• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."

• The Journal of Art Theory & Practice
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• no.7
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.186-196
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• 2018

Sports has become one way to improve our own health and to enjoy life by changing the lifestyle of modern-day people. Sports athletes not only give pleasure to the public, but also play a role in elevating a nation's reputation through sports. Tennis is popular with the public, and women players receive tennis wear from various sports companies to promote the designs to the public. This study considers the design-related characteristics of women's tennis wear through content analysis of design elements from the tennis wear in four major tournaments over the most recent five years. This is important in order to provide basic data on design directions for tennis wear in the future. The results of this study are as follows. First, the silhouette plays a role in enhancing activity by considering the physical movement of tennis players who are very active. Second, color emphasizes the rules and clarity of traditional tennis tournaments, and reflects a diversified trend in tennis wear by considering smooth game play by players and combining popular colors in the year. Third, patterns and decorations on material are used as a means to emphasize the esthetics of tennis wear, and tape plays an auxiliary role in emphasizing the physical beauty of women or preventing physical movement causing injury. In addition, sponsor logos are generally located at the center of the chest of tennis wear tops by mixing letters and images. This can be interpreted as a part of the marketing strategy to enhance clarity of the sponsor's brand.

• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.101-116
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• 2024

As the spread of smartphones has become more common and the utilization rate has increased, the mobile shopping market is also growing and expectations for related industries are also increasing. Mobile shopping apps are converging with various industries such as fashion, beauty, and lifestyle, and competition among companies to increase the number of users is intensifying with the activation of non-face-to-face. Accordingly, in this study, a study on the perceived value and intention to use mobile shopping apps was conducted based on a VAM. In order to test the hypothesis of this study, a questionnaire was conducted on 266 people who had used a mobile shopping app and it was used for analysis. Looking at the results, it was confirmed that both usefulness and enjoyment among the perceived benefit of mobile shopping apps have a positive (+) effect on the perceived value. However, it was found that the technicality and perceived risk among the perceived sacrifices of mobile shopping apps did not significantly affect the perceived value. Finally, it was confirmed that the perceived value of the mobile shopping app had a positive (+) effect on the intention to use. Through this study, we would like to examine the factors that can affect perceived value and usage intention in the mobile shopping app industry, which is increasingly competitive among companies along with the rapid growth of mobile technology and market, and suggest practical implications for related companies and officials to establish efficient strategies to further increase mobile shopping app users.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• 대한공업교육학회지
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• v.38 no.1
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• pp.259-274
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• 2013

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture? In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made u sing a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.4-23
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• 2021

The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.