• 한국의류학회지
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• 제26권7호
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.

• 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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• 제61권8호
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• pp.1-17
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• 2011

Ever since Homeros in Greece, Mimesis was thought to be an art that imitates nature, especially the classicism of nature. Mimetic theories were used in the artworks in the era of the Renaissance, and the terminology 'mimesis' replaced the idea of originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in Online video game apparel design. For this purpose, I researched different theories of 'mimesis' and applied them to Online video game apparel designs. The research was conducted using various books on aesthetics and fashion, and demonstrative studies were processed by analyzing photos from Internet video game websites. In the history of aesthetics, the term mimesis is divided into three categories: external, internal and multiple mimesis. External mimesis represented the historical point of view in the design, which showed the beauty of the ancient times. Internal mimesis displayed the metaphorical symbols of religion, character, psychology, sexuality and fear. Multiple mimesis was the hybrid and the distortion of the different aspects of mimesis. Applying this research on mimesis and expressing them in Online video game design may be an excellent method for understanding human aesthetics in video game apparels.

• 대한한방피부미용학회지
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• 제1권1호
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• pp.177-197
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• 2005

Acute Mastitis(急性乳腺炎=乳癰) is an acute suppurative disease appearing in the breast. It is mostly caused by galactostasis, the stagnation of liver-qi(肝鬱) and stomach-heat(胃熱). It is mostly found in breast feeding women, mostly in primiparae. It usually appears in the third and the fourth weeks of postpartum. At the beginning in the chest there appear induration, distending pain, galactostasis, inversion to cold with fever followed by the enlargement of the masses, burning red, megalgia, not subduing of chills and fever, the accumulation of it to form pus. In the early phase it is advisable to follow the therapeutic principles of soothing the liver and clearing away heat, promoting lactation and subduing swelling. After the formation of pus it is advisable to cut radially and drain the pus. External Therapy(外治法) generally refers to all the methods to treat various diseases and symptoms with application of drugs and manipulation or together with proper instruments on the body surface except the method of taking medicine orally Acute Mastitis has been regarded as surgery or the method of taking medicine orally But, based on many bibliographies, acute mastitis was treated by external therapy. Thus through the historical bibliographic studies of external therapy about acute mastitis, this study was made to help the expanding of the methods of treating acute mastitis.

• 한국의류산업학회지
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• 제13권3호
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.

• 복식
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• 제56권5호
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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.

• 디지털융복합연구
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• 제18권4호
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• pp.439-451
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• 2020

본 연구는 현대 예술에서 나타난 죽음 미학의 의미를 깊게 이해하기 위해, 먼저 예술 작품에 담긴 죽음의 미학적 발전 과정을 통시적 관점으로 정리하고, 다음으로 현대 예술 작품에서의 죽음의 미학을 분류하고 의미를 살펴보았다. 본 연구의 결과는 다음과 같다. 첫째, 죽음의 미학적 표현 형식은 죽음의 재현과 죽음 상징의 두 가지로 구분한다. 죽음의 재현은 실질적 대상 재현, 상상의 대상 재현을 포함한다. 죽음의 상징적 표현은 외면적 표현 상징과 내면적 표현 상징으로 나눌 수 있다. 둘째, 현대 예술에서 죽음의 재현성 표현은 죽음의 장면에 대한 묘사를 통해 죽음으로 인한 다양한 문제 및 철학적 의미를 더한다. 셋째, 현대 예술에서 죽음의 상징적 의미는 죽음과 직접적으로 관련된 것뿐만 아니라 죽음에 따른 다양한 심리상태를 표현한다. 후속 연구에서는 예술 작품에서 죽음의 미학에 대한 작가의 시각적 표현과 그에 따른 심층적인 의미 변화를 진행할 것이다.

• 복식문화연구
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• 제8권4호
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• pp.517-536
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• 2000

The purpose of this study is to investigate the internal and external line beauty of men's dress of the Chosun period from the views of dress design and dress aesthetics. 1) External Line Beauty of Men's Dress of the Chosun Period ① Functional Beauty : Having the beauty of functional line in terms of convenience, action, effectiveness, practivce and sanitation. ② Structural Beauty : Having the beauty harmonizing between lines of internal and external structures. ③ Ornamental Beauty : Having the beauty of simple line by matching accessories (gat, fan, sejodae, shoes) with a simple dress. ④ Wearing Beauty : Making tall-looking or expressing a mature masculine beauty by a visual mistake caused by a combination of internal and external structural beauty lines. 2) Internal Line Beauty of Men's Dress of the Chosun Period Including a simple but natural beauty based on natural philosophy, the beauty of courtesy emphasizing official hat and dress and the beauty of dress having aesthetic consciousness with which people enjoy an idyllic life.

• 한국연극학
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• 제48호
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• 복식
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• 제52권6호
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• pp.139-164
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• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.