• Journal of Science of Art and Design
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• v.8
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• Language and Information
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• v.18 no.2
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• pp.81-102
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• 2014

The purpose of this paper is to provide corpus-based quantitative analyses of HEART and HEAD in order to examine their actual usage status and to consider some cognitive linguistic aspects associated with their use. The two corpora COCA and COHA are used for analysis in this study. The analysis of COCA corpus reveals that the total frequency of HEAD is much higher than that of HEART, and that the figurative use of HEART (60%) is two times higher than its literal use (32%); by contrast, the figurative use of HEAD (41%) is a bit higher than its literal use (38%). Among all four genres, both lexemes occur most frequently in fictions and then in magazines. Over the past two centuries, the use of HEART has been steadily decreasing; by contrast, that the use of HEAD has been steadily increasing. It is assumed that the decreasing use of HEART has partially to do with the decrease in its figurative use and that the increasing use of HEAD is attributable to its diverse meanings, the increase of its lexical use, and the partial increase in its figurative use. The analysis of the collocation of verbs and adjectives preceding HEART and HEAD, as well the modifying and predicating forms of HEART and HEAD also provides some relevant information of the usage of the two lexemes. This paper showcases that the quantitative information helps understanding not only of the actual usage of the two lexemes but also of the cognitive forces working behind it.

• 한국노년학
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• v.36 no.4
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• pp.981-1001
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• 2016

At old age, as people depend on superficial clues when they interpret the overall context of communication, their ability to understand connotative and figurative words and articles could deteriorate. In this study, 50 normal young(junior) people and normal old(senior) people were made to perform a task to understand similes, metaphors, idioms, and proverbs, the sub-areas of figurative language. For the task, participants were made to understand a paragraph consisting of several sentences and select a correct answer representing appropriate figurative language. As a result of the analysis, first, old people showed a lower level of performance than young people in all the sub-areas of figurative language. Second, in understanding idiomatic words and proverbs, old people showed a lower level of performance due to unfamiliarity. Third, for the types of wrong answers, old people mostly understood only the literal meanings in all the sub-areas of figurative language. Due to aging, old people come to have a lowered level of the pragmatic language ability, reasoning ability, and inhibiting ability to efficiently communicate with others considering certain situations and contexts. Thus, old people could have difficulties in understanding inner meanings from others in daily communication.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.723-735
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• 2010

The purpose of this study is to analyze the types of Jumoni (pouches), which takes the most quantity of traditional women's handicrafts in China, and examine figurative characteristics of them through demonstrative study focusing on collections of literature and museums. Traditional Jumoni of China included Dae, Nang, Hapo, Tu, Hap, and Chimeui. Its types included a pleated type, a covered type with a lid, an opened type without a lid, and a type that was stitched up after putting objects in it. The Jumoni had various shapes such as a polygon, a circle, and shapes imitating objects. It was used to store cosmetic utensils, sewing supplies, everyday household utensils, valuables, medicinal ingredients, flavoring materials, and so on. It had various figurative characteristics which were different from those of women's handicrafts in Korea. Based on the findings, it aims to provide basic information for developing Korean traditional accessories that make the best of Korean traditional beauty as well as add modern esthetics have both Korean traditional beauty and modern esthetics.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.73-84
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• 2011

Upholstery style is the form which bulges a shape by putting fillings in the support and covering them with patterned textile or pile fabric. Modern upholstery style was combined with the various socio-cultural products and artistic styles and expressed in interior furniture and costumes of historical time periods. The style first originated when people built houses for settlement and made furniture to decorate its interior. The characteristics of upholstery style came to be prominent in the Renaissance, Baroque and Rococo times with the development of science and textile industry. The interior furniture represented the ages of the Renaissance, Baroque and Rococo and were made with similar images of the architectural style from those different time periods. Textiles, tapestry, velvet, corduroy, damask, brocade, and the most frequently used velvet are elements that make up the structural and figurative features of the architectural style. The upholstery style of furniture also shows the forms of clothing that represents each of the different periods. This style still continues to be used today. In modern day fashion, the figurative characteristics of the upholstery style that derives from interior furniture and clothing from the different time periods are bulkiness, asymmetry and exoticism. Such figurative characteristics have evolved through the combination of diverse genres but it still maintains similar designs and forms.

• Journal of the Korea Convergence Society
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• v.12 no.1
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• pp.225-230
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• 2021

As the quality of our life has improved, residential complexes have become more diverse now. Modern residential complexes function as a place for meeting and communication between families and neighbors, including parks, lakes, and promenades, and exhibiting sculptures in residential spaces has become an important component. This study was conducted for the purpose of researching the design development method for the sculptures displayed in the residential space in accordance with these changes and demands of the era. Through the process of visualizing the figurative arts with metal and stone used as materials, the artist's thoughts and messages were put in the sculpture and the arts were completed as the shape of the sculpture that viewers could sympathize with. This design and formative research shows the possibility that various visual elements for sympathy with the creator's thoughts can be formed in a place with the specificity of living space by using a figurative visualization method. Therefore, further researches on figurative art of sculptures are required.

• The Korean Journal of Applied Statistics
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• v.31 no.2
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• pp.167-188
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• 2018

Minard's figurative map is an infographic on Napoleon's Russian Campaign of 1812. Tufte (The Visual Display of Quantitative Information, Graphics Press, 1983) declared that Napoleon's March "may well be the best statistical graphic ever produced." We can use this data map as storytelling material for data visualization education. In this paper, with Minard's figurative map, we study four themes (infographics, information design, Minard, and the Russian Campaign) in data visualization education.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.414-430
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• 2009

This paper is designed for the purpose of suggesting Figurative data applicable to modern furniture designs through doing research on Haejuban's engraving that includes excellent Figurative beauty among Korean traditional lighted-floor type furnitures. As a result of the analysis, Haejuban's(Traditional Korean dining table) engraving pattern type was mainly divided into independent patterns and combined patterns. The patterns expressed the most among them are peony patterns. The patterns expressed by the engraving mostly showed the Figurative characteristics of symmetry. The patterns shown in Haejuban's engraving wish or stand for richness, long life, lucky, fidelity, divinity, happiness, success and so on. The species of trees used for Haejuban were a total of 8 kinds such as ginkgo trees, zelkova trees, walnut trees, wild-walnut trees, chinaberry trees and other scrub trees. Ginkgo trees were used the most among them.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Sijohaknonchong
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• v.21
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• pp.5-22
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• 2004

If Sijo poetry is referred to a text which is composed of sentences. its textuality can be explored in terms of 1) the figurative words used in each line. 2) the logical sequence between lines. 3) the syntactic composition of each line. With the ancient Sijo poem. 1) it is composed of logical sentences as a result of extremely restraining from using figurative words that could prevent the reader from grasping the logical sequence within the work; 2) there is a clear cohesion between lines that can make each work perfectly coherent; 3) each line has a balanced syntactic structure, so the entire structure of a Sijo poem is '6 phrases in lines'. With the modem Sijo peom. 1) it abounds in figurative words, which prevent the work from having a logical sequence, and sometimes even from having three lines; 2) there is a loose cohesion between lines which can't make each work coherent; 3) it sometimes destroys the syntactic structure, '6 phrases in 3 lines', unique to traditional Sijo poetry. I think that this trend of modern Sijo poetry can cause haphazard the existence of modern Sijo poetry.