• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.382-396
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• 2008

The purpose of this study is to analyze the transition of glamour style expressed in modern fashion throughout the history. The glamour style in modern fashion was categorized into five periods which are Hollywood glamour(H), Feminine glamour(F), Rich glamour(R), Decadent glamour(D), and Trash glamour(T). These categories were analyzed and compared in the viewpoint of aesthetic values deduced on the previous study. As a method of analysis, literature study and case study through the publications in aesthetics, history and preceding theses were used. The results of analysis are: Ostentatious luxury was suggested by extravagance of the movie star in H, the splendid American lifestyle in F, conspicuous consumption in R, fin de siecle bad taste in D and self-assured exposure in T. Mysterious idolatry was studied as exaggerated goddesshood of the movie star in H. It was expanded to celebrities including fashion models, television actresses, pop singers and young couture designers in the other periods. Artificial sensuality was originated from the femme fatale image of the courtesan as well as the traditional femininity of Victorian era in H. It was developed through exaggerated hourglass silhouette of the wife dressing in F. But an aggressiveness in R, a hyper-sexual femme fatale in D, an independent and defiant image of the showgirl in T were observed. Playful queerness stood out clearly by the fin de siecle phenomena. Though it was embodied in sexual perversive subculture, it emerged as hi fashion by young designers in the late R and became a crucial aesthetic value throughout D and T. It is more connected with the origins of glamour which arouses sexual ambiguity, crudity, aggressiveness and death. The continuity and discontinuity of the glamour style based on the theory of 'linked solution' were also analyzed.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.170-181
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• 2021

The purpose of this study is to produce the results of the cultural aspects of the Honam region and present the aesthetic specificity of the traditional dances inherited in the Yehyang Honam region. The research method examined the regional characteristics of Honam dance and the form of Lee Mae-bang, Choi Seon, Jang Geum-do, and Cho Gap-nyeo Salpuri dance, and analyzed the authenticity and dance tendencies of Honam dance through the analysis.The work of understanding the background of local culture and creating cultural values through these representative salpuri dances in Honam region is an attempt to reflect on the essential value of the region as an intangible heritage of the region.

• Cross-Cultural Studies
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• v.41
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• pp.275-298
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• 2015

This paper is to examine in detail the relevant aspects of "Nature" and "Elegant Beauty" appearring in Cho, Chi-Hoon's poems and poetics. It uses the same context to explain the reasons and grounds for the inevitable, corresponding closely to his poetry and poetics. It is the core of Cho Chi-Hoon's poetry to determine "natural" new artistic views and his vision of ultra-modernism. This is consistent with the precise feature of "Elegant Beauty" in the midst of aesthetic categories profoundly discusseing his poetics. He regards a "lyric" as a vision of ultra-modernism, to overcome divisions and conflicts of values, "Truth Good Beauty", which was caused by modern science. Furthermore, it includes many social issues in accordance with the differentiation and specialization of each area. It is inferred to have been attempted to produce specifically was found to shape new images of "Nature" in the dimension of his poems, "Elegant Beauty" is overwhelmed with the aesthetic excellence of the other categories in the dimension of his poetics in this context.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.289-298
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• 2024

As digital mobile technology has advanced, vertical videos have emerged as a prominent format in the contemporary media field, presenting a new visual language that challenges traditional horizontal-centric aesthetic norms. This study delves into the visual and structural parallels and distinctions between traditional East Asian Hanging scrolls and contemporary vertical videos by applying traditional spatial composition techniques such as the 'Three Distances', 'One River, Two Banks', 'Intended Blank', and 'Unity of Poetry, Calligraphy, and Painting' to the creation of modern vertical videos. Through this comparative analysis, the research examines how vertical layouts enhance depth and layering of the screen, deepen emotional expression, and offer creators new avenues for expression. By juxtaposing the spatial compositions of traditional East Asian Hanging scrolls with those prevalent in today's digital vertical videos, this study seeks to uncover new visual languages and aesthetic values within the evolving media field.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.758-765
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• 2012

As the 21st century is the post-digital era, a mix of the hard digital and the soft analog realm, the school uniform designs for the post-digital generation need to be changed within this paradigm shift. Thus, this study is conducted with the purpose of developing the school uniform design that reflects aesthetic value and sensitivity of the post-digital generation. The definition and background of the post-digital generation is reviewed and the values of this generation are drawn based on the theoretical research. Also, through the survey of 205 high school girls in Seoul, the purchase, wear & fit, and suggestions for improvement of present school uniforms are investigated. Based on the studies above, the guidelines for designing school uniforms for the post-digital generation are established and the products are developed.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.77-95
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• 1997

The purpose of this is to investigate the relation between Graffiti techniques and the contemporary dress. Graffiti is the internal expression of human potential desires which is composed of informative signs. As Graffiti have become the cross-cultural condition under the Hiphop culture, it makes the meaningless space into the characteristic space, and proposes the identities of graffiti ‘writes’. In the contemporary dress, Graffiti look has become means of communication and playfulness. Through the external forms like icon, index, and symbol, graffiti look expresses individual, social, and political identities, and aesthetic values of satirement and playfulness. It would be define graffiti look as postmodern characteristics, as it wee, which has collapsed between the mainstream, and anti-mainstream, and it contributes to spread streetstyle to catwalk.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.315-333
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• 2000

The purpose of this study is to find out how the aesthetic values and characters of the Avant-garde fashion through semantics analysis of Avant-garde experiments in the early 20th century. Inner expressions of Avant-garde fashion in future dynamism, alien-hostile, and surreal-experimentalism are as followings (1) Reject tradition of existing fashion concept, (2) Dismantle costume material and inter-text characteristics in fashion field, (3) Laugh at material civilization and elite fashion, (4) Pursue primitive and fundamental sensibility on non-civilized world (5) Express human estrangement due to material civilization, (6) Remove the barrier of fashion between luxury and cheap ones, (7) Time, space and purpose is mixed, (8) Open concept as space structure independent of human body, (9) Complicatedness, ambiguity and expression of irregularity as changeableness, (10) Dismantle concept of beauty and ugliness. As you see, fashion design in modern Avan-garde is pursuing newness as beauty of open concept, rejecting all modern tradition and allowing extremity such as experimental, illogic, unreasonable and non-formatted expressions.