• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Sijohaknonchong
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• v.23
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• pp.107-131
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• 2005

The purpose of this is to make sure what the scholar of the Choseon thought the object of aesthetics, and which psychological element did they use to clear the center of the aesthetics. In addition, I consider their way to recognize the human's aesthetic point of view. A literary man in Choseon regarded the five senses as an obstacle which interrupted to see the nature of all things. So they set up the spiritual condition as their aesthetic subject, with suppressing the pleasure through five senses. The goal to make one's mind calm was to cause someone's spirit to activate freely. The condition of the calmness was considered as a process of recovering the human's natural spirit, which was connected to the poetic spirit and became the aesthetic subject. Simultaneously, a literary man at that time set up the condition of the calmness as a subject of objective consciousness, and estimated the common things as a objective existence, which led to the result that all the materials of the poem and the poet could be unified. This aesthetic centra put a premium on the senses caused by contacting with all natural things, and adopted the 'Xing' as a method of expression. This 'Xing' is not a sense based upon one's experience, but a sense which is created of itself. The expression method of 'Xing' caused the reader to feel and express, encourage, and sublimate what they feel through the poem, as well as purified reader's mind.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.3
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• pp.88-96
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• 2000

The objective of this study is to evaluate the preference and visual characteristic of users according to the location of benches at urban community parks. The types of benches are separated into four patterns and located in four representative places at urban community parks. Each relations between visual preference and adjective related factors are calibrated by the estimated results of Pearson correlation coefficient. Moreover, the factors which affect the visual preference are obtained by multiple regression analysis and to calibrate the each factors significant level, the method of multivariate variance analysis is applied. The results of this study are summzrized as belows: 1. Four types of factors which consist the visual characteristic are classified as emotional factor of visual images(aesthetic factor(F1), texture related factor(F2)) and physical factor(physical factor(F3), transformable factor(F4)). Each factor's eigenvalue is appears as 5.27∼1.78 and the eigenvalue of emotional factor of visual images is more higher than the physical factor. 2. The correlation coefficient between visual preference according to the location of benches(X21) and aesthetic factor(f1) is estimated as 0.79, which is highest value among the four factors. And the correlation coefficient of texture related factor(f2), physical factor(F3) and transformable factor(F4) is estimated as 0.14, 0.04 and 0.08 respectively. 3. The visual preference of users according to the location of benches is greatly affected by the emotional factor of visual images(F1, F2) and the physical factor(F3, F4) are poorly related. The results of this study suggest the effective guidelines for the location of leisure facilities. Moreover the design and planning of leisure facilities at the urban community park have to be reexamined. What must be examined from now on is as follows: First, the preference research of rest facilities in the urban park through the multiple approach must be carried out continuously. Second, the research about the visual quality of the environmental sight observed in sitting on the bench as well as the visual quality of the showed object and place needs to be supported. Nevertheless, through this study the utilization into the useful data of the plan and the design for the systematic disposition of landscape architecture equipments centered on the users can be expected.

• Journal of the Korea Computer Graphics Society
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• v.28 no.4
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• pp.31-40
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• 2022

This study assumed two key parameters that describe smoothness. Previously, the number of studies that defined smoothness with the concept of curvature has been limited. The parameters were the two physical characteristics of curvature: the number of waves and the amplitude of them. The purpose of the study was to observe which of the two parameters influences the perception of smoothness and to examine the relationship between the sense of aesthetic beauty and smoothness. The visual stimuli used in the study were transformed three-dimensional spheres, based on the combination of the three levels of the two parameters of nine distinct conditions. We analyzed the three responses that measured the preference of each visual stimuli, the familiarity score, and the smoothness evaluation score, each with the linear mixed model whose fixed effects were the two parameters and random effects were the participants' individual differences. Nearly the eighty percent of the variance of the smoothness evaluation score was explained by the linear model with the two key parameters and their interaction. The physical characteristics of a viewed object were far more significant than individual differences such as personality factors and the manner of art appreciation. In conclusion, the study examined the perception of smoothness based on the change of the physical characteristics of a shape. The study further recognized the relationship between smoothness and the aesthetic preference. No significant influence of the participants' individual difference such as gender, the degree in fine arts, personality factors, and the manner of art appreciation was observed. The amplitude of waves, rather than the number of them, was far more significant to the perception of smoothness.

• Archives of design research
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• v.13 no.3
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• pp.101-110
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• 2000

Taking a look at art history around the world reveals the presence of ceramics in a wide range of areas. There have been many changes and developments over the years, but especially notable is the fact that in the course of history, the craft of ceramics has become an aesthetic art form rather than serving the original purpose of providing daily object of necessity. The Art Nouveau movement had peat influence in the development of ceramics before and after 19$^{th}$ century, and its inherent style continues to be copied and produced to modem day. The Art Nouveau style can today be seen particularly in contemporary tableware designs reflecting its graceful motifs that are now richly presenting themselves on table settings. This study looks at the possibilites of Art Nouveau in ceramics, namely by combining both traditional formativ qualities and contemporary visual inspirations to seek new expressions of beauty. In order to document records and analyze formative developments of Art Nouveau, representative pieces have been chronologically presented to cover the period from 1895 to the present.

• Journal of Environmental Science International
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• v.12 no.4
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• pp.383-391
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• 2003

The purpose of this research explain the meaning of the environmental design principles and cultural landscape pattern(dualistic space organization) of the Hahoe(河回:winding river village) the Yangdong(良洞) traditional village. Village's space organizations based on Shamanism, fin-yang and Five elements principle, Feng-shui idea, social system and Confucian ideas. And it were accomplish curat landscape pattern(village:form+object=pattern) through the frame of settlement space. As a central persons of villages(the Hahoe $.$ the Yangdong) construction, Suhae(西厓) experienced tough Chunghyodang - Wonjichongsa - Ogyonchongsa - Pyongsansowon channel(忠孝堂 -遠志精舍 -玉端精含 -脣山書院) and Kyomam(謙 ) experienced tough Yangjindang - Binyeonchongsa - Kyomamchongsa - Hwachonsodang(養眞堂 - 賓淵精舍 - 謙庵f精舍 - 花川書堂) channel. Also Woojae(愚齋) experienced tough Suhbackdang - Khankachung - Dongkangsowon(書百堂 - 觀稼停 - 東江書院) and Hoejae(晦齋) experienced tough Moochumdang - Hyangdan - Oaksansowon(無添堂 - 香壇 - 玉山書院). It is space organization of themselves interact contrast and sequence principles with competition in good faith. And ecological art-space, that is, environmental spare organizations of traditional village has been reflected harmony between nature and artificiality, spatial rhythm and sequence, spatial hierarchy between upper classes and humble class, permeability space, asymmetrical balance, aesthetic space perception. The humble classes hold a ceremony Hahoe's Pyolsingut-Talnori(maskdance drama), Dangjae(堂祭:religious service) at the Dang(堂:shamanism spot) and Yangdong's Sohraesulnori, Hohminori. And the upper class hold a ceremony Hahoe's Julbulnori and Yangdong's Chungjanori connected with culture of confucianism. Specially, the cultural structure cf the village is evidence of a contrast between the upper class and the humble classes, time, method and location of ceremony(performance).

• Archives of design research
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• v.17 no.2
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• pp.471-478
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• 2004

The recent aesthetical argument has been focusing on the interrelation between art and media. Now media is a kind of creative activity and dynamic factor which comprises aesthetic perception in itself compared to that of the past linear thingking era that was just a means of proving presence. Norbert Bolz, a leading media-aesthetician, puts the emphasis on the transformation of image, not the its dupe. He urges that this artistic form does not deliver the image of object, but means the objectless image itself. Therefore creativity is caused by an effect of a optional technic in the stage of technological environment where is under the control of the non-linear thingking system. In this context, this essay investigates to confirm the above mentioned aestheical views by analyzing the computer based layer as an detailed example, and to illuminate the designers creative activity where is deemed to be under its radical influence. Therefore it can be dedicated to the extension of the theoretical background in design, bridging between two practices accor ding to the Bolz's notion that the new aesthetical concept should be accompanied by ' the Design Science ', that is centered on the new media.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.535-546
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• 2017

This study considers direction types and formative characteristics by analyzing natural objets in contemporary fashion window display. The research methods are both literature review and content analysis based on images of contemporary fashion window display. The conclusions of this study are as follows. First, the direction types of natural objets in contemporary fashion window display expand objective outlines by maximizing the morphological form of objects. Second, a rhythmic sense expressed through a gradual repetition of patterns or a sequential arrangement of natural objects. Third, it represents a reversal of image accomplished through a modification of material on the natural objects. Fourth, a new space is created by transforming two dimensional forms of natural objects. The first formative characteristic of natural objects in contemporary fashion window display is exaggeration. This is expressed through either the expansion of the external volume, the collapsed form of natural objects, or the distortion of external colors. Second, it is a dynamics. This makes it possible to recall the dynamic image of the integration of the observer with a priori thinking by systematically sequencing objects or inducing a specific motion. Third, it is an abstraction. This provides an opportunity for the observer to find in a natural beauty by exchanging physical form or reinterpreting characteristic points. Fourth, it concerns eclecticism characteristic that objects created through the mutual fusion of heterogeneous elements indicates an aesthetic inspiration in a limited space by diverting conventional thinking toward natural objects with expansion of consciousness on formative arts.