• Title/Summary/Keyword: aesthetic meanings

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Cross-cultural Research on Visual Values of Korean and Japanese Private Girl's High School Uniform -Focused on Private Girl's High School Uniform in Seoul and Tokyo- (한.일 사립 여고생 교복의 조형성에 관한 비교 문화 연구 -서울과 도쿄의 사립 여자 고등학교 교복을 중심으로-)

  • Yun, Su-Jeong;Kwon, Ha-Jin;Kim, Min-Ja
    • Journal of the Korean Society of Costume
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    • v.57 no.7
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    • pp.30-44
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    • 2007
  • The culture includes every possible objective forms created by humans and their shared aspects of ideas, feelings, and behaviors, beliefs and etc. The dress and its ornaments are part of the culture that expresses the relationships in objective ways and in formless immaterial ways. The school uniform represents significant meanings to the students in their school years, and it is the way of expressing their individuality and full filling their needs for self-presentation. Therefore, understanding and analyzing youth culture means understanding students' school uniform along with fast changing twenty first century civilization. Korea and Japan are very close nations to each other. Both Korean and Japanese girls' school uniform style were adopted western clothing style and went through many changes based on cultural differences between two countries. They are affected by different peculiarities between two nations and youth cultures from different cities. Therefore, this research is on analyzing how different visual values of girl's high school uniforms in Seoul and Tokyo and understanding youth cultures through macro-analysis. The youth cultures in Korea and Japan are mostly similar but there is special development on animation in Japan and possibly can find many styles of girl's high school uniform. Both nations are varying to be opened to sexual culture of adolescents but Japan is more uninhibited than Korea. In Japan, sailor-uniform can be found in fetish way in public culture. On one hand, because of most private girl's high schools in Tokyo takes an entrance examination, top-ranking students are very proud of their school uniforms and even students from other public high schools get private high school uniforms to attend school festival. This analysis showed that private girl's high school uniform in Seoul appealed as slim fitted silhouette which is close to modem woman's suit style while in Tokyo appealed as boxy style matched with short pleated skirt or sailor-uniform style. Comparing that to school uniform photos taken on the street, we can find that alikeness or more extreme styles as examples. These are influenced by different youth cultures in Seoul and Tokyo and cultural differences stands for different aesthetic norm being accepted or rejected.

Korean Traditional Children's Clothes in Modern Times (근대 아동한복 연구)

  • Cho, Hyo-Sook;Choi, Eun-Soo
    • Journal of the Korean Home Economics Association
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    • v.45 no.1
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    • pp.63-73
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    • 2007
  • Korean children's clothes have unique aesthetic characteristics distinguished from other countries'. Our folk beliefs handed down from ancient times always contained fortune - seeking thoughts and particularly mothers' earnest wishes for the happiness of their children were sublimated into the symbolic beauty of their children's clothes. The present study examined children's clothes in the royal family and among the people for 50 years of the transitional period from the late Joseon Dynasty to modern times, by classifying them into ritual dress for new-born babies, festival dress and everyday dress. Male children's clothes included caps such as Bokgeon(복건), Hogeon(호건) and Gulle(굴레) topcoats such as Durumagi(두루마기), Sagyusam(사규삼) Koija(쾌자) and Jeonbok(전복) and others such as Magoja(마고자), Baeja(배자), Joggi(조끼) and Bajijeogori(바지저고리), Female children's clothes included caps and head ornaments such as Gulle, Jobawi(조바위) and Daenggi(댕기) and others such as Durumagi, Jegori and Chima(치마). What is interesting is that old clothes handed down to the present are mostly boys' and few of them are girls'. This is probably because of the strong preference for boys rather than girls that continued until the end of the 20th century. Ordinary people dressed their new - born babies with simple white clothes until Samchilil (the 21st day) or Baekil (the 100thday) but, for these occasions, the royal family prepared clothes as formal as those for the $1^{st}$ birthday among the public. Rainbow-striped garments were more popular among the public than in the royal family. As rainbow colors were known to Korean people to dispel evil power and bring in fortunes, rainbow - striped garments were essential for the $1^{st}$ birthday and festive days. However, they were seldom used in ordinarytimes, and most boys and girls wore plain jackets and plain topcoats. When children's clothes in noble families were compared with royal family's ones, either handed down to the present or found in old literature, no significant difference was observed in the basic composition of everyday dress. In particular, it was found that Andong Kim's family had dressed their children with very formal dress such as Dopo and Sagyusam. Among children's clothes, the most gorgeous one was that worn on the $1^{st}$ birthday, and those for other occasions or festive days were similar or simpler. Colors, patterns and designs used in decorating children's clothes mostly had the meanings of seeking fortunes for children such as long life, wealth and prosperity.

A Study on the Construction Characteristics of Dongcheon in the Traditional Space of Landscape Architecture (전통조경공간(傳統造景空間)에서 나타난 동천(洞天)의 조영(造營) 특성(特性))

  • Lee, Hyuk-Jong;Choi, Key-Soo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.28 no.2
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    • pp.9-22
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    • 2010
  • This research is attempted to investigate Dongcheon-rock inscription- to understand symbolic meanings from inscribed texts and to find its construction purpose. For the investigation, 25 target areas were selected for field exploration and literature review regarding Dongcheon were also performed. Several design characteristics of Dongcheon are as follows: First, Dongcheon has four criteria according to creation purpose: residential type(家居地型), hermitage type(隱棲地型), nature excursion type(山水遊覽型), aesthetic scenery type(勝景型), moral training type(修身型) and spiritual discipline type(修道地型). This category shows that Dongcheon is constructed at residential area, shelters, and place for leisure, mortal training and spiritual discipline. Second, Dongcheon is also classified by its location: location on village entrance in a deep forest(深山同口型) and location on near stream(溪流隣接型); location on near stream has also two types(連繫型, 單一領域型): location on an independent territory and location horizontal ground(平地型). Through garden creators' managing their garden in forest, valley and scenic spots, they pursue utopia. Third, naming is a way to create new landscape places. By naming a certain natural landscape as Dongcheon, the landscape is symbolized as utopia, appearing fairyland. Designer's desire and thoughts are saturated in Dongcheon.

A Study on Xieyi (寫意) Ink Orchid Paintings by Sochi Heo Ryun (소치 허련(1808~1893)의 사의(寫意) 묵란화)

  • Kang, Yeong-ju
    • Korean Journal of Heritage: History & Science
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    • v.52 no.1
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    • pp.170-189
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    • 2019
  • Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

Landscape Meanings and Communication Methods Based on the Aesthetics of Ruins in the Poem 'Kyungjusipiyung' written by Seo Geojeong (서거정의 '경주십이영(慶州十二詠)'의 의미와 폐허미학적 소통방식)

  • Rho, Jae-Hyun
    • Journal of the Korean Institute of Landscape Architecture
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    • v.37 no.2
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    • pp.90-103
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    • 2009
  • The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

A Study on the Formation of an Archive Book Based on Its Placeness : Focusing on the Archive Book, "Home of Roh Moo-Hyun" (장소성에 기반한 기록집(記錄集) 구성에 관한 연구 『노무현 대통령의 지붕 낮은 집(2019)』을 중심으로)

  • Kim, Tae-Hyun
    • The Korean Journal of Archival Studies
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    • no.60
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    • pp.123-159
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    • 2019
  • Given that the concept of reproducing landscape is similar to that of recording historical sights, places can become special space where memories are archived through meaningful activities. Therefore, place and landscape are the important concepts for understanding the Home of Roh Moo-hyun. This research was initiated when Roh Moo-hyun Foundation's decided to return the Home of Roh Moo-hyun to the public. A research report was published as the first result of this initiative. Then an archive book was recently published based on the first research report. The research report was about philosophical and aesthetic meanings and contents, the layers of accumulated memories, the records based on the accumulated memories, and the attributes of the place, and the possibility of archiving, whereas the purpose of the archive book is to restore and to curate the original meaning of the Home of Roh Moo hyun through cultural events. There are 'three memories' of layers in the Home of Roh Moo-hyun. The first memory is about 'life and dreams' that President Roh Moo-hyun dreamed about after his retirement to the hometown. The second memory is about 'the loss of time' for 10 years of time after the decrease of the President Roh Moo-hyun. The third memory is 'the memory of citizens', which started with the public opening of the Home of Roh Moo-hyun. 'Low Roof House of President Roh Moo-hyun' is the archive book that comprises the three memories which are accumulated in the home of Roh Moo-hyun and 'record language' full of meanings.

The Meaning of Collective Relationships Becoming by Large-scale Interview Project - Focused on the media exhibition art <70mk> - (대규모 인터뷰 작업이 생성하는 집단적 관계성의 의미 - 미디어전시예술 <70mK>를 중심으로)

  • OH, Se Hyun
    • Trans-
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    • v.7
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    • pp.19-48
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    • 2019
  • This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

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A Study on Heo Gyun's 'Clean(Cheong: 淸)' Kind Style Examined through Style Terminologies in Seongsushihwa(『惺叟詩話』) (『성수시화(惺叟詩話)』 속 풍격(風格) 용어(用語)를 통해 본 허균(許筠)의 '청(淸)'계열(系列) 풍격(風格) 연구(硏究) - 청경(淸勁)'·'청절(淸切)'·'청초(淸楚)'·'청월(淸越)'을 중심으로 -)

  • Yoon, Jaehwan
    • (The)Study of the Eastern Classic
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    • no.63
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    • pp.9-41
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    • 2016
  • This paper focuses on 'clean(cheong: 淸)' kinds of style terminologies among various style terminologies appearing in Heo Gyun's Seongsushihwa("惺?詩話") and tries to analyze the distinctive points which 'clean(cheong: 淸)' kinds of style terminologies include. In Heo Gyun's Seongsushihwa, 11 of 'clean' kinds of style terminologies, such as "cheonggyeong(淸勁), cheonghryang(淸亮), cheongryeo(淸麗), cheongseom(淸贍), cheongso(淸?), cheongweol(淸越), cheongjang(淸壯), cheongjeol(淸絶), cheongjeol(淸切), cheongchang(淸?), cheongcho(淸楚)," were used. This paper focuses and analyzes 'cheonggyeong(淸勁)', 'cheongjeol(淸切)', 'cheongcho(淸楚)', and 'cheongweol(淸越)' that he suggested through applying to real literary pieces. The result of analysis indicates that 'clean' kinds of style terminologies 'cheonggyeong', 'cheongjeol', 'cheongcho', and 'cheongweol' share the same 1st character 'clean(淸)', yet have distinctive qualities by the 2nd characters. These 4 style terminologies all share 'cheong(淸)' image which means clear and clean, yet each one has the attribute of the 2nd character that indicates each one's individual characteristic. It is apparent that 'Cheonggyeong(淸勁)' reflects the 'gyeong(勁)' image meaning upright and solid and implies poems of poets' steadfast spirit within clear boundary; 'cheongjeol(淸切)' reflects the 'jeol(切)' image meaning either desperation and imminence or pitifulness and sorrow and implies poems of poets' urgent and pitiful emotions within clear and clean boundary; 'cheongcho(淸楚)' reflects the 'cho(楚)' image meaning either delicacy and fineness or slenderness and tenderness and implies poems of poets' beautiful but not luxurious, delicate and tender emotions within clear and clean boundary; and 'cheongweol(淸越)' reflects the image of 'weol(越)' meaning unworldliness and excellency and implies poems, within clear and clean boundary, of excellent appearance and mentality surpassing mundane world. Compared with the 1st character's attributes of the style terminologies which Heo Gyun used, the 2nd characters's attributes do not appear that vivid. Especially, in the case that the 2nd characters have similar meanings, it is not easy to clarify the categories. Indeed, in order to grasp clear and distinctive qualities of style terminologies, the kinds of them need to be initially categorized by the 1st characters, and then sorted by the 2nd characters. In this case, the contents which the 2nd characters of style terminologies indicate should be considered. It is because style terminologies explain both literary pieces' aesthetic qualities and writers' personalities, and because explanations about literary pieces' aesthetic qualities includes not only the conclusive poetic or semantic boundaries which literary pieces' created but also literary pieces' creation processes and expression techniques. Through the style terminologies with Heo Gyun used in Seongsushihwa, it can be aware that he evaluated poems focussing more on the conclusive semantic boundaries that poets' spirits and poems created than expression techniques or creation methods. The overall aspects Heo Gyun's such style criticism has will be checked out in more detail through further studies by examining more materials.

A Study on Make-up Culture of Korea, China and Japan (한국.중국.일본 여성의 색조대장문화)

  • 박보영;황춘섭
    • Journal of the Korean Society of Costume
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    • v.39
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    • pp.217-237
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    • 1998
  • The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

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A Case Study on the Preservation Strategies of 'Historic Urban Parks' in the UK, the USA, and Japan (영국, 미국, 일본의 '역사적 도시공원' 보존 전략 사례 연구)

  • Gil, Ji-Hye;Park, Hee-Soung
    • Journal of the Korean Institute of Landscape Architecture
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    • v.48 no.2
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    • pp.20-33
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    • 2020
  • This study aims to examine the trends in the preservation of urban public parks with a focus on the international movement to acknowledge and preserve the heritage value of urban parks. First, the background in which the concept of "historic urban park" first appeared internationally, as well as the current situation were investigated. Then, the cases of the United Kingdom (UK), the United States (US), and Japan, all of which are already preserving and managing urban public parks, were analyzed. In the ICOMOS-IFLA Document on Historic Urban Public Parks, the International Council on Monuments and Sites (ICOMOS), which is a group of specialists dedicated to the conservation and management of cultural heritage, mentions that it is necessary to maintain the social, intangible, aesthetic, ecological, and civic values of historic urban public parks. In addition, according to ICOMOS, it is necessary to preserve elements of parks, such as space composition, topography, light, and environment. The UK, the USA, and Japan have their own unique characteristics for the background of preserving urban parks, the preservation system, the selection of parks to be preserved, and the elements to be preserved within the park. The UK has categorized parks into certain types from each period and has tried to preserve the common elements in each type. The US has selected the parks to preserve by determining the meaning of the parks itself considering multiple aspects, embracing not only the physical form of the parks, but also the culture, monumentality, and social values. Recently, Japan began the preservation of historic urban parks as a matter of policy and started to implement a preservation policy by investigating modern parks that are believed to be worth preserving. Specialists in cultural heritage preservation have argued that the method of preservation of historic urban parks must differ from that of other parks or gardens. Nonetheless, observing cases in these three countries showed that, regardless of their administrative and legal systems regarding cultural heritage and urban public parks, their policies were still limited to preserving only the physical elements of parks. The direction and methodology for the preservation of historic urban parks must be developed further and elaborated upon in terms of the evolving concept and definition of heritage. Urban parks are where various historic values are accumulated, connoting historical meanings dealing with the memories of the parks and the urban dwellers. This study found that, worldwide, park management has been carried out in a way that the historic values of parks are respected and preserved. This global trend in preserving the historic values of urban public parks has significant implications for the management of urban public parks in Korea that are being formed and renewed repeatedly.