• 한국의류산업학회지
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• 제4권4호
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• pp.339-346
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• 2002

This study analyzed the works, introduced in the collections of Yohji Yamamoto in an aim to identify traditional aesthetic and design concepts. As the data to study the concept and expression of the designer, fashion photographs were gathered in a focus on collections since 1990's. The traditional aesthetic expressed in the works of Yohji Yamamoto were characterized by the external aesthetics and the internal aesthetics. The traditional aesthetic of external aesthetics were classified into the plasticity and the wearing, and those of internal aesthetics were divided into the moderation, expertness and aesthetic exclusion. The plasticity was extracted into line, form and color. The wearing was presented artist of purpose through the mutual text. The moderation was based on the moral goodness and the aesthetical beauty. The expertness represented the fitting method and mutual reaction of color. through the natural beauty. The aesthetic exclusion was expressed through simplicity, loftiness, and unbalance.

• 복식
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• 제58권2호
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.

• 복식
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• 제54권3호
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식
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• 제14권
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• 융합보안논문지
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• 제13권2호
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• pp.67-73
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• 2013

본 연구는 경호무도로서 점차 활성화되고 있는 공수도를 미학적으로 탐색해 봄으로서 공수도가 경호무도로서 가지고 있는 미학을 정립하고자 하였다. 연구방법은 문헌연구로 공수도, 미학 관련서적과 자료, 논문을 수집, 참고하였다. 첫째, 공간미이다. 둘째, 시간미이다. 셋째, 통일미이다. 넷째, 대칭미이다. 다섯째, 균형미이다. 여섯째, 조화미이다. 일곱째, 곡선미이다. 여덟째, 리듬미이다. 아홉째, 도덕미이다. 이러한 경호무도로서 공수도의 미학을 연구함으로 내재적 아름다움과 철학, 윤리를 갖춘 경호원과 경호무도로서 발전될 것으로 사료된다.

• 디자인학연구
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• 제11권1호
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• pp.259-268
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• 1998

본 연구의 목적은 앞으로 지속될 전통도구의 미적 체험에 관한 새로운 인식을 체계화하는데 있다. 아름다움의 이상을 실현하기 위한 노력은 시대와 사회를 막론하고 끊임없이 다양한 형태로 표출되었다. 서로 다른 문화권에서 각기 다른 언어가 사용되듯이 도구 또한 고유한 형태언어를 갖는다. 시각적 의사소통을 전제하는 도구의 형태언어 또한 고유한 어휘와 문법을 갖는다. 우리는 종종 언어의 코드가 일치하지 않는 상황에서 타 문화권의 사고방식과 행동특성을 충분히 이해하는데 어려움을 느끼는 것 처럼 이해의 상황이 준비되지 않고는 진실한 미적 체험에 도달할 수 없다. 도구형태의 미적 가치를 올바로 인식하기 위해서는 도구의 탄생과 진화를 추진해 온 상황과의 역학관계를 인식하여야 한다. 어느 문화권이나 시대를 막론하고 그들이 설정한 에토스에 가장 진실하게 접근하고 그것을 가장 진실하게 표출해 온 도구들은 오랫동안 우리에게 사랑을 받고 보존되어 왔다. 그것은 아름다움을 추구하는 여성의 의복이나 장신구와 같은 미적 대상 뿐 아니라 언어와 같이 그들의 공동체의식을 가장 잘 표현하고 전달할 수 있는 것이라면 시대와 정신이 바뀌어도 변함없는 가치를 발휘할 것이다.

• 한국컴퓨터정보학회논문지
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• 제22권6호
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• pp.101-107
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• 2017

In this paper, We propose the aesthetic exploration of horseback riding is considered to be the process of pursuing physical, mental, emotional, and social beauty. Despite the search effect of aesthetics in various aspects, the study of equestrian aesthetics in the field of physical education in Korea is very insufficient. Equestrian aesthetics is being studied in the field of special physical education and is being studied in the fields of rehabilitation and therapeutic horseback riding. Horse riding is a type of exercise. However, studies that track and observe various changes are inadequate. The purpose of this study is to explore the theory of equestrian aesthetics and to explore the possibility of approaching aesthetic theory from the top of horseback riding and to extend the area of equestrian game aesthetically. Until now, horse riding has been thought to be an aristocratic sport. Today, however, everyone can participate. Horseback riding is a sport for raising livelihoods, and it is a special sport that animals and humans enjoy in harmony. Equestrianism is a method of aesthetics from below, a philosophical method of aesthetics from the top, and a scientific method of empirical or positivistic direction. This study examines equestrian aesthetics from aesthetic point of view through the whole process of horse riding. The purpose of this study is to explore the aesthetics of horse riding through an aesthetic approach from the top, and to study the nature of aesthetics, a philosophical debate on beauty, Art can be divided into two categories: empiricism and positivism. For the sake of simplicity, the former is called the philosophical method, the latter is called the scientific method, and the latter is called the aesthetic from the bottom. Generally, in art, artistic, artistic works, perfumers, if you are grasped in the triangular shape, equestrian aesthetics can be described as triplets such as horse riding, passengers, and spectators. It was not easy to give satisfactory results in suggesting a new theory or a clear discussion due to lack of precedent research.

• 복식
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• 제61권3호
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• pp.63-70
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• 2011

The purpose of this study was to investigate trend of articles on men's fashion in Korea as seen through clothing-related academic journals from 1990 to 2009. For a total of 478 research papers on men's fashion published in 18 clothing-specialized learned society journals, which are KCI-cited journals or candidates thereof The results were as follows: First, With respect to the number of papers on men's fashion from 1990 to 2009, that of the 2000s rapidly increased to 5.2 times that of the 1990s. Second, The number of each area research was ranked aw follows: social psychology marketing 34.1%(163), clothing construction 32.2%(154), design aesthetics 19.7%(94), beauty 7.7%(37), history of clothing 4.8%(23), textile science 1.5%(7.7). Third, Studies on the aesthetics in men's fashion showed a steady increase from 1995, resulting in the number of papers in the 2000s being 12 times that of the 1990s. And, in the 2000s, the subjects explored in the 1990s, such as feminization of men's clothes, gender images, men's suit, etc. were deepened and expanded.

• 대한한방피부미용학회지
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• 제1권1호
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• pp.145-157
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• 2005

Oriental cosmetics is based on oriental medical theory. In oriental medicine, skin reflects the condition of internal organ(臟腑) and qi-hyul(氣血). The oriental dermatology and aesthetics aim at the development of health and beauty using herbal medicine, acupuncture, chuna(推拿), qigong(氣功), and diet. And the oriental dermatology and aesthetics are related the branch of oriental medicine, such as oriental gynecology and oriental internal medicine.

• 복식
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• 제54권8호
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.