• Journal of Fashion Business
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• v.10 no.3
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• pp.54-68
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• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• Journal of the Korea Convergence Society
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• v.11 no.8
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• pp.123-129
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• 2020

Since the artist considers the space to display the work, the artist evaluates the exhibition space after using the exhibition space. Since this can be different depending on age, career, and genre, this study analyzed the difference in exhibition hall satisfaction according to the characteristics of artists using Marketing Mix 7P. The results of the study are summarized as follows. First, the product satisfaction of 20's and oriental painting artists was high. Second, the environment satisfaction of oriental artists with 5-10 years of experience and 40 years of age was high. Third, the promotion satisfaction of more than 21 years of career and 50's was high. Fourth, the exhibition manager satisfaction of with 20's and oriental painting artists was high. the process satisfaction of 5-10 years of experience and 40 years of age and other was high.

• Journal of Korea Multimedia Society
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• v.24 no.5
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• pp.736-743
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• 2021

Due to COVID-19, the non-face-to-face content market is growing rapidly. However, most of the non-face-to-face content such as webtoons and web novels are produced based on the traditional culture of other countries, not Korean traditional culture. The biggest cause of this situation is the lack of reference materials for creating based on Korean traditional culture. Therefore, the need for materials on traditional Korean culture that can be used for content creation is emerging. In this paper, we propose a generation model of source data based on traditional folk paintings through the fusion of traditional Korean folk paintings and AI technology. The proposed model secures basic data based on folk tales, analyzes the style and characteristics of folk tales, and converts historical backgrounds and various stories related to folk tales into data. In addition, using the built data, various new stories are created based on AI technology. The proposed model is highly utilized in that it provides a foundation for new creation based on Korean traditional folk painting and AI technology.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.713-725
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• 2007

This treatise is designed to discover the principle of timeless continuity of Korean design from the perspective of modem accomodation of formative beauty of tractional dress style with the focus on measurement analysis of dress from visual perspective. For this purpose in this research the following subjects are studied with concentration: the 1st phase debate on the dress style appearing in the Kokuryo murals and genre painting during the later period of Chosun Dynasty regarding the formative beauty of dress style. 2nd phase debate on the points of changes and transformations during given age and given principle of Korean designs being maintained across the span of time in the context of madern accomodation of such traditional dress. From historical perspective characteristics of each given age and principles of visual formative principles appear in various ways variety attributable to mutually interactive principles according to historical background and culture. For this reason it can be said that they are determined by different paradigm or forms from characteristics of Korean style design in the present and future and those for traditional forms of dress in the past.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.918-927
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• 2012

This study identified the aesthetic characteristics of the face description in late Joseon Dynasty beauty paintings. A total of 24 beauty paintings were selected as representative of the late Joseon Dynasty genre of painting works. The paintings were analyzed by the shape, color, and physiognomy of beauty trends from the components of women's faces expressed in the works of artists. The results of this study showed that the shape of the face components expressed a round, curved and thin line. Colors were expressed through Obang-sack (a traditional Korean color). Also the physiognomy of the late Joseon Dynasty's women was soft, wise, economical and brilliant. A round-forehead meant that economical and virtuous housekeeper, thin crescent shaped eyebrows denoted women of wisdom and excellent sensitivity. Single long thin eyelids and implied a women of longevity. A round curved nose were eager tobe a wise mother and a good wife. Small concave lips were desired eagerly by gentle and intelligent women. A curve face implied a subjective women of insight and good memory. In conclusion, the late Joseon Dynasty beauty paintings expressed a traditional Korean beauty face and a modern baby face. The data are useful for the aesthetic standards of modern through meaning of Korean traditional beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.865-879
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• 1997

Journal of the Korean Society of Clothing and Textiles Vol. 21, Nt. 5 (1997) p. 865∼879 The purpose of the study is to identify a historical change about the women's underwear and trousers this nation of ours until an ancient times to modern ages. Because the record of the women's trousers exist scarcely anything, the study refers to several documents, for example, the literatures of the Chinese and the Chosun Dynasty, the Koryu's fresco, the Tou of Shinra, the painting of the rock face, the archaeological dresses and genre pictures, and The folkways methods through the residents is used to collect and to arrange of an enlightened age and modern times. Originally, the women's trousers appeared for the nomadism and the hunting in the northern distric and the northeastern provinces. Male and female, old and young wear the trousers which are the clothes native to Korea. The trousers which are originally narrow trousers are influnced by Chinese wide trousers. The trousers at the time of Samsuk hand down until Korea. The Skirt on the trousers is nothing but a courtesy. But gradually, it is distinguished only the trousers, and then, there are exchanged an underwear which not only the protection angainst the cold but also the beautiful. Therefore, the form of skirt is diminished, and the underwear is simplified as the increasing status and the activity of woman in the age of civilization. In a way, the reform trousers and Three-kingdom era trousers appeared and the Dansogok and Sogok disappeared at present. There are confirmed in my investigation of folk customs.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1061-1073
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• 2009

Present expression methods have close relations with popular culture in the active acceptance of various kinds of genre. Fashion illustration is no longer limited to sketching garments or technically explaining construction, it is accepted as an art that is expressed by the desire and consciousness of the artist. This study examines the expressional characteristics and effects of photo-image appropriation as an expression method in fashion illustration. The word 'appropriation' (to steal something) is used as euphemism and not meant to be derogatory. The methods of appropriation in art indicate that paintings are not inventions but are self-satisfactory creations that show that the idea of originality is false and that paintings should be uninhibited from the greed of the authority of the genius of artists. In postmodern paintings, the photo-image of appropriation are expressed through the methods of re-photography, photo collage, and photo painting. Photo-image appropriation methods in fashion illustration are re-photography, photo collage, image mixing of photography, drawing, and graphic expression of photography. Fashion illustrators are able to develop expression techniques for expanding a field of expression and enhance the ability of communication through the photo-image appropriation methods.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Acta Via Serica
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• v.4 no.2
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• pp.61-77
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• 2019

Following the introduction of Buddhism to China by Xuanzang (玄奘 602-664), the visual tradition of an itinerant monk became a popular subject. This theme developed into a Buddhist figure with an accompanying tiger, especially in Korea where tigers were an object of worship and ritual. This paper examines Korean examples of post-itinerant monk Buddhist figures accompanied by tigers, in particular the portrayal of itinerant monks as arhats and sansins. The supernatural powers of arhats were diverse, and they often tamed the tigers who then accompanied them on their journeys. The arhat, who was introduced during the Unified Silla period and gained popularity during the Goryeo period, was loved by the general public during the Joseon Dynasty as a familiar presence that brought good fortune. Special portraits of monks accompanied by a tiger, known as sansindo (山神圖), form a unique Korean genre. Sansin religious beliefs formed through a fusion of the newly introduced Buddhism and the age-old indigenous worship of sacred mountains and tigers. Most Buddhist temples include a sansin shrine containing on altar with sansin statues and portraits. Tigers in the portraits of itinerant monks and the stories of Buddhist monks who tamed tigers became famous and widely accepted in Korea, a nation already rich in tiger lore. Folklore and indigenous shamanism contributed to the establishment of Buddhism in Korea, and tigers played a central role in this.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.459-473
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• 2019

This study analyzes a new aesthetic value of fashion design utilizing media art technology based on Marshall McLuhan's media theory, vitalize a creative fashion design by applying media art technology into traditional fashion design and discover the possibility of various formative expressions. The result of the analysis under the three criterion extracted through the examination of other art genre such as dance, music, architecture and painting are as follows. First, new concept clothing was designed in the way of combining science and technology with existing costume designs. Second, applying technology based media art images on clothes has been noticeably effected by changes to clothing surfaces. Third, fashion design using technology based media art stimulates the five senses and creates new communication structures. In conclusion, this study reveals that fashion design utilizing technology based media art, an innovative medium for future fashion development in digital society, has expanded the boundaries of fashion design beyond limits and contributed to diversity in creative fashion design.