• Journal of the Korea Furniture Society
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• v.26 no.3
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• pp.267-273
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• 2015

This study is a review on the relationship between furniture purchasers and producers in the Joseon period. Understanding the relationships in our traditional spirit and the Joseon furniture that reflects a aesthetic sense is a meaningful work. Joseon was to build an ideal country which put emphasis on the order and harmony through Theory of 'Yeak' as the confucianism nation. Human aesthetics, which emphasis on the spiritual value by confirmity to nature and forcus on the relaxed, deficient personality rather than completeness was established as the central formative consciousness of the Joseon Dynasty. The nature of things in the confucian scholar prior to the representations of things is expressed in the form of master craftsman's skill and soul. Formative consciousness of the confucian scholar is to realize ideals by communciation and interchange with master craftsman's soul in the form of the Joseon furniture. The beauty of restraint and brevity in the Joseon Dynasty furniture includes meanings and procedures of art work. It implies an orderer's purpose of production and a producer's products. Understanding the spirit of times in the production becomes the cornerstone capable of getting closer to the furniture ultimate proper function. These problems have a very close relationship with the problems of modern people's commnuication. We expect an even higher growth of the furniture by achieving more improved communication based on the consumer's great insight and the producer's passion.

• Journal of the Korean Home Economics Association
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• v.46 no.8
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• pp.17-26
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• 2008

The purpose of this study was to identify the aesthetic characteristics of modern fashion design use with a particular focus on transparency, and to help create future vision and feature. As part of the methodology for this study, I examined the concept of transparency, its characteristics and how it was expressed through art, architecture and other designs using literature research. Furthermore, I performed justifiable analysis on modern fashion design which used transparency from the 1990s till present. The following concepts were deciphered from information: Firstly, the concept of purity was highlighted. The emphasis here was to enhance the body's natural beauty with simple silhouettes that do not restrict its curves, using light materials such as clear vinyl, semi-clear materials or thin chiffon. Secondly, to express sensuality by exposing the body's curves with tight wrapping using clear materials, or with indirect and symbolic see-through techniques using contrasting clear, semi-clear and opaque materials. Thirdly, to express futurism through cyber and electronic images using high tech or shiny materials such as metal or holograms. Mechanical movements or effects of light are also used. Fourthly, to express playful characteristic by promoting surprises and disharmony that contradict with traditional techniques. This is carried out by intentionally exaggerating certain portions of clothes through disorder elements or confusion, and unsymmetrical shapes which destruct the human body's normal form.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• Archives of design research
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• v.11 no.1
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• pp.259-268
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• 1998

Ideals of beauty has expressed variously through the centuries and in different cultures. Each traditional 'togu' has it's own morphology (in the meaning of nonverval linguistic) as using various type of language in each cultural erea. Korean aesthetics on 'dogu'philosophy introduces a whole new set of basic concepts outside western aesthetic framework of beauty Most distinctive is the insistence on overcoming dichotomies, especially between cognition and emotion, (momism)body and mind, self and other, and individual and group. Several topics are particularly illuminating within aesthetics: furniture, calligraphy, traditional garments pose interesting challenging to the art/nature, inside/outside, ethics/desire dichotomies so crucial to moral and cultural context. aesthetics are equally deserving of philosophical scrutiny: the ways in which philosophy of 'dogu'and aesthetics are integrated with daily life, the emphasis on process or understanding context rather than product itself or product 'form'. Dogu did not separate daily life and aesthetics from understanding social context. Language of 'togu' also has own vocabulary and grammar. But we often cannot gain our persnol experience truthful beauty of togu until understand context of understanding. it would be immpossible to explain ,or to analize different way of thinkings and behaivor precisly without understanding same codes of language.

• Journal of architectural history
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• v.26 no.1
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.193-210
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• 1999

The purpose of this study is to compare the similarity of clothing between Modern and Gothic, and between Post-Modern and Renaissance Period. The results are as followes: The beauty of ideal body was changed from unemphasis of body line to emphasis of the erotic espects of body. The style of clothing was changed from simple and functional in order to give freedom in action, to various and complicated in from, and even uncomfortable in order to emphasize individuality. Decoration on clothing like details, trimmings, and various accessories were not prefered in Gothic and Modem Period, but very popular in Post-Modern and Renaissance Period.

• Journal of Fashion Business
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• v.8 no.6
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• pp.103-112
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• 2004

A Politician Appearance Acceptance Model (PAAM model) was formed and designed based on an analysis of how the electorate would accept a female politician. The PAAM model evaluated factors which influenced the voter's view of the female politician based on appearance. Causative factors were assessed that impacted acceptance based on appearance and analyzed whether voting was influenced by the appearance image; appearance image preferences for a female politician included the classic, dramatic, romantic and natural images. Through validations, the appearance image and competency had a causative factor that contributed to the acceptance of the politician image. The Classic Image demonstrated the strongest and most important image among the appearance images. As voters were more interested in the appearance image of a female politician, more emphasis and weight was on the appearance image during the voting selection process.

• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.2
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• pp.65-79
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• 1994

Presenting desirable direction of Korean interior landscape, the present studies were performed to survey the status of interior landscape of the Korean traditional and modern house in order to compare each other about the landscaping characteristics. The results were as follows: 1. Interior landscape of traditional houses put emphasis on mental aspects through furnitures, decorative elements, symbolic signs, paintings, writings, and moderate plants. 2. Interior landscape of modern house accentuated visual beauty by using westernized furnitures and decorative elements, and exotic plants. 3. These days we abundantly use exotic interior plants, but we need to develop native plant materials which have visual values and are well grown. 4. It is suggested that we should make effects to find and develop Korean interior landscape style which succeed from traditional interior landscape that has more accentuated on mental aspect.

• Journal of Fashion Business
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• v.6 no.2
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• pp.53-66
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• 2002

The spiral form, which comes from the organic form of natural phenomenon such as growth of creatures, has been used as a factor of formative shape in various fields of art until now. In conjunction herewith, this study intends to discover and express the life force and the formative beauty of natural substances with the organic spiral forms into clothing design, using various creating methods and materials such as Korean traditional paper. The natural substances with the spiral structure, such as seashells, land snails, passion flower, curled flower, growing chart of plants, Impatiens textori was used as subjects of the designs. The seven pieces of work were completed with attempts to develop aesthetic forms through the presentation techniques and methods via restructuring process of simplification, partial transformation and consolidation. Through such process the conclusion of this study is as follows: First, the nature, with unlimited possibilities, could be subject of human formative activities, leading to the creative world of formative art for designers. Second, adaptation of the spiral organic forms of nature into the contemporary clothing designs proved the motif as a source of inspiration of diverse subject, in recognition with its innate formative beauty as well as external shape. Third, design expressions via restructuring process of simplification, partial transformation and consolidation with designer's subjective point of view were adequate for the creations of contemporary fashion designs. Fourth, the Korean traditional paper, as a fine material for various shape according to the handling method, could be used appropriately in the contemporary clothing designs, expressing our aesthetic senses. Fifth and finally, expansion of the realm of formative expression of clothing through the development of possibilities of expression in contemporary clothing would enhance the creative possibilities of clothing design as formative art. In conclusion, the expression of clothing design as formative art was developed on the emphasis of re-creation of natural objects of the organic spiral form. For the future study, the applications of spiral form into everyday clothing designs, consolidating artistic senses and practical senses, are expected as opportunity of proposing developmental possibilities of the contemporary clothing designs.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.