• Journal of the Korean Society of Costume
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• v.49
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• pp.5-24
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• 1999

The results from the consideration of this are as follows. 1. Various kindes of entertainments were beganed by common peoples of old china. 2. From the Han dynasty Various kindes of entertainments are devided into the classic dance and music which was performed courtesy ceremonial meetings of ancient china. 3. Traditional drama dance and musics performed art by artist of old china was called collectively "Various kindes of Entertainments(百戱)" 4. After unification of Han dynasty many commercial men and artist come from western to China therefore western music dance and drama acrobatic magic flowered into the old china so "Various kindes of Entertainments(百戱)" items was abundant. "Various kindes of Entertainments(百戱)" items as follows: 1) dramas 2) horsemanships. 3) acrobatics 4) magics 5) masked dramas. 5. "Various kinds of Entertainments" artist's costumes as follows: 1)For mens: *Old-china's "Various kindes of Entertainments" artist's costumes of Han-dynasty was Chin hyun-Kwan(진현관) right handed neck collor long coat narrow trousers belt just simmillar is official's dress of Han dynasty. *Various kindes of Entertainments(百戱)" artist's costumes of Westerner's dress is high top hats, lace trimminged round-necklong coat trimminged belt narrow trousers. *Another weaterner's dress is long striped patterned knee-lengh coat narrow trousers *opened top body and wearing narrow pantaloon short skirt short trousers. 2) For females: (1) Hair style is high top hair style twin high top hair style birds hair decorated high top hair style ribbon dressed high top hair style (2) Dress is knee-lengh one-piece west0-lengh jaket and knee-lengh skirt one-piece and short trousers scarf hart sleeved jaket narrow pantallons. "Various kindes of Entertainments(百戱)" artist's costumes influenced from royal families costumes to common peoples costumes without concern of that one's social positionon peoples costumes without concern of that one's social position.

• Journal of the Korean Society of Costume
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• v.50
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• Journal of Korea Planning Association
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• v.54 no.1
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• pp.108-117
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• 2019

The purpose of this study is to investigate whether the plan reflecting the place in cultural regeneration was implemented and whether it was a change of place in culture through culture analyze. Mullae-dong has changed its urban structure into a textile factory, a manufacturing industry, an ironworks+artistic complex, and the Mullae art factory has been organizing a festival that has been created by artists and residents alike in the Mullae creative village. However, prior to the creation of the Mullae art factory in the social element, self-sustaining programs of Mullae creative villages were derived, but now commercial space is mainly derived. Therefore, it is necessary to plan for coexistence of ironworks, cultural space and commercial space rather than expanding into commercial space. Geumcheon-gu Geumcheon-gu Geumcheon Art Factory has become an integrated complex where various industries coexist in industrial complex. Geumcheon Art Factory also holds an artist support program every year and actively works as an international creative exchange center in Seoul. However, programs that act as a mediator are not implemented since 2014, and the Open Studio stops once a year. Therefore, Geumcheon-gu needs to expand programs that can include local programs and programs that can be combined with local cultural media.

• The Journal of Art Theory & Practice
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• no.15
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• pp.31-49
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• 2013

This paper delves into the recent 'paintings' of African-American artist David Hammons, which combine rubbish-like plastic wraps with the abstract-expressionist style paintings. In straddling between rubbish and art object, his works tend to blur the boundary drawn between two opposite categories in value, art and garbage, provoking the sophisticated taste of Upper-East-side white community in Manhattan, New York. Choosing the venue of his exhibition at a commercial gallery, Hammons's creative efforts is also a critique of what can be seen as the dominance of abstract expressionism and white elitism in American art history. The artist is known for his use of unconventional materials in art making such as black hair, barbecue bones, and elephant droppings, ones that are often associated with African-American experiences in all different levels. Since his debut in the art scene in the 1970s, Hammons has pursued the view of art-making as a medium for provoking contentious issues of racial relations in the States. On the other hand, the reception of Hammons's work as African-American art can be potentially quite limiting, overlooking as it does multi-faceted meanings of his art practice. His unconventional approach to art often took him outside art galleries and museums, where he was seen using a variety of common materials for site-specific installations and performances. Staged in different parts of Manhattan, these acts of art making traverse seemingly opposite communities and cultures, often blurring their boundaries. Hammons's artistic practice can label him what Abdul Jan Mohamed calls "specular border intellectual", revealing as it does the symbiosis of binary oppositions that is basic to the experience of communnal living.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.5-24
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• 2000

The results from the consideration of this are as follows. 1. Silla Kingdom has been the name of chronolongical era, from king Bubhung 2nd years to Jinduck 4 years. 2. From Dang dynasty has been received to King of Silla, first class-third class of Dang's office and rank. 3. After unification of Silla Kingdom, Dang dynasty's envoy and missionary and many commercial men and artist come froze Dang to Silla, threfore, influenced their costume habbits and behabiers from royal families costumes and common peaples costume, without concern of that one's social position. 4. Ancient Silla Kingdom performed a religious service an emperor's ceremony, but after unification, performed King's level a religious service, therefor King's ceremonial costumes are Dang dynasty's king's level Myunryukwanbok.

• Journal of the Korean Society of Costume
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• v.55 no.5 s.95
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• pp.1-13
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• 2005

The results from the consideration of this are as follows. 1. Kokuryo has been the exchange foreign relationship with the Han dynasty era, from king DaiMuSin 25 years to Bojang 27 years. 2 King of Kokuryo, from The North-Wei-dynasty has been received ceremonial costumes, first-third class of China's official rank. After unification of China, Su, Dang dynasty's envoy and missionary and many commercial men and artist come from China to Kokuryo, therefore, influenced their costume habbits and behabiers from royal families costumes and common peoples costumes, without concern of that one's social position. 3. Kokuryo King's ceremonial costumes are not the same as the China. Kokuryo performed a religious service an emperor's ceremony. And the Kokuryo King's religious mind was the Budism and Daoism. So that mural painting just showing the symbolic of the king's costumes , Myunryukwanbok.

• Journal of the Korean Society of Costume
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• v.47
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• pp.19-32
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• 1999

The results from the consideration of this are as follows. 1. Dan dynasty has been 10-parts dancer and musician group for courtesy ceremonial meetings of ancient china. 2. Except ceremonial dance and music common dance and musics performed it in front of common peaples meetings. 3. After unification of Dang dynasty many commercial men and artist come frome western of China threfore influenced their costume habbits and behabiers from royal families costumes and common peaples costume without concern of that one's social position. 4. As the people who lived in thewest areas of old china there characterestics of the costumes are open breast jacked breast laped long skirt long scarf long boots narrow sleeve jackets patterend textilles(for womens) round neck narrow sleeved one-pies dress belt, long boots. patterend textiles(for mens). 5. Dancer's Costumes mode are as follows: 1) For females : high hair style, Twin 'high hair style. jewrery decorated hat bird's hair decorated cap. ribons. 2) For mens: Bok-doo. Hokongdu 6. Except traditional old china dancer dress they have many interested dancer dress for instance dang dynasty's 'Ye-sang woo yui dnace' dancer dress is very elegant and interested hip level jacket has peacoak wing shaped sleeves and long skirt has try angles shape attached apron this dancer dress begins wi-jin nam·book-dynasty. 7. Men dancer dress is just head cap bok doo long narrow sleeved one-pies dress.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.10
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• pp.559-568
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• 2017

recent times, the monthly rent in the Jongno-gu Historical and Cultural Street in Seoul has rapidly increased, because of the presence of large-scale franchises and the entry of private investment into the traditional and local businesses focusing on Bukchon, Seochon, Insa-dong, and Samcheong-dong. As a result, the business environment for these merchants has worsened, due to the increasing economic burden. In order to maintain the business environment of the merchants, it is necessary to evaluate the potential for establishing a regional commercial area, in order to resolve the problems of the existing commercial areas and to improve the locational, economic, cultural and political environment. This study analyzed the factors influencing the merchants' satisfaction with the business environment as a function of their age, by considering three age groups, viz. 30-49, 50-59, and more than 60, considering the locational, economic, cultural and political environment of the merchants. Among the factors influencing the satisfaction with the business environment, the merchants in their 30s and 40s placed more emphasis on the traffic accessibility, floating population, store premium and monthly rent than the other age groups. Among the factors influencing the satisfaction with the business environment, the merchants in their 50s placed more emphasis on the cultural organization, artist activities, expansion of community support facilities, and banning of franchises in certain locations than the other age groups. Among the factors influencing the satisfaction with the business environment, the merchants over 60 years old placed more emphasis on the walking accessibility, monthly sales, merchant community, preservation of historical and cultural landscape, and commercial protection of the government than the other age groups.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.510-519
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• 2017

Our world is communicating by digital network that transcends time and space. In such world of rich technology, people are longing for humanity and analog esthetic. 'Art' stimulates analog esthetic and 'design' is a good and easy tool to show personal esthetic preferences. This study is about the convergence of digital and analog art focusing on the researcher's artwork series. The series is derived from series. They are made by cut and deconstructed pieces from the original series. I assembled these pieces into another creation by using graphic editing programs. I looked into the succession cases of art and design collaborations and developed various design products with the assembled artwork images. Through this, I want to communicate more familiarly with the world widely connected to network viewers. There are already many fine artists making their artworks into design products. Collaboration with cultural art and commercial product provides win-win effect to artist, company, and consumer. It also creates innovative products and values. In this study, I try to design products from various fields using my artwork images, and research about how to promote the artist and art products effectively to the world.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.