• 한국의류학회지
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• 제16권1호
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• pp.123-136
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• 1992

The art which has been beginning and existing with the origin of human civilization had originated from human's play impulse, so called instincts incidentally and inevitably. The highly developed material civilization resulted in human alienations, and by turn to the primitive in order to overcome human alienationsalso they obtained creative inspiration from this activity and, in the result, created various animated arts. In this respect, the purpose of the study is to identify the primitivism in Lacroix fashion and the relationship between the modern art and in his design regarding the external plasticity and internal symbolism. For this purpose, 1 analyze the factors of primitivism in Lacroix fashion, and demonstrates the affinity between the primitivism, which is represented in his dress and the modern painting through the comparision and analysis of works, and dresses of Lacroix. Finally, Ican find out the guie close analogy of primitivism between the modern painting and the Lacroix's dress. That is, even the Lacroix fashion and modern painting are in different genre, they pursued the same way in the same category of art, we have a reperception of that fashion can be positioned in line with the art, as its one genre.

• 한국의상디자인학회지
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• 제8권3호
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• pp.73-85
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• 2006

The purpose of this study is to consider the characteristics of beauty culture in the latter period of Chosun Dynasty from the viewpoint of public morals and find out how characteristic beauty culture was developed along with traditional culture. Therefore, the clothes, the make-up, the style of beard and hair were examined and the beauty culture of women in the latter period Chosun Dynasty was considered. The changes of the beauty culture on the genre painting and the characteristics of the latter period Chosun Dynasty were analyzed. Conclusions are as follows ;First, in case of woman dress, the Korean Jergori was short and the Chima was too long. Due to the diversification of wearing, the underpants play as a decorations. Second, the hair which focus on the cleanness and the sanitation and the skin maintenance method were important. The make-up focus on make-up with powder which emphasis on the slim and round eyebrow, the small and thick lips for the beauty look of the latter period Chosun Dynasty. Third, a unmarried woman did the braids('Taun Muri') and a feme covert did 'Unseen Muri'. As people cling to the big and head of hairs gradually, the chignon('Terae Muri') was in fashion. The beauty culture in the latter period of Chosun Dynasty clothes and cosmetic treatment style were generalized through nobility, common people, lowly people. The imitation mentality which follow after Gisaeng style that led the fashion of that period was shown up. With understanding the beauty culture of the latter period of Chosun Dynasty, the study on the traditional beauty culture should be revitalized. This study help to uplift the pride on Korea traditional culture and to promote the globalization of Korean culture.

• 가족자원경영과 정책
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• 제11권3호
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• pp.1-21
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• 2007

The purpose of this study is to investigate the gender division of housework in the Choson period. The gender division in the Choson period has been considered as discriminative because women had to remain indoors and were excluded in social works. But in fact the Confucian idea, which regulated the relation between women and men, emphasized the gender difference and not gender discrimination. Actually it can be seen in genre painting of Choson period that women and men worked complimentarily indoors. So this article intends to explore the possibilities of the new analysis of the traditional gender division of housework by reviewing the paintings. As the results indicate, men in the Choson period were involved in some housework, in contrast to the common idea that they maintained their authority by not participating housework. There is also some evidence that gender division benefited women to protect their own productive territory or to satisfy their needs. So it is suggested that gender division in the Choson period should be considered as a source of power as well as a disadvantage to women. Forth, the employed mens' reemployment decision was affected from their household income, expected income after retirement, pension ownership, and attitude toward retirement. From the findings, it can be concluded that the employed mens' age, economic status, and attitude toward retirement played a important role in the process of retirement and reemployment decision making.

• 복식
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• 제50권2호
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• pp.125-140
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• 2000

The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.

• 한국멀티미디어학회논문지
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• 제25권10호
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• pp.1524-1534
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• 2022

This study proposes the classification model of Minhwa genre based on object detection of deep learning. To detect unique Korean traditional objects in Minhwa, we construct custom datasets by labeling images using object keywords in Minhwa DB. We train YOLOv5 models with custom datasets, and classify images using predicted object labels result, the output of model training. The algorithm consists of two classification steps: 1) according to the painting technique and 2) genre of Minhwa. Through classifying paintings using this algorithm on the Internet, it is expected that the correct information of Minhwa can be built and provided to users forward.

• 한국환경복원기술학회지
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• 제11권6호
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• pp.11-25
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• 2008

In broad agreement on the need for forests in the city, researches on the urban forest are being actively carried out. Nonetheless, since these researches focus on functional usage within living spaces, finding methods for creation of urban forests and technical solutions have remained chief issues as a consequence. This paper, which attempts to historically examine the properties of the urban forest within living space, has the characteristics of researching basic angles for approaching the creation of contemporary urban forests. For this purpose Joseon Dynasty genre paintings, which represent living conditions of Joseon era, have been decided as theme of the paper. Particularly the focus was limited to genre paintings depicting trees, giving phenomenal observations. As a result, some remarkable characteristics emerged as functional urban forest, symbolic urban forest, topological urban forest, and appreciative urban forest. Urban forest within living space mainly appear as functional, showing an even distribution in small numbers rather than gathering in large groups. The following can be inferred regarding this and related to the setting up of the scope of, and creating of, contemporary urban forest : First, from the viewpoint of urban forest creation there is a need to study more subdivided and refined types of the urban forest and to actually realize these types. Second, from the viewpoint of urban forest usage, one needs to approach existing forests, ranging from small-scale including invididual trees, to mid-, large-, and super scale, as urban forests. In this, a network of major trees, and thereby a matrix of all trees formed by that network, will be formed. Third, from the viewpoint of urban forest improvement, approaches need to be based on planting trees in even distribution across the whole city.

• 미술이론과 현장
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• 제8호
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• 복식
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• 제65권6호
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• pp.15-24
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• 2015

Dahoe is a traditional Korean term for cords and Dongdahoe for round cords. The main purpose of this study is to analyze the structure of a semi-automatic loom depicted in the paintings of Jun Geun Kim, and verify whether it actually worked or not. Jun Geun Kim is a genre painter of the late Joseon Dynasty. His nom de plume is Gisan and he drew genre paintings for foreigners who visited Korea in the late 19th century. These paintings are important in understanding the lifestyle and custom of the times. His paintings at the Staatliche Museen zu Berlin in Germany and the British Museum in England both depict a semi automatic loom that operates two looms at the same time. This is a unique loom that is not found in any other country and currently no artifacts of such loom exist in Korea. The study went through the following steps: We first analyzed the structure and the operating mechanism of the loom in the painting. The structure of each parts and their roles were also analyzed. Then a loom that was similar in structure and size was made to check if it was operational. The loom depicted in the paintings had some problems, and adjustments to fix the said problems were made accordingly. Wood was primarily used to make the $80{\times}90cm$ loom. The loom was used to make Dahoe and the study confirmed that there were no differences between the handmade Dongdahoe and the Dongdahoe made with the semi automatic loom.

• 한국식생활문화학회지
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• 제18권6호
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• pp.536-543
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• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

• 조형예술학연구
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• 제5권
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• pp.159-174
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• 2003

'Fantasy', the central notion of this essay, is discussed here more as a new paradigm in order to describe the structure of a work of art than as a stylistic characteristic proper to a specific genre of art. It means the whole situation and experience produced by two connected terms 'corporeal subject - screen'. Roland Barthes explained the 'semiographic painting' by Andre Masson as a field in which happens a certain connexion between the impulse of subject and the image, which views the painting not as a physical object but as a 'cinematic screen' ; painting may be redefined as a dream or a fantasy of the corporeal subject. And such an idea of 'art as fantasy' is closely related to the recent theoretical attempts consisting in abolishing the vision-centered conception of art since Renaissance. In this essay, the notion of fantasy as an aesthetic model is sketched by means of the Freud's notes on the fantasy 'A child is being beaten' and Lyotard's more advanced analyse on its attributes and operations. In Lyotard's analysis, fantasy is defined as a 'bloc' or a 'matrix-figure' featuring simultaneous conversion between the active and the passive, sadism and masochism, and coexistence of imcompossible meanings. In this sense, fantasy may be given to us as an analogical model from which we can outline the aesthetic characteristics of electronic media art involving virtual reality and interactivity.