• MISULJARYO - National Museum of Korea Art Journal
• /
• 제98권
• /
• pp.78-103
• /
• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• (The)Study of the Eastern Classic
• /
• 제48호
• /
• pp.91-116
• /
• 2012

Writing is a process and work of expressing one's own feelings and thoughts that are not contained in rigid forms; however, the literary trend and environment during the Late Joseon was not so tolerant. A revivalist approach to writing was dominant during this period, which was summarized in the expression that "Prose must be written in the style of Qin and Han; and Poetry in that of High Tang. "Hence, it was practically a taboo to express one's raw emotions and disregard the custom and regulations of writing. Nevertheless, literati, who got tired of the dogmatic rule of Neo-Confucianism at the time that refused to see the changing world and the pseudo-archaic writing that merely imitated the outside and was empty inside, attempted new styles of writing to escape from the model or example and what was familiar. Lee Yong-hyu, who was in the middle of such transformations, learned the trends of Late Ming and Early Qing through the newly imported Chinese books and created his own style that reflected his personality. His writings refused the Neo-Confucian system of thoughts, which was a dominant ideology of the time, paid attention to the human nature and emphasized the restoration of the self. His writing could be described as being anti-pseudo-archaic and criticized the pretentious trend of the time. He argued that in order to restore the true self, one must recover the innocent mind that was bestowed on human by heaven/nature (cheon-li, 天理), and for this purpose, one must straighten out one's mind (sim, 心). His argument is similar to that of "Yangming School of Mind," which could be represented by the phrase, "Mind is the Principle (心卽理)." Yangming School claimed that moral principle existed within one's mind; and this was in stark contrast with the Neo-Confucian idea that "principle (li)"was external and transcendent, and was spoken by the great Confucian masters and written down in Confucian Classics. By denying the externality of the principle and underscoring its immanence, the idea that centralized Confucian Classics and canons was dismantled. Lee Yong-hyu's writing styles that denied the model and emphasized the restoration of the self was influenced by such thoughts. However, one must neither hastily judge that he is an advocate of Yangming School of Mind, nor determine the anti-pseudo-archaic writers' ideological basis as the philosophy of Yangming School. Once it is rigidly defined, be it Zhu Xi's philosophy or Wang Yangming's philosophy, it becomes another model that one must abide by, and again the self disappears. Thus, Lee Yong-hyu defied any kind of model that claimed authenticity or precedence and wished that people would live independently as oneself, and left such claims and wishes in writing. That is the reason, after more than two hundred years later, we still read his writings.

• Fashion & Textile Research Journal
• /
• 제9권5호
• /
• pp.538-544
• /
• 2007

We usually try to accomodate ourselves to our nature surroundings interacting with nature. There fore I've decided to apply nature materials, esp. the pine to Hair Art as a way of expressing our feelings from Nature. 'Hair Art' is a follow-up study based on the various artistic point of view. There has been various works of 'Hair Art' with nature materials. However, it is rare to see a work of 'Hair Art' with the pine. That's why I've decided to study more about this. This study is a new experiment in 'Hair Art' against a conventional idea "Hair Art values practicability." Therefore, the primary goal of this study is to do much for the cause of learning in 'Hair Art' and encourages some development of 'Hair Art' industry. I've researched an image of a pine tree in art of Joseon Dynasty and contemporary art. Then I've tried to apply the image to a work of 'Hair Art'. First of all, in a view of expression technique for the symbolism of the pine, the artists in Joseon Dynasty drew pictures of a pine tree with a paintbrush but the modern artists make a new attempt from the thought of Modernism. We can find it in some photos. Next, to express traditional oriental idea such as 'unconventional and elegance', comtemporary artists chose the symbolism of the pine tree as an object of their works like pen and ink sketches from the thought of Modernism. Third, in a fusion style picture which contains features of both oriental paintings and western paintings and in a sexualism style picture that depicts a harmony of a male and a female as a shape of a pine, we can find colorful images of a pine tree and Their figurative beauty in art. Those are another symbols of the pine. In conclusion, the implication of the pine tree still hasn't changed even there are differences of drawings of pine tree in the past and the present. I've tried to combine these symbolic ideas of the pine with 'Hair Art' and made 5 hair styles. Throughout the process of researching this topic which is 'The Study of Hair Art Using The Symbolism of The Pine', I've realized that pine trees make it possible to express intrinsic tough spirit of human being and abundance in color and figurative beauty in art. I hope this can contribute to the field of 'Hair Art' and would become an important educational resource for further study.

• The Journal of Art Theory & Practice
• /
• 제2호
• /
• pp.7-26
• /
• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• Journal of the Korean Society of Costume
• /
• 제62권1호
• /
• pp.14-28
• /
• 2012

'Beauty(美)' is pursued by many women. It has been expressed through fashion which has become more various as the society became wealthier. This phenomenon can also be found in the Salon Culture of the 17~18th Centuries and in the way that the free-style socialization without specific purposes began by women. Such 'salon culture' fashions have been reproduced in various methods by contemporary fashion designers as they met the trends or as they became the inspiration and source of ideas and were reinterpreted in various styles. Therefore, it is necessary to compare and analyze the studies and expression methods regarding that style's effects on contemporary fashion at a time when the women's salon culture fashion of the 17~18th Centuries is being naturally combined with or restructured to fit in with contemporary fashion. Therefore, the purpose of this study is to analyze, establish the concept of, and summarize the characteristics of the salon fashion style in order to provide fundamental scholarly information and a direction for the fashion design market by establishing a database on the characteristics of both eras based on the characteristics analysis results of the contemporary fashion style and salon culture era. Moreover, this study is also significant in that it will be a helpful tool for new design development to satisfy consumer needs, and in that the comparison analysis on the salon culture and contemporary fashion characteristics can be a useful tool to understand the fashions of both era. The study methods were, first, through a literature review to study the concepts and background of the salon culture. The second method was to setup a style analysis of a period of 4 years and collect visual data from internet fashion information web sites, such as collection books, to collect and analyze the data. Third, the analysis focused mainly on the results of the categorization of images with 20 fashion experts. Fourth, the details of the salon culture fashion style that are used the most in contemporary fashion were summarized and analyzed. Therefore, the results of this study are as follows The development of the socializing culture during the economically abundant era of the 17~18th Centuries became the stepstool for women to enter a new society and at the same time became the background of the development of the salon and related literature. For the characteristics of the salon culture fashion of the 17~18th Centuries, the changes were more significant in the details of the collars, necklines, sleeves, and robes, rather than in partial silhouette changes. It was found that the same fashion repeats in several-century intervals depending on the era changes; however, it has been reinterpreted newly based on consumer preferences and era situations instead of being reused exactly. Therefore, this study will become scholarly and fundamental data to establish the contemporary understanding of the fashion of the salon culture.

• The Journal of Art Theory & Practice
• /
• 제6호
• /
• pp.27-50
• /
• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Journal of the Korean Society of Costume
• /
• 제55권1호
• /
• pp.25-42
• /
• 2005

Costume is a formative art expressed by active human unlike the field of other living formativeness, and an expression of social actions based on a style of culture in a period. Therefore, costume has a deep connection with a mode of living and is recognized as a 'culture for living', and is more characteristic culture than all metaphysical cultures including architecture, craft, painting, and sculpture. Therefore, it expresses wearer's status or social standing, and furthermore, ideas and values of the times with aesthetic features in their form, color, materials, and pattern, so it is expressed as a mirror reflecting the phases of the times as. Korean costume had been dressed until the period of the Joseon Dynasty without a great change and started to be simplified in a simple style on the grounds of inconvenience in behaviors with the opening of an interchange of Western culture in the civilized period. And, this movement had been continued and Korean costume had been applied as an everyday dress under the name of 'Reformed Korean Costume'. Since the middle phase of 1980s, it aroused many people's interests with the introduction of designs focused on activity and convenience. In 1990's, many people had taken a growing interest in Korean costume with development of various designs keeping pace with the internationalization period and Korean Costume had been revitalized under the name of 'The Modernized Korean Costume'. And, since the 21st century, the advanced communication and full-scaled import of Western fashion have made the introduction of many fashion information in the world into Korea, affected greatly the fashion market, led consumers' sensitivity on a trend to be increased. Therefore, a design accepting a trend 'The Modernized Korean Costume' with fashions has risen. Second, this study is an attempt to suggest a revitalization method of domestic casual Korean costume brands by developing and suggesting competitive and highly value-added products with connection of practicality, variety, and highly sensitive fashion styles. For theoretical study, domestic and foreign literatures, academic journals, professional monthly magazines, and newspapers were examined. And, a process of change and features of the Korean fashion since the civilization period, and concept, features and images of casual Korean costume were analyzed, On the basis of analyzing image, features, and consumers' preference of the modernized Korean costume, a design development plan was established and 10 suits of costume were designed and made.

• (The)Study of the Eastern Classic
• /
• 제62호
• /
• pp.263-289
• /
• 2016

Confucius, whose life coincided with the Warring States period of China, is one of the most respected sages in world history whose teachings and life produced countless disciples in China, Korea, and Japan. There are innumerable pictures, sculptures, and other artworks that portray memorable deeds of Confucius and interesting anecdotes that involve his pupils. One of the most popular subjects for these Confucian portrayals is the anecdote in which Confucius and his pupil, Zhi Ru, discover a tilting vessel at an ancestral shrine in the Lu dynasty and use it to understand the doctrine of the mean. The vessel becomes the basis for the famous Chinese expression, "the cautionary vessel beside one's seat," which is nowadays used to denote one's motto for life. Portraits of these tilting vessels can be divided between those showing the vessels only and others that show Confucius observing the vessels. The former serve as visual reminders, for rulers and policy makers, of the doctrine of the mean that is necessary to fair and righteous governance. The latter form part of the pictorial biography of Confucius with educational content and messages. Interestingly, portraits of Confucius observing or studying tilting vessels have been famous among members of the royal court and the literati, circulated either as single artworks or included in the folding screens of human portraits. Portrayals of other Confucian anecdotes are mostly found in albums that visualize the genealogy of the Way; in contrast, the portraits of Confucius and the tilting vessels were included in folding screens that were popular among the literati that enjoyed stylish works of art and antiques. The portraits of tilting vessels thus highlight the diverse functions and symbolic value of human portraits. This study classifies the portraits of tilting vessels into various forms, and analyzes the period-and objective-dependent changes and characteristics in these portraits. With its exploration of the diverse functions and aspects of portraits of Confucian anecdotes, this study will shed new light on how ancient artists reanimated the lives of great sages and how these artworks differ in their expressions and styles.

• Journal of Society of Preventive Korean Medicine
• /
• 제7권1호
• /
• pp.123-132
• /
• 2003

It is considered to be important to create aesthetically beautiful style through the change of external shape, however for the hair stylists, whose beauty expression is through hair, the role of hair doctor is becoming even more important with focus to improve the hair healthiness. Hair clinic is management of hair and scalp. It is the management process of preventing damages, while improving and cultivating healthy and shiny hair. The current concept in hair management is moving from simple hair styling to emphasis at hair management. As far as hair management is concerned, it usually includes treatment tools such as shampoo, conditioner, hair treatment and scalp scaling system, which is used for diagnosis of hair condition in order to treat the scalp. As the interest of hair healthiness becoming more wide spread, so does the breadth of clinic menu. The wide choice is to fulfill the profound desire of people, whose demands are simply to have variety in their choice. This is resulting in faucets of new value-added and differentiated products. The values that make-up the hair styles consist of mainly design (trend, preference), function(styling, management convenience) and clinic(hair quality improvement, damage repair). Shampoo and conditioner have gone beyond their original function of cleansing to providing combinational functions of treatment, to care and remedy, and advanced massage effectiveness. These are, to name a few that seem to go beyond their original function to satisfy the mental healthiness in people, the King Kong shampoo of shampooings in forward-backward manner, 5-minute shampoo massage that applies sports and relaxation massage, scalp acupunctural message and aural(ear) massage. More and more people are complaining about the damaged hair and hair loss problems due to perms, dyeing and bleaching of hair, in addition to natural scalp and hair damaging factors. Such complaints have stimulated many beauty products and various hair treatment systems being introduced with focus to provide nutrition and prevent damages to scalp and hair. As the living standards improve and the desire of people is to pursue differentiated lives, their demand also increases in hair styling products to fulfill the needs of healthy and aesthetical aspects of their lives.

• The Journal of the Korea Contents Association
• /
• 제21권4호
• /
• pp.795-814
• /
• 2021

With the development of science and technology in recent years, various types of unstructured buildings have begun to be implemented by combining traditional architectural styles with digital tools, which are significantly different from conventional formal buildings. Designers will use various methods or digital tools to complete the unstructured and freer architectural forms when building an unstructured building. Based on this background, the need for research on the criteria for evaluating the characteristics of unstructured architectural forms is raised. First, the text was reconstructed by considering and integrating the elements of the unstructured exterior form based on prior research, with the external form of the unstructured building as the main research object. Second, the purpose of this study was to classify various types of unstructured forms and to provide important basic data for designing digital processes of unstructured architectural forms.Third, from 2000 to 2020, the text focused on the study of unstructured buildings and conducted in-depth analysis of the characteristics of their form expressions. While providing a case basis for the study of related fields, distribution laws and presence values related to the characteristics of unstructured buildings were sought. In addition, the analysis was conducted in combination with the distribution of functional use of buildings, and this study is differentiated from the existing research in that the atypical form is applied to the buildings by use, and the application trend of this type is understood to enhance understanding of the atypical form of buildings.