• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.113-123
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• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.1-14
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• 2009

This study was aimed to make clear fashion is an expression art displaying not only functional or commercial aspects, but creative functions as an artistic work by analyzing Art Mode and its values, and to help develop more creative design by combining fashion with art. In terms of method, relevant documents, precedent studies, and the works announced in domestic and foreign fashion collections, such as Vogue, Fashion News, Gap, and Collections from 2000 to 2009. According to the findings, artistic works were used by the Art Mode in modern fashion. The respect of artists was expressed using historic famous painting works or current works in various fields, designers' individuality was shown by directly applying work messages to clothes, and fashion design was converted into a tool to communicate the messages like artistic works. Second, the various styles, using the formative character of modern art styles from animalism to modern abstractism, showed the creativity of design, transformed art into the art that enables to see the image of modern art, and presented the possibility of developing into a newer creative design through the application of numerous art styles and the transformation of ideas. Third, the collaboration with artists was used. Fashion designers or fashion brands tried to change the images of works or brands in partnership with artists or to increase differentiated images. The future direction of fashion is a pursuit of new form and content to express fashion, not simply to use artistic works. It is expected that such pursuit will lead to more creative and artistic fashion design.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.627-633
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• 2006

This study examined the kinds, expression, techniques and arrangement of patterns for the traditional women's costume from 1995 to 2002 in North Korea. And the results were compared with South Korean. Conclusions are as follows : In the kinds of patterns the natural plant patterns were much more frequently used in North Korea. These tendency was same to South Korea. And the geometric patterns were more frequently used in South Korea. According to frequency in the expression of patterns, it was the realistic, geometric, stylized shape in North Korea. To the contrary it was the stylized, geometric, realistic shape in South Korea. In terms of decorative techniques, not only the traditional embroidery, gold leaf, multicolored stripes, but also modern collages, painting, beads, applique, flounce, ruffle were used in North Korea. Modern techniques were found comparatively a lot in North Korea, traditional techniques were found comparatively a lot in South Korea. In terms of arrangement of patterns, the modern arrangement was much more frequently used. And localized type of modern arrangement was found comparatively a lot in South and North Korea. Therefore traditional beauty was generally expressed by natural patterns, realistic shape and modern beauty was generally expressed by modern techniques and arrangement of patterns in North Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.1 s.41
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• pp.97-110
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• 1992

Impressionism was the epoch in art which marked the beginning of modern times. For the relatively short period of twenty years, from the middle of the 19th century until approximately 1875, Impressionism was style forming. Then the dissolving tendencies became increasingly stronger A number of artists remained true to the style, some of them lifelong, well into the 20th century. Other, after years of experimenting with other styles, returned to their Impres- sionistic beginnings. However, they were individual personalities with their own artistic hand. Quite a few painters entered the circle of Impressionism after 1875 & used the perceptions of this art in their later works. Especially, Impressionism's light & color affected both 20th's painting & other sorts of art. From the fashion point of view, the influence of Impressionism affected a great deal on the 20th than 19th fashion. As a result the influence of Impressionism on Modern Fashion was as follow: 1. The soft, pretty pastel color was illuminated Modern Fashion. 2. Impressionism affected on the elegance, feminity of design of Modern Fashion

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.380-392
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• 1995

The purpose of this study was to investigate a comparison between method of depaysement of Surrealism and modern costume. Surrealism was based on Freud's theory of uncon\ulcornersciousness and Hegelian dialectic. I found that its method of expression and inspiration have a continuous influence on a field of fashion through preceding study. Surrealism stimulated Elsa Schiaparelli (1890-1973) to make creative and innovative costume which created a sensatio.i1 the world of fashion in 1930. And it have been influence on modern fashion. From this point of view, I examined surrealistic painter of Rene Magritte (1898-1967) to use shocking method of depaysement through literature and photographes. And I made researches on Paris London collcetions from 1989 to 1994 in the cause of analysis a comparison with depaysement in painting of R. Magritte. As the result of analysising main works of R.Magritte according classification of Suzi Gabric (an art critic), he was expressive of usual object in various of depaysement. I also proved that modern fashion which was new shocking, innovative and avant-garde presented unconsciousness through these expression of depaysement with common subject. In consequence, the method of expression of surrealism have been a durable influence on modern costume.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.115-125
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• 2016

This study analyzes the characteristics of the motifs and colors in flower and bird paintings which contain and present Korea's unique aesthetics based on its richest data among all other types of Korean folk paintings. With a theoretical exploration of folk paintings and an analysis of the motifs and colors, textile design with an aim to present highly valued korean modern fashion design was developed. Two hundred and seventy flower and bird paintings were selected from relevant materials, resulting in an extraction of 5,068 colors. A palette of representative colors was made based on densely distributed hues and tones. The research can be summarized as follows: Flower and bird paintings contain flowers, birds, trees and animals and the motifs in the paintings stand for spirituality, philosophies from different times and other symbols of our nation. Each of the motifs in these paintings is a prayer for good luck, especially conjugal harmony and fecundity to bring about happiness and richness. Colors in flower and bird paintings are characteristic of the order: YR(25.5%)>R(19.2%)>Y(10.6%)>PB(9.2%)>G(7.9%), with low-chromatic YR and highly bright R taking up a larger percent. The order of tones is: d(13.5%)>dk (10.5%)>s(10.4%)>dkg(10.0%)>sf(9.1%)and the tone is dark in general. YR, taking up the largest percent, was dull, light, and soft. As for the achromatic colors, the order is: W(5.2%)>Gy(1.9%)>Bk(0.7%). Based on the above analyzed color data, those colors which were high in their hue and tone were extracted to present representative colors. In this way, representative colors like yellow, yellowish red, red, green, and purplish blue were extracted. This was the basis to present motifs and colors originating from subjects of folk paintings in various patterns using Illustrator CS6, to create modern fashion design.

• The Journal of Art Theory & Practice
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• no.16
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• pp.139-174
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• 2013

Pliny the Elder said that multiple cultures agree that the painting began as a shadow trace. A daughter of Butades, the potter in Corinth, traced an outline around a man's shadow, and it was the very beginning of painting. In this anecdote, the profile, i. e. the portrait substitutes body of the absent lover. It makes the absent body present and replaces his place. In this context Hans Belting put the anthropological value to this visual practice. Human being made images to cope actively with the shock of death and the disappearing of body. With the aid of the representation of the bodily presence, the image struggles to resist the death. This paper is a study on the critical meaning of representation in the context of bodily survival by image. The representation is the paradoxical trick of consciousness, an ability to see something as 'there' and 'not there' at the same time. So the connection between image and the body would be suspicious. Although this relation was tight in the ancient shadow painting and the medieval effigies, the modern visual practice forsakes this connection and exposes the trick of representation. It insists that image was not real and even expels the medieval visual practice from the boundary of fine arts. The genealogy of the portraiture is formed by two different visual practices. The belief and the disbelief in the image are observed in the process of representation and anti-representation, and this ambivalence transforms the ontological meaning of portrait in the visual representation.

• Journal of Fashion Business
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• v.16 no.6
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• pp.63-79
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• 2012

Modern art is getting more comprehensive and diversified regardless of genre in many forms due to the pluralism and anti-aesthetic trend of the time which is impacted by post modernism. This atmosphere is also applied to fashion illustration which creates synergy effect in cooperation with many different genres. This study selected Matisse' paper cut-out as the subject which would reflect the minimalism and ionism of modern plasticity. By taking this as the motive for fashion illustration, I made seven illustration works with the subject of minimalism of form and color. The conclusion of this study is as following. First, Matisse's paper cut out has controlled plasticity related to the modern ionism and it well fits the modern trend and sensibility which is appropriate for motive of fashion illustration. Second, by upgrading the technique of Matisse' paper cut-out in a modern way such as combination of hand drawing and computer graphic using Photoshop, I was able to make originative and creative illustration works with background and patterns that were closely connected with each other. Third, applying the fashion illustration to other various products is being well received now and I made my illustrations that could lead to follow up studies to apply the fashion illustration to other different products. Matisse' paper cut-our has forms, colors and patterns that can contain both commercial and artistic value. Therefore it is quite feasible for follow up research to apply into many different areas.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.159-171
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• 1992

Renaissance Age is called the Period of Discovery because of great development of the economy and the science, and is known the Period of scientific analysis of Man and of interest of Nature out of a blind obedience in the Middle ages. Especially in visual art architecture, painting and sculpture, the rational spirit of Renaissance actually and distinctly communicates the meaning of Work through the scientific and mathematical expression after a finding Perspective by Brunelleschi. So the puropse of this study is to clarify the substancial meaning of Renaissance Art by investigating the expression applied Perspective to the works of Brunelleschi's architecture, Donatello's sculpture and Masaccio's painting.