• 복식문화연구
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• 제2권2호
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• pp.415-443
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• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• 복식
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• 제65권7호
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• pp.19-31
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• 2015

Futurists put forward creative fashion by combining art and functionality. This led to a new aesthetic approach in how we view modernized industrial cities. Ernesto Thayaht, a futurist, introduced the "Tuta", which was simple and practical clothes. Tuta expressed the imagination and aesthetic values of Futurism. The characteristics of the Tuta were categorized into the following: Form, Colors, Materials, and Details. The results of examining its characteristics as follows: Tuta had a linear and simple planar pattern, which could be made with one cloth. The same modernized urban colors were used for the top and the bottom. Practical Materials, such as cotton and linen were used because they were easy to wash. Tuta excluded unnecessary ornaments, and only included functional details that would allow for comfortable movement. These design characteristics of Tuta revealed functionality, popularity, modernity, and innovativeness of formativeness. Tuta presented a new model of fashion in the early 20th century and completed the modernization of clothes. Tuta reflected the democratic and equal spirit of the era by innovating and overcoming the structure and form of conventional clothing.

• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• 한국실내디자인학회논문집
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• 제22권3호
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• 복식문화연구
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• 제10권4호
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• pp.404-418
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• 2002

The pattern of a dance had changed and made a progress delicately according to the change of the myth, religion, and civilization. One genre which had experienced the change for the dance is a mask dance. This dance started from wishes to adore spirit or god with imitated masks of native animals and desire to identify with nature. After the middle ages, it finally became to approach to the artistic state. In that dance, there was used a role of the head of the family which was strongly adapted to the shape of the mask as performing casts After studying symbolic characteristics of the mask dancing, we could conclude these as fol1ows.: First, Masks symbolized the totemism that adores spirit or god. This kind of whole masks were consistently used. Second, Mask was worn for expressing a dancer's cast well. This function of performing cast was in the primitive ages. However at the age which was characterized as the age of the art, the expression of using a mask became various. Third, Mask was mostly related to the head of the family and appeared with the desire to be others not themselves. Since the middle ages, this tendency continued to the modern dance. Now we can see this type at the carnival. The mask was not only an effective means of dance but also an expression of totemism, performing cast, and the head of the family. Therefore it contributed to the growth of the dance a lot.

• 복식
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• 제55권7호
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• pp.156-170
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• 2005

As contemporary art tends to diverge from its fixed genres and intends to appeal to the public, fashion comes to contribute to the contemporary art area, by playing an important part in the creation of artistic value of art work. Nowadays, it is not unusual to see fashion work shown in an art exhibition parallel with art work, since some artists adopt costumes as the medium of their work in order to explore various means of expression. The occurrence of philosophical, sociological theories concerning human body parallelled with the prevalence of the post-structuralist ideas and occurrence of various styles of artistic expressions of body encouraged active research and attracted social attention to body. With such background, fashion art was formed by a means of the integration of body and fashion in order to create extreme artistic expression. 1 intend to investigate a variety of trends in fashion art from the viewpoint of body space. This study developed criteria for fashion image in contemporary art. Those criteria are based on the dichotomy that divides body into inner aspects and outer aspects. According to the criteria, Firstly, the extension type of body shape includes enlargement and reduction as its sub-types. Secondly, the opening-closure type includes opening type and closure type as its sub-types. Thirdly, the intensity type categorizes clothes into uniqueness and hybridity. Dynamism type classifies fashion art into fixation and moving. The various expressions of clothes type are interpreted as a means by which we can criticize many phenomena of modern society, such as loss of humanity, isolation of individuals, loss of identity, commercialism, and materialism. In the latter period of modern society, the integration of the double-faced nature of body and spirit was attempted and popular fashion was introduced into art in order to express desire, death, gender, identity, and sexual pleasure.

• 한국멀티미디어학회논문지
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• 제16권10호
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• pp.1214-1229
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• 2013

Maintaining our tradition makes us have pride for our nation and plays important role for recognition and establishment of identity for our unique culture in the world. Contrast to the western scientific technique, the scientific technique of Silla Bell absorbed in the life of our nation is the fruit of wisdom science found through rich life and experience by harmony between our nation and nature. Today, ideological backgrounds for many cultural heritages weren't be found and there are many overflowing hypothesis. Silla Bell is the plastic art including cumulative utopia of the racial spirit. So there would be the information of the racial spirit including symbolization, artistry, creativity, and historicity. However, unlikely with the words, it is the profoundly concentrated shape, so the meaning can be diluted or distorted in later generation. The efforts to figure out the symbolization in Korean bells, especially Silla bell according to its exclusive shape, but no hypothesis was accepted as an established theory of academia by gaining extensive agreements. Thus this paper traces the symbolic meaning accumulated in the shape and prepares for the theoretical background accessing to the artistic spirit of forebears who created super-humanity formativeness. Also regarding the Silla bell which is regarded as the best Buddhist metal craft that people believe they can be free from the anguish at the time of listening to its sound, we studied the symbolization of the bell as the religious ritual custom as well as the possibility to utilize the bell as a motif of living art in the aspect of formative expression.

• 복식
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• 제58권1호
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• pp.17-32
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• 2008

This study focuses on the analysis of Baudelaire's aesthetic perspective which has established a theoretical basis on research of the critical reviews' salon exhibitions as written by Baudelaire. Charles Pierre Baudelaire(1821-1867) having lived during the latter part of Neo-classicism and the era of Romanticism and Impressionism, Baudelaire displayed opposition to customary realities such as social ideology or religious authority that suppressed human nature. Also he pioneered a new genre known as art criticism and wrote much that provided important insights on the essential elements of artistic work, modernity and trend, as well as art definition and art categories. The aesthetic perspective and creative spirit were formed by Baudelaire, during his age were also reconfirmed in the successive ages of modernism and postmodernism. As such, this study sheds light on how Baudelaire's aesthetic perspective was not only temporarily assertion but it is consistently applied to modern art and fashion area. What is more important that, Baudelaire admired new artificial beauty that is created by the human soul liberated from natural instincts or desires. Especially, informed by strangeness and distinctiveness, Baudelaire's view of fashion ran along the same vein as his view of art, and these views form the basis of that creative spirit which situated western fashion on a center of the world. In conclusion, the research on Baudelaire's aesthetic perspective will reaffirm a firm awareness of the creative spirit essential to globally-oriented creative artists and designers who work within the circumstance of the 21st century, a time when the paving of new aesthetic paths is necessary. The research also offers a clear understanding of the aesthetic values demanded by this age.

• 한국실내디자인학회논문집
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• 제15권6호
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• pp.19-26
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• 2006

This subject is about the research of Shanghai Art Deco in the aspect of architectural decoration and seek to offers an examination and analysis of the characteristics related to the Art Deco design, which appeared and dominated the field of design from 1910s to 1904s in Shanghai. Study method is a theoretical consideration of reference and gathering data through field trip. In order to carry out this subject, this study will research following factors. First, factors related to Art Deco such as the period of origin, background, spirit, aesthetics, design characteristics. This is followed by the influence of Art Deco movement begun in 1925. Second, the background of Shanghai Art Deco architecture style was studied. Third, the case studies of Shanghai Art Deco Architecture and interior decoration were researched by the expressive factors which were divided by style, form, material and color. As a result early style had compradore style about 1900, later reactionism prevailed of 1920 affected by European Art Deco. Skyscraper style was built and architecture developed with racial characteristics. It has vertical and streamline form of typical Art Deco and strengthen geometrical motive in architectural expression. It appeared naturally and has the contrast of different material in material expression. It has effect on strong color as using highborn and brilliant color in color expression. They appeared chinese national spirit by using 'ot painting' in western oriented furniture. The purpose of such an examination is to classify, understand and validate Shanghai artistic and socio-cultural heritage in order to better appreciate the life philosophy of Shanghai and re-discover their basic roots. Though it began as a Western cultural movement, it is the purpose of this study to discover the inherent orientalism in its basic formative spirit.

• 한국가구학회지
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• 제25권4호
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• pp.268-276
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• 2014

The purpose of this research is to provide new direction on the field of the furniture design and to establish the identity of Korean furniture design as the flow of craft's juxtapose mixture era where it mix and match Korean traditional craft style materials with the modern furniture design. In other words, it is intended to create new furniture design and propose beautiful Korean luxury furniture design based on the precious unique culture with the traditional craft style, juxtaposition of modern furniture, and reinterpretation. It should grant artistic values that can satisfy consumers having various tastes and scarcity values, plus it should put out aesthetic and creative expressions in furniture design putting into the beautiful traditional craft form values. Furthermore, it is required to create new design through values and spirit, materials, techniques, forms, pattern, and usages by interacting, coordinating, and combining tradition and modern East and West, plus craft and design.