium to change the comtemporary vision. At this time, this study has diversely considered about purple displayed in the modern fashion.

• Journal of the Korean Society of Costume
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• v.53 no.8
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• pp.137-148
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• 2003

The culture interest regarding the new area causes an effect even in change of fashion and that result Mongol area where it is area other than Japan, China and India and it is having compromised beauty raised it's head. Mongol is in Noin-ula area which is a it's former self of the Hun's. There is to a textile pattern which was used not only the textile pattern which has the feature of Scythian system but also the textile pattern which has the feature of China was used. The feature of Noin-ula's the textile pattern is as follows. Noin-ula's textiles used Scythian system of animal pattern, vine pattern, palmette pattern, thunder pattern, spiral pattern, shape of diamond pattern. Scythian system of animal pattern and vine pattern proves the interchange with the countries to the west of China. Noin-ula's textile pattern is applied to the designer's work of art. The designers are John Galliano, Etro, Chloe, Emmanuel Ungaro and so on, who express the modern ethnic style design. Because the more developed the modern society is the more embossed feature of intention for the race and the fork art, I think that Ethnic style design is applied to modern sensitive and ethnic style in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.821-834
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• 1997

The purpose of this study is to clarify the different types of cooperation between the textile industries and the artists at the beginning of the 20th century in relation to the social background which motivated the artists. Therefore, this study tries to analyse the interactions between the cooperation and the movement of social reform of the period and describe the various phase of artistic expression as a result of artists' view point of the society. The results are as follows; 1. There are two different standpoints toward the cooperation. The one conceives the different role of artists in relation to society and the other tries to enlarge the field of expression as an artistic challenge. 2. The different standpoint engenders significant diversity in its development, result and decline. 3. The raise of new artist group "designer" who reconciles the art and the industry as vocation diminishes the need of direct participations of artists. 4. The spirit of the time has changed and emphasised more the conceptual part of the art than the properties of matter. It provides less favorable condition for the cooperation. The cooperation between the art and the industry is a significant resource of the textile and clothing design. The interaction is not limited to visual effect but partakes in the solutions of the common artistic or social problems. problems.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.77-77
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• 2003

If we look closely to the power shift of the powerful countries historically. during the 16th century Spain's power came from gold, colony trade, the mercenary force, close relation with the thrown, 17th century Netherlands owes their power to trade, capital market, the marines, 18th century France owes it to population, agriculture, public administration, and the army. Also, England had their industry, political unity, finance and trust, the marines, liberalistic principles, a geographical merit of being an island which can be defended well and the 20th century America has their cosmopolitan culture, supernational communication, the capacity of the economy, science technology, military strength, alliances, liberalism international formation. But in the 21st century culture and art will prevail over the information age where technology and knowledge was the key, and it is predicted that this will be the source of power for a strong country. Rolfe Yesson, the head of The Copenhagen Research Center for future studies said, "Information age has ended and in the future Dream Society will arrive which focuses on making distinctions by delivering dreams and emotions to consumers". As cyberspace gradually substitutes reality, cyberspace has become more than an information search engine and has become a place where people fulfill their desires and exchange culture. And as a medium for diffusing culture, the importance of the digital dress-up avatar is predicted to increase gradually.gradually.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.21-33
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• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.