• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.11-21
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• 2007

In this study, we will analyze the artistic character of Jogakbo as a element of fashion art design. Korean traditional Jogakbo is a common homemade item made from clothing remnants and is a part of the culture of women�s quarters. Currently, Jogakbo is higly regarded for its artistic value and it finds a variety of uses in fashion. In particular, it is striking how its modern-style geometric lines and color composition are congruous with abstract art. In applying Jogakbo to fashion art design, we study the artistic expression of Jogakbo in 4 aspects; namely, line, color, material, and technique; and analyze the 4 artistic characteristics; beauty of naivety, simplicity, moderation and freedom. 8 dresses designed based on these 4 characteristics are presented as examples.

• Journal of Fashion Business
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• v.5 no.1
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• pp.35-51
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• 2001

The purpose of this study is to have a new understanding of the freewheeling beauty inhering in the Korean western costumes, traditionally the freewheeling beauty has been the root of Korean beauty expressed in the Korean feeling. First, the theoritical inquiry for this study was processed to understand formativeness of the Korean popular arts, folk painting, pottery, pansori(dramatic song), masked dance. The results of the theoritical analysis were as follows; the korean beauty inherited in the Korean popular arts, was represented plastic words as good-humor, unsophisticated, homely, plainness, simplicity, artless, unartificial, crudely etc, the freewheeling beauty implied the beauty of good-humor, the beauty of naivety. In conclusion, the creative Korean beauty reflected in the western costumes by Korean designers was derived from freewheeling characteristics of Korean feeling. After this study, I came to conclusion that it‘s very important to recover, reperceive, revaluate the inner meanings inherited Korean western costumes.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.6
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• SUVANNABHUMI
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• v.14 no.1
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• pp.31-52
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• 2022

Derived from the juxtapositional model of Comparative Literature, this article analyzes two movies, The Story of Pao (Chuyện của Pao, directed by Ngô Quang Hải) and Into the Wild (directed by Sean Penn), using eco-criticism and focusing on two specific aspects: looking for the relationship between "culture" and "nature" and questioning the ideology that puts people at the center of the natural world. Specifically, the article points out similar tones in discovering and praising the beauty of nature, and at the same time, focuses on explaining the "disagreement" and "harmony" in behaviors of different communities towards Mother Nature in these two films. Finally, The Story of Pao and Into the Wild are both read as discourses that participate in the repositioning of human beings in the natural world. The purpose of juxtaposition, therefore, is to seek a new existential dimension for the works, providing an opportunity to uncover and reveal hidden layers of meaning of each text.

• 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.

• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.54-62
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• 2011

Fast industrialization caused from Descartes' dichotomy has enormously developed our world, but endangered the ecosystem. In this study, the ecosystem aesthetics is not only a critique against existing growth-ideology and technical civilization, but also the art pursuing the life as an artistic state and achieving the dream for qualitatively different new future. Lao-tzu's Natural Beauty assumes that the adaptation to natural laws can lead every purpose's achievement. Based on such theoretical alternative, the earth construction as a medium for coexisting mankind, nature and construction interacts with the other objects through the natural affinity, the energy efficiency, the material generation. The earth construction provides the images of naivety, naturalness, folk as well as emotional stability in cultural terms. This study's direction and method are as follows. First, it researches the ecosystem aesthetics from the Taoism viewpoint, the alternative for environmental healing based on theoretical reviews about the ecosystem aesthetics. Second, it researches the earth construction's ecosystem aesthetic features and construction features from the low-tech aspect in continual construction genealogy. Third, it analyzes some cases targeting domestic buildings by drawing out expression methods and features through the connectivity of earth construction and ecosystem aesthetics. The earth construction lies between the heaven and the earth, but coexists in natural cycle. The earth construction caused from ecosystem aesthetics will be a future alterative, and various studies about its features and methods should be continued.

• Journal of Physiology & Pathology in Korean Medicine
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• v.20 no.4
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• pp.766-783
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• 2006

This study describes philosophical background regarding '虛' in oriental medicine in an effort to understand the relationships among some of the Eastern philosophy in accordance with differentiated meanings in several resources by analyzing examples of '虛' in Huang Di Nei Jing. The various usages of '虛' used in Huang Di Nei Jing are as follows: naming; condition of pulse; emptiness; '太虛' which was referred universal space by Chinese ; insufficiency, lack or scarcity, deficiency ; and the description of vitality, mental faculties. 外丹修煉(training by external substances) had the attitude do that withdraw the death by taking external materials. The meaning of '虛'in 外丹修煉 is similar to that in oriental medicine in terms of deficiency. That is, both 外丹修煉 and the oriental medicine consider that the death and disease are caused by the deficiency of something. However, there also exists difference between 外丹修煉 and the oriental medicine. 外丹修煉 supplements through withdrawal prohibition due to the characteristic of unchangeability and stern or immortal while oriental medicine provides concrete object of deficiency. 精(essence of life), 氣(ki, functional activity), and fe(vitality) not only have been considered as basic component of human body, but they also have been an important subject of health preservation for longevity with health in Taoism and oriental medicine. In oriental medicine, 精 and 氣 have been perceived as physical basis of human body and 神 as controller. 內丹修煉(Training of internal active substances) 掠nds to return to '虛', the early state of life through individual training, and attempts to withdraw death through continuous recurrence. The oriental medicine and 內丹修煉 held great value of 神 among health preservation of 精, 氣, and 神. They seek theoretical basis from philosophical Taoism. However, '虛' in Taoism is different from that in training by internal substances and oriental medicine: '虛' in philosophical Taoism has metaphysical concept which refers overcome of life and death, but '虛' in 內丹修煉 and oriental medicine have empirical concept. '太虛' is considered as formless space where it is emp Dut filled with 氣. It is conceptualized with the premise of the relevant adaptation of human body to natural environment theory referring that the interaction between the heaven and the earth makes changes; all creation is originated , and human is affected by the interaction of the heaven and the earth. Furthermore, in $\ulcorner$運氣七篇$\lrcorner$ (Seven chapters described about the five circuit phases and the six atmospheric influences), the expression that the earth is in the center of '太虛' and huge amount of 氣 supports it proves that $\ulcorner$運氣七篇$\lrcorner$ adapts '渾天設'(Chaotic universe thee). In Taoism, '虛' is the grounds where all creation is generated in the optimal condition of Tao. As regards the aspect of mentality, it is the condition in which one can free from the dualistic concepts such as right and wrong, beauty and ugliness, life and death, and so on. Although the ultimate goal of oriental medicine, the achievement of longevity without sickness, might contrast with the Taoist belief that perceives life and death as the natural phenomena or the flowing of the 氣, and eliminates all international, the idea of Taoism that one should live substantial life with naivety, and make Harmony with the nature might be influential to the oriental medicine.