• Journal of the Korean Wood Science and Technology
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• v.38 no.3
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• pp.185-190
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• 2010

This study was focused to make a wooden plate that is engraved with writings or pictures on the medium density fiberboard (MDF), and then to produce a calligraphy-carving artwork by carbonization of the carved MDF. The external appearances and anatomical changes were investigated on the carbonized MDF and aesthetic characteristics was also discussed. No split and no twist were found after the carbonization (at $850^{\circ}C$) of the calligraphy-encarved MDF, shrinkages of the MDF were observed with portions of 21.8% in length, 18.8% in width and 43.5% in thickness, and 69.2% of weight loss with density decrease of 14.8% were observed as well. From the observation of the carbonized board by a scanning electron microscope, specific phenomena were found: the adhesives, surrounding the fiber's surface and pits, were carbonized, the woody fibers were changed smoothly, the pits were opened, the fiber' size was uniformized, and the organization was compacted. By the combination of handmade calligraphy-woodcarving and crack-free carbonizing methods, it was able to find a new method for manufacture carbonized calligraphy-woodcarving artwork. It is concluded that the calligraphy-woodcarving artwork using carbonized board can be a new access for the eco-friendly art that has the advantage of the functionality of charcoal and the aesthetic of calligraphy-woodcarving simultaneously.

• Journal of agriculture & life science
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• v.46 no.2
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• pp.75-82
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• 2012

This is a study on the flower pattern artwork of the west wall of the Jagyeongjeon in Gyeongbokgung to find out the type of plants and flowers represented and their symbolism. The research was conducted from July 2010 to March 2011 and the artwork classified on the basis of its horticultural traits. A number was assigned to each pattern for analysis: No. 1 is Prunus mume, No. 2 is Prunus persica, No. 3 is Paeonia suffruticosa, No. 4 is Punica granatum, No. 5 and 6 is Dendranthema grandiflora, No. 7 is Rhododendron mucronu and No. 8 is Phyllostachys bambusoides. These 8 flower patterns symbolize longevity and fecundity and their presense around the Jagyeongjeon helped to bestow good fortune on the royal family so that they might live long lives and bear many children. 4 artworks symbolize longevity, 2 artworks symbolize integrity and 1 artwork symbolizes wealth and happiness. There is also symbolism of the need to have constancy in a royal household even during secular change. Out of the 8 artworks, the imagery of a bird and a moon is represented only once, but the image of a butterfly is represented five times in the surrounding elements. The bird and butterfly symbolise freedom and happiness from free love. Women in the palace are like a butterfly wanted to be like love as a freedom and have a free and open relationship like a butterfly. But a harmonious relationship between the royal family wanted to have a symbolic meaning that could be seen of the symbolistic. Based on the "Yangwhasorok"only plants with the highest values, from the 1st and 2nd grades, were used in the artwork of the west wall of the Jagyeongjeon.

• Korean Association of Arts Management
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• no.51
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• pp.191-219
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• 2019

Adoption of applicable law for the international trade of artworks is closely related to the results of lawsuits. Recently, starting with New York, the hub of the international artworks market, a modern, mixed-law is gradually being adopted more. It is difficult to designate an applicable law of an international trade of artworks through private laws regulations of relevant countries, and the public laws regulations must also be considered in relation to individual benefits and the public benefits to the relevant countries. With regards to the foreign relations issues, Korea's private international law embraces a so-called public order theory, and according to the Section 7 of the Act on the Private International Law and its enactment history, the compulsory provision, which seems appropriate for application to the corresponding matter, applies without regards to the selection of the applicable law. The Civil Act of Korea acknowledges bona fide acquisition of a cultural asset, in principle, if the Cultural Heritage Protection Act is not applicable. Moreover, a lost artwork is also a subject of bona fide acquisition; however, if the relevant artwork is either stolen or lost, the original owner has the right to demand the return of that artwork within 2 years of being stolen or lost according to the Section 250 of the Civil Act. Also, if the buyer purchased from a distributor specializing in the artworks, such as auction, open market or gallery, the buyer could request a compensation of the purchase price from the original owner, and if the buyer purchased through a private transaction, the buyer cannot demand a compensation of the purchase price and must return the artwork.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.133-147
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• 2015

The aim of this study is to review the creative fashion installation of Henrik Vibskov, Danish designer. Its intention is to contribute useful information for more innovative fashion presentation. As a research method, document and case study were performed and his collections from 2004 F/W to 2016 S/S were analyzed. In fashion installation, the designer puts objects in meaningful spaces in order to convey a certain message, to make an integrated artwork, and to interact with spectator. It has been used in fashion exhibitions, as well as in the set design of fashion performance and fashion show. The results were as follows. Henrik Vibskov's fashion installation has three features, which are 1)conceptual theme approach that communicates a twisted and metaphoric message, with a poetic and interesting show title, 2) surrealistic scenography that plays with fragmentation of the human body, clustering of plastic and symbolic objects, innovative color transformations, and visual trickery between figures and the background, and 3) setting for multisensory performance that makes spectators interact by making artistic objects and surroundings, which stimulates the five senses. Henrik Vibskov's fashion installation can exist as an independent artwork, and not just as a supporting piece for a fashion show. It has both artistic and fashionable values, and can be an effective fashion presentation communicating his conceptual fashion themes.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.121-134
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• 2004

Wiener Werkstaette(workshop) established in 1903 was an artistic handicraft working group, the central figure of which was an architecture, J. Hoffman. Especially its textile design part established in 1910 produced good results. The textile design part of Wiener Werkstaette took total artwork (Gesamtkunstwerke), which Pursued artistic work in all visual parts of life, as a central concept of their work and tried to insert the artistic creativity into the textile design. Regarding the influence relationship between Wiener Werkstaette textile design and formative art, it was influenced by the geometric tendency of C.R. Mackintosh and the style and motive of Japanese art. From 1910's, bright, vivid and cheerful designs were mass-produced by uniquely using various motives, techniques and colors. The formative significance of Wiener Werkstaette textile design are as follows. Firstly, the pattern includes both rational and sensual elements. Secondly, the aesthetic patterns of Wiener Werkstaette include formative elements anticipating the modernism. The leading artistic sense like this played role of catalyzer through which the golden age of artistic decoration, art deco, came. The significance of the textile was made aware through clothes design . The clothes design made with Wiener Werkstaette textile conveyed message as art to everyone and provided the elite of society supporting them with Proud that they are fashion leader ahead of times and have artistic sense. Wiener Werkstaette textile design like this played big role as an instrument for realizing the total artwork by attaining the new artistic formative fruits.

• Journal of Arbitration Studies
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• v.30 no.1
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• pp.199-215
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• 2020

Compared to Korea's recently expanding art distribution market, the difficulty of securing the authenticity of art is hindering the healthy development and growth of the market. In this regard, the current situation of the emotional system in the UK and France's art distribution process are examined as excellent cases in foreign countries. In the UK, there is a full autonomous appraisal system by art experts without state intervention. In France, the judiciary and the administration of art have an appraisal system for art works, so the appraisal work has reliability and objectivity. Through the above system, this study suggests measures to strengthen transparency in art trade and to break unfair practices in order to secure the authenticity of the domestic art distribution market. In addition, this study proposes the establishment of a professional appraisal system and the improvement of administrative law regulations to explore the possibility of ensuring fairness through mediation through the example of an international arbitration body.

• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.893-912
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• 2017

Crowdsourcing models in which organizaions obtain needed product ideas and services from a crowd in a network-based society are rising as a global industry trend. The purpose of this study was to figure out the types and characteristics of crowdsourcing design shown in the domestic fashion brands, and to provide implications for design strategies using crowdsourcing. This study was based on qualitative research which was brand case studies on crowdsourcing design in the fashion industry from January 2006 to July 2017. Also, quantitative analysis using frequency and percentage was applied. The results were as follows: First, crowdsourcing design was used in almost all types of fashion brands, such as sports and outdoor wear, men's wear, women's wear, men's and women's casual wear, shoes, bags, school uniforms, jeans, accessories, etc. Crowdsourcing design in the fashion industry was classified into three types: crowdsourcing graphics and artwork; crowdsourcing customized designs; and crowdsourcing product designs. Of the three types, crowdsourcing graphics and artwork was used most. There were four methods to choose the best crowsourced design: review only by experts, voting by crowd and review by experts, crowdvoting, and crowdfunding. Second, the characteristics of crowdsourcing design were openness, participation, reward and acknowledgement, sharing and interaction, and individualized collective intelligence. Crowdsourcing design could be used as an open innovation strategy in the fashion industry, which could collect new and creative design ideas for product development, resulting in the satisfaction of consumers and benefitting the company.

• International Journal of Internet, Broadcasting and Communication
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• v.10 no.3
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• pp.73-80
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• 2018

This study introduces an interactive drawing system, a tool that allows user to sketch and draw with his own intentions. The proposed system enables the user to express more creatively through a tool that allows the user to reproduce his original idea as a drawing and transform it using his body. The user can actively participate in the production of the artwork by studying the unique formative language of the spectator. In addition, the user is given an opportunity to experience a creative process by transforming arbitrary drawing into various shapes according to his gestures. Interactive drawing systems use the segmentation of the drawing image as a way to extend the user's initial drawing idea. The system includes transforming a two-dimensional drawing into a volume-like form such as a three-dimensional drawing using image segmentation. In this process, a psychological space is created that can stimulate the imagination of the user and project the object of desire. This process of drawing personification plays a role of giving the user familiarity with the artwork and indirectly expressing his her emotions to others. This means that the interactive drawing, which has changed to the emotional concept of interaction beyond the concept of information transfer, can create a cooperative sensation image between user's time and space and occupy an important position in multimedia society.

• Proceedings of the Korean Society of Computer Information Conference
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• 2016.01a
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• pp.223-226
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• 2016

본 논문은 최근 출시된 반 고흐 VR 예술작품의 2D 및 3D 콘텐츠에 대한 경험을 분석했다. 두 가지의 콘텐츠에서 쾌락적 특성이 강하게 나타났으며, 원작의 재생산된 작품으로서가 아니라 새로운 창작물로 인지되었다. 콘텐츠의 일반적 특성과 마찬가지로, 몰입감의 경우에도 2D 보다는 3D 콘텐츠에 대한 평가가 더욱 긍정적으로 이루어졌으며, 두 가지의 콘텐츠에서 가장 높게 평가된 몰입감 요인은 주의집중력으로 제시되었다. 특히 3D 콘텐츠의 경우, 다감각적 촉진은 가상공간에서의 현존감(presence)과 관련된 육체적 움직임에 대한 역동성에 영향을 미쳤으며, 원작에 대한 현존감은 가상공간에서의 현존감과 몰입감으로 대체되었다. 3D 기반의 콘텐츠는 학습에 대한 내재적 동기부여를 비롯, 그룹 토의의 활성화, 예술작품 및 작가에 대한 관심 증가 등의 몰입형 학습 도구로서의 효용성이 유의미하게 나타났다. 비록 2D 및 3D 콘텐츠의 몰입학습을 위한 도구로서의 적합성이 예술작품에 대한 감상 및 해석도구로서의 적합성보다 높게 제시되기는 했지만, 예술작품의 진정성과 아우라라는 관점에서 보면 '회화적 동일성'은 존재했지만 콘텐츠의 재창조적 특성으로 인해 '미학적 동일성'은 보장되지 못했다. 이러한 현상은 VR 예술작품의 콘텐츠 제작 목적의 상이함 뿐만 아니라 기술적 정교함 및 예술적 전문성 결여에 기인한다.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.527-544
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• 2013

William Shakespeare's dirge, "The Phoenix and the Turtle," is still a crux in the Shakespearean canon and interpretation. The poem is still believed a dark allegory dealing with some arcane and obscure courtly matters and politics. However, we cannot recover its allegorical significance. This interpretive situation enforces us to read the poem as a self-conscious artwork in terms of its paradoxical language and meta-poetic metaphors. Paradox, as a subspecies of metaphor, challenges categorical and judgmental absolutes, and produces a sense of wonder in reconciling the logically contradictory opposites. In this poem the urn containing the ashes of the phoenix and the turtle is the icon of the mysterious unity of art, born of the wonderful marriage of male and female. Shakespeare's poem demonstrates in itself the magical power of poetic language in transforming an elegy into an epithalamion. The union of the phoenix and the turtle defies the singularity of their respective entity, and at the same time it retains their distinctive particularity of the two-ness. This neo-Platonic mystery of the "married chastity" is a paradox which confounds reason and verifies the poetic truth of imaginative intellect. The marriage of Christian perichoresis is crystallized in the artwork of the urn, which is admired at by posterity, though the marriage was issueless, due to its passing virtue. "The Phoenix and the Turtle" depicts the metaphor-making process and its effect, the poem.