• Journal of Fashion Business
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• v.20 no.2
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• pp.46-58
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• 2016

Architecture and Fashion mutually affects the shape and appearance of the other as an art of space according to the hybrid trends. Therefore, the purpose of this study is to find the correlations between the characteristics of traditional architecture types in Southeast Asia and modern fashion. Firstly, characteristics of the types obtained through the theoretical consideration of Southeast Asian architectural tradition include vertical, symmetrical, geometrical, epeated and continual structure. On the basis of these characteristics analyzed from 2013's S/S to 2015's F/W collection of Alexander McQueen, Gareth Pugh, Victor & Rolf, designers with strong creative and experimental minds who juxtaposed designs of two opposing points as well as hybrids since 2000, the following formativeness exists. First, the vertical structure of high floor is represented as a straight silhouette, a color contrast, vertical cut or wrinkle. Hence, it impresses verticality, rhythm, etc. Second, symmetrical structure of the gable roof is represented as a trapezoidal shape starting from the shoulder line or neck line widened into sleeves, impressing symmetry, dynamism, etc. Third, the geometry of the assembled is represented as vertical and horizontal bands or pattern pieces like puzzle, impressing geometry, three-dimensional, etc. Fourth, repeated structure of the weaving pattern is represented as repetitive patterns of woven fabric or printing techniques. Thus, it impresses repeatability, harmony, etc. And lastly, continuous group structure is represented as a connection of collars or hem-lines, as well as a crossing of fabric that impresses continuity, liquidity, etc.

• Journal of Fashion Business
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• v.24 no.3
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• pp.121-137
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• 2020

This thesis makes it an aim to develop designs of Shinhanbok coats interpreting and applying the formative structure of the lattice window pattern in Huijeongdang of the Changdeokgung palace, one of the best architecture in Chosun dynasty. Literature review about the history and characteristics of the window of Huijeongdang of the Changdeokgung palace was performed on the basis of the internet resources and papers, and the examples of the fashion design applying the lattice window patterns were analyzed. Then, three style Shinhanbok coats were designed and presented with making use of 6 kind of lattice window patterns as its motif. The coats were designed in flexible size, attempting to clad any kind of body size and shapes. Design 1 drawn from Wanjasal, Tisal, Design 2 drawn from Ajasal, Yongjasal, Tisal, design 3 drawn from Bitsal, Jungjasal. In conclusion, lattice window patterns of the traditional beauty highlighted in view of modern times might be suggested as the motif for expressing the proportion with balance and rhythm with stability. The division of the space with the line was tried with the technique of the bias cutting, stitching and taping with the design of simplicity signified in the aesthetics of the vacant space in addition to its ornamental effects. Thus, this study would like to contribute to the popularity of the Shinhanbok outlined in modern application and unique taste through the study and applications of the traditional lattice window pattern of Korea.

• Journal of Ginseng Research
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• v.47 no.4
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• pp.493-505
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• 2023

In recent years, an increasing number of reports have explored the wound healing mechanism of these two traditional Chinese herbal medicines- Panax ginseng and Panax notoginseng, but there is no systematic research on the related core functions and different mechanisms in the treatment of wound healing up to now. Based on network pharmacology and meta-analysis, the present work aimed to comprehensively review the commonality and diversity of P. ginseng and P. notoginseng in wound healing. In this study, a wound healing-related "ingredients-targets" network of two herbs was constructed. Thereafter, meta-analysis of the multiple target lists by Metascape showed that these two medicines significantly regulated blood vessel development, responses to cytokines and growth factors and oxygen levels, cell death, cell proliferation and differentiation, and cell adhesion. To better understand the discrepancy between these two herbs, it was found that common signaling pathways including Rap1, PI3K/AKT, MAPK, HIF-1 and Focal adhesion regulated the functions listed above. In parallel, the different pathways including renin-angiotensin system, RNA transport and circadian rhythm, autophagy, and the different metabolic pathways may also explained the discrepancies in the regulation of the above-mentioned functions, consistent with the Traditional Chinese Medicine theory about the effects of P. ginseng and P. notoginseng.

• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.249-257
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• 2010

In performance art, actors on the stage play an important role. The purpose of performance art is not in producing expression of superficial or trite pleasure, but in presenting a source of philosophical catharsis regarding essence of a human life. It is actors' responsibility to bring such expression onto the stage. Performance art not only involves technical skills but should be a cultural expression to represent tradition, spirituality and identity of a nation. In Korea, performance art tends to follow Western methods of expression. It is desirable to set a future direction to further develop methodology of expression in performance art. As part of such effort, the research examines how the rhythm of traditional Korean dance and dimension of time and space in performance art are effectively visualized in their relation to "stage direction." The research illustrates characteristics and concepts of Korean dances in terms of inhalation in deliberate hypogastric breathing ("danjeon') and rhythms of exhalation (gutgeori, jajinmori, huimori). Also, the research aims to enhance dramatic effect on the stage, which is distinguished from presentation of ordinary actions, by emphasizing dimension of time and space in visualizing expression.

• Journal of the Korean Society of Costume
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• v.14
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.18-32
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• 2005

The purpose of this study is to find out the origin of perpetuity in the fashion design of Soma Delaunay, who was recognized as a unique designer in the 20th century. Her characteristics of fashion design appeared as dynamism in the incline of op-art using geometric pattern designed on the basis of abstract painting, color contrast between strong original colors, and repeated geometric patterns. The modern image can be explained as modernity in modern fashion and is continued in these days. The origins of modernity analyzed as follows. First, Soma Delaunay developed textile design, considering the use of clothing on the basis of scientific idea. Furthermore, she evolved traditional textile design and making process into a practical and rational way through developing new needlework technique. Second, she tried a new style through a straight silhouette in contrast to Art Nouveau style and the test and mixture of different genres. Third, she expressed the simultaneity of Orphism through the parallel structure of various colors. In particular, she used the contrast of strong and clear original colors to express a rhythm of dynamism and give visual interest through color. Finally, Soma Delaunay attempted to approach the public using clothing, furniture, and curtains with the focus on textiles. It may represent her intention to remove a gap between art and life by understanding the public and their life. As examined above, it can be sad that Soma Delaunay's scientific idea with the flow of industrialization, an open attitude not bound by a rule as an artist, an idea of Avant-garde, the comprehension of various colors and the understanding of the public. These factors lie at the bottom of her fashion design.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.215-224
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• 2010

This paper is designed to investigate the attributes of sound and emotion resided in traditional Eastern thought by looking into acoustic theories such as Sunguarakron (聲有哀樂論) in Akgi(樂記), Sungmuaerakron(聲無哀樂論) of Haegang and Akhakgebum(樂學軌範), Chongiron(天機論) in Choson(朝鮮) dynasty. Six types of emotions, namely sadness, pleasure, happiness, anger, respect, and, affection (哀心, 樂心, 喜心, 怒心, 敬心, 愛心) which is related with sounds was closely reviewed through Akgi(樂記). Also attributes of sounds such as loudness, sharpness, pitch, roughness, fluctuation strength and pleasantness was corresponded with plain & complicated(單複), pitch, good & bad(善惡) slow & fast(舒疾), loud & quiet(猛靜) respectively. In addition to this, this paper is narrowed down that the basic ideas about sound and emotions of Choson(朝鮮) confucian scholar was based on theory of music and rhythm on Akgi(樂記). Furthermore, the relationship between expressed sound and emotions which was revealed in Chongiron(天機論) has been examined. Finally, various applied research and studies will be promoted through this study, because this study will provide foundation which supports sounds and emotions of Eastern.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.2
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• pp.55-62
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• 2016

The goal of this study is to recreate the identification of landscape image through the Agricultural Architecture in rural area. Most of them are not kept with houses in traditional village and the other structures in garden area of Korea, because they are located in the isolated field or placed near along the local street, are designed as a very heavily designed building, and are covered by different materials and color against village architecture. I researched cattle barns in both Korea and Germany of what they have had images in a distance-view points of local area, so that I might find a suitable image of Barn Architecture with topography of rural areas. I surveyed rural agricultural buildings with different point of views on landscape structure, architectural form and materials, and conditions animal welfare. There are three results from this paper as follows: First, the placement of animal barn in garden area is isolated to village so that it may keep a clean environment of village, which it makes non appropriate to land using and village view. Second, the architectural form makes a different image to the village building, because it has an oversize against houses in village or has no rhythm and dividing form of simple gable barm. Third, the barn architecture is better to consider of eco-friendly materials with animal welfare concept design, when it starts to design the barn in the field.

• Journal of the Korean Institute of Rural Architecture
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• v.24 no.3
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• pp.31-38
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• 2022

The purpose of this study is to rediscover the gestalt psychological value of the Landscaping structure and architectural landscape in the vulnerable village consulted by experts in 2021 year. For this study, nine villages called of Saethul Maul were surveyed, and two of them were analyzed for landscape composing of gestalt psychology. The two villages, Yulwon and Jeonchon, included the case where the landscaping structure of residence was viewed from outside the village and the case from within the village. Psychological distance of the villages is analyzed by D/H ratio for the scenery seen from lanes. There are three expected conclusions. First, in terms of gestalt psychology, the buildings mean a figure, and the rice field in front of the village, the mountains behind the village, and the lanes represent a landscape structure consisting a background(ground). It captures the unique landscape aesthetics of the vulnerable village. Second, the landscape seen in the village shows various differences in horizontal distance and vertical height of the lane, so even if the psychological distance gives a sense of closure, it gives a sense of rhythm and change. However, considering the psychological distance (D/H ratio) when the roads are expanded for the fire car, the village landscape can be re-formed by safety and function. Third, the architectural landscape of Yulwon village is characterized by the harmonious arrangement of traditional houses, Narack-Doiji (rice barn), and wooden building (agricultural barn) in the background of chestnut tree hill behind the village. It is necessary to reduce the use of industrial materials and restore the valuable architectural landscape of the vulnerable village.