• Title/Summary/Keyword: Personality Structure

Search Result 123, Processing Time 0.02 seconds

A study on naturalism style of fashion-concentrating on the 1990s- (복식의 자연주의 양식에 관한 연구-90년대 현대 복식을 중심으로-)

  • 이경아;전혜정
    • Journal of the Korean Society of Costume
    • /
    • v.37
    • /
    • pp.253-273
    • /
    • 1998
  • The culture reflects the ideology of a particular period in time and such values change according to the needs and requests of that time which eventually becomes an important factorin forming the exterior. The clothing is part of a way that composes and expresses the inherent substance of society and culture. Also, the clothing itself manifests the artistic values and behavior of mankind as an external structure maintaining its place as a big part in culture. The purpose of this study are to elucidat the concept of naturalism, which is discussed in many facets in the modern era; I studied the concept as well as the history of naturalism in order to manifest the meaning of clothing in the context of culture and I explained the concept in terms of the modern era. On such ground, I explained the naturalism expressed through clothing and characterized the exter-nal form of clothing. Also, in order to know the stream of naturalism in the modern context, I referred to the Vogue magazine of the 90s, using Delong's ABC method. Naturalism, in the context of modern fashion is a way to express the nostalgia of nature's vi-ability and purity of ecology apart from the artificial and structural appearance that resulted form scientific enhancement and hence, the ecological crisis. Naturalism pursues the soft- ness and comfort of the natural silhouette, color and material of the human body and it can be said that naturalism emphasizes the mix-ture of three substances : human, nature and clothing. The naturalism can be characterized by the factors expressed in clothing as follows. First, the naturalism shown in the form it-self draws the beauty of the bodyline without any reduction nor exaggeration. Without any distorttion of the human bodyline it shown the curve as one moves along, using the soft material. Second, the naturalism shown in color most-ly uses the natural tone with added white color and other color low in intensity and value like the receded colors of the earth that could be compared to the beauty of ecru. Third, the naturalism shown in the material is thin, light and soft in texture. In order to bring out the most natural curve of the human body, the natural fiber becomes the main material, sometimes, using crude materials. Due to the lindustrial improvement, softness and elasticity is added to the natural fibers giving them an important role as materials. Fourth, the naturalism shown in textile depicts the real natural objects in life. According to my study, the personality of naturalism in modern clothing was shown to be most strong in material and then in the order of form, texture and textile. The material com-posed of the natural silhouette and natural fibers were used to make soft color. In form, Paul Poiret made appearance expressing the natural beauty of the human body without the corset ; it continued with the inner lining making the clothing hard but in the 90s, lining-less, extremely exposed clothes and knit wear is used to emphasize the natural beauty of the body. In color and textile, the tendency spok-en above is not as strong but in color, instead of high intensity or value, the usage of neutral colors with added white color or ecru color, ear-th tone is increasing. In textile, the usage of flowers as natural material is seen frequently. As a whole, naturalistic trend in the 90s is increasing and the modern fashion is breaking out from the artificial and architectural form and conforming to a form that can realize the natural beauty of the human body. And the natural color and textile that conforms to such ideas are being used to pursue the human oriented trend that has appeared due to the increase in usage of soft natural fiber. Nowadays, the idea of returning to nature, defying the artificiality, desiring the leisure and psychological abundance that can be explained as naturalistic way of thinking is necessitated in this modern era as long as humans coexist with nature, this tendency will continue in clothing.

  • PDF

The Study of the Use of 'Korean Traditional Paper' as An Object in Korean Ink Painting (한국화의 '한지(韓紙)' 오브제 사용에 대한 연구)

  • Oh Se-Kwon
    • Journal of Science of Art and Design
    • /
    • v.8
    • /
    • pp.161-184
    • /
    • 2005
  • Traditionally, Korean ink painting used paper as a background medium. This tradition has sought a new attempt to meet today's demands while its expressive techniques and mediums become more diverse. The attempt of Korean ink painting to explore new mediums could change both its structure and style when considering the significance of the medium in the work. These new attempts have encouraged a further study of 'Korean Traditional Paper'. Today, 'Korean Traditional Paper' is considered to be an object itself rather than just being a background. In other words, there is no implication of a separation between the medium 'Korean Traditional Paper' and the work. Instead, the medium itself becomes the work. Therefore, 'Korean Traditional Paper' is not only a 'background' that contains the artist's desire to express, but at the same time also an 'object'. This study focuses on the attributes of 'Korean Traditional Paper' as an object, examines how this is visually applied in contemporary Korean ink painting in the relation to 'Korean Beauty', and reviews the work of some artists that use Korean Traditional Paper. The use of Korean Traditional Paper as an object first began with the experimental techniques of Lee , Eung-Noh and Kwon, Young-Woo in the 1960s, Then it seemed to stop for a while in the 1970s and 1980s until there was a renewed interest in the material personality of Korean Traditional Paper with the birth of the 'Korean Traditional Paper Artists Association' in the 1990s. This interest increased and Korean Traditional Paper was earnestly adopted by artists like Yim, Hyo Lee, Ki-Sook Won, Moon-Ja and Choi, Moo-Young, who used the paper in Broussonetia, the previous fibered state of rice paper. Here, the expression of the object through the characteristics of Korean Traditional Paper is a visual experiment to discover Korea's traditional art mediums that were forgotten once, focusing on the manifestation of Korean Beauty through Korean Traditional Paper. In this respect, this attempt has a valuable meaning in its use with a contemporary visual sense , based on the Korean sense of beauty.

  • PDF

A Study on the Sanctuary of the Residence in East China Sea Skirts Area (동중국해권 민가의 성역(聖域)에 관한 연구)

  • Youn, Lily;Onomichi, Kenji
    • Korean Journal of Heritage: History & Science
    • /
    • v.43 no.2
    • /
    • pp.60-81
    • /
    • 2010
  • Jeju Island, in Korea, shows many characteristics that are differentiated from the rest of Korea. Its culture is rooted in mythology which advocates a egalitarian, rather than hierarchical, social structure, the place of women in the home is relatively high, and the formation of buildings, the separation of cooking and heating facilities, and the living format of residential homes is dissimilar. These disparities in culture indicate that Jeju Island's heritage was not formed only from influences from the North, but also from other places as well. To fill in the blanks, residential homes in Jeju Island were compared with those scattered throughout the East China Sea, which connect the southern coastline of the Korean peninsula and Jeju Island. The regions encompassed by the East China Sea, sharing the Kuroshio current and a seasonal wind, can be considered as one cultural region integrating cultural aspects from the continental North and the oceanbound South. The unique characteristics of southern culture as seen in southern residences was examined through an investigation of the sacred places in which gods were considered to dwell. First, the myths of these areas usually concerned with the ocean, and a sterile environment made sustenance impossible without a dual livelihood, usually taking on the forms of half-farming and half-fishing, or half-farming, half-gardening. Although family compositions were strongly matricentric or collateral thanks to southern influence, a patriarchical system like those found in the North were present in the upper classes and in the cities. Therefore, residential spaces were not divided based on age or gender, as in hierarchical societies, but according to family and function. Second, these areas had local belief systems based on animism and ancestor worship, and household deities were closely related to women, agriculture and fire. The deities of the kitchen, the granary and the toilet were mostly female, and the role of priest was often filled by a woman. After Buddhism and Confucianism were introduced from mainland Korea, China and Japan, the sacred areas of the household took on a dual form, integrating the female-focused local rites with male-centered Buddhist and Confucian rites. Third, in accordance with worship of a kitchen deity, a granary deity, and a toilet deity led to these areas of the home being separated into disparate buildings. Eventually, these areas became absorbed into the home as architectural technology was further developed and lifestyles were changed. There was also integration of northern and southern cultures, with rites concerning granary and toilet deities coming from China, and the personality of the kitchen deity being related to the southern sea. In addition, the use of stone in separate kitchens, granaries, and toilets is a distinguishing characteristic of the East China Sea. This research is a part of the results gained from a project funded by the Korea Research Foundation in 2006.