• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.37-51
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• 2000

In this study, New Orientalism represened in modern fashion is defined a new idea that harmonized with factors of eclecticism, traditionalism, naturalism, and futurism and these characteristics are examined. First, as these features, it is the phenomenon of eclecticism presented beyond regions and sex. Second, it is the phenomenon of traditionalism newly expressed traditional images in a modern sense by using and changing of a oriental dress image of the of the past. Third, it is the phenomenon of naturalism revealed an unalloyed recurrent instinct about nature and a desire for yearning. Fourth, it is the phenomenon of futurism which is come out the factor of oriental images whithin a minimal and cyber environment. This paper might be the foundation for Korean Orientalism which could be not a just pastiche but a cultural commodity and s main fashion current with a cultural identity especially in the year of 2000, "New Arts Year", declared by Ministry of Culture and Tourism.

• SUVANNABHUMI
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• v.10 no.1
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• pp.7-34
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• 2018

Finding distinguishing characteristics of Southeast Asia has proven to be a significant challenge: by focusing on the encounters which primarily colonial British writers had with the region's state rulers, it becomes possible to recover the early conceptualizations of regional governance. The writings of Henry Yule, Anna Leonowens, Sir George Scott, and Hugh Clifford all document the "orientalist" features of Western discourses because these writers at once were affected by it as they contributed to it. The discourse about royalty and rulers was central to many of the tropes associated with orientalism, but also with 'ornamentalism'. David Cannadine has shown that ornamentalism (in which British conceptualized many imperial practices in relation to their own hierarchical conceptions of society) was as critical a feature of imperial outlook as was orientalism. The need to understand ruling elites was at the heart of the imperialist project. Tracing the ways in which colonizing powers represented the region's ruling elite offers a new avenue for recognizing the affinities of the regional experience. Beyond orientalism, the paper explores questions about the representation and presentation of authority. Understanding the conceptualizations of rulers is connected to the comprehension of social organization-including representations of "traditional society."

• Journal of the Korean Society of Costume
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• v.43
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.131-146
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• 2000

The starting point of this study was that the Orientalism reflected in the modern clothing is realized the different view by Western and Eastern. Based on this regard, this study semiotically analyse that clothing is creating the cultural values and signification and that the western designers are reproducing an ideology as orientalism being the western-oriented thought when expressing the Asian image in the modern clothing. The theoretical sides are based on the semiotic analyses of F. Saussure, C. Peirce, and R. Barthes. By the result observed through this study, the Orientalism reflected in the modern clothing designed by Western designers are discriminative image, mystic image, past-oriented image, natural image, and complex-eclectic image. The discriminative image is reproduced as a savage and uncivilized image. In addition, it regarded as a decorative and superficial image is expressed as if it is an uncharacterized and underdeveloped image in the modern clothing. The mystic image is reproduced as a romantic image to stimulate Westerners'curiosity. That is, Asian image is regarded as a dream and magical image rather than a scientific and rational image. The past-oriented image is expressed through restricting Asian positive image in Asian historical glory. The natural image differs from Western image based on science in the modern clothing. The modern clothing regards the natural image as a primitive and instinctive image. The complex-eclectic image is the pastish pattern through selecting and distributing heterogeneous materials in the modern clothing. This study critically analyzes the western-oriented thought of orientalism in the modern clothing. The results of the study imply that it is critical that we provide a new contact point for the East and the West in the context of our Asian values and traditions.

• Proceedings of the Korea Society of Costume Conference
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• 2005.05a
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• pp.117-117
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• 2005

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.31-39
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• 2012

Ecosystem and environment have been a serious challenge facing the modern society. It's been the new paradigm from ecological view of the world and the alternative based on Orientalism. From the Oriental standpoint, ecological aesthetics and sustainable architecture are no longer new, which then servers the background of this study. The nature and the space, the life where the human is harmonized and integrated and the wish to make the balance through that life are the basic philosophy which the Orientalism has pursued. Based on such a basic concept, the study is intended to review the connectivity, expression approach and the features in Korean traditional residential space based on previous studies on ecological aesthetics and sustainable architecture. Such attempt is meaningful in seeking the possibility of presenting the new frame as well as forming the various views to the traditional space and spatial recognition. The nature was categorized into tangible element and intangible element and also direct approach and indirect approach before evaluating the characteristics. Sustainable architecture is not the concept to simply maintain or sustain the environment, but plays more important role in economical aspect. Traditional space accommodates the nature and circulation principle and the circulation in the nature controls the energy and enhances the efficiency, playing significant role. The nature itself serves the alternative energy and has the aesthetic element in such a way of concealing itself. This study is intended to analyze the Byulseo Jeongwon which formed many relations with the nature and the residential space, thereby identifying the expression characteristics of eco-aesthetic sustainable architect. This study offers the answers with regard to the coexistence of the expression characteristics of sustainable architecture with the nature, space and the human from eco aesthetic viewpoint as well as the solution in dealing with the ecological and environmental challenges. Furthermore, it suggested the possibility that the traditional space would possibly be succeedable in new and creative way and sought the way for coexistence among the nature, space and human and eco aesthetics, and finally paved the pivotal foundation as the sustainable design alternative in future.

• Journal of Fashion Business
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• v.4 no.4
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• pp.55-70
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• 2000

The purpose of this thesis is to suggest the new orientalism fashion through the comprehensive approach to analyze the art of the Tang dynasty, China. Tang dynasty has high culture, economy, polity and art. Also the character of Tang's culture is very international. Therefore that point is coincide with fusion culture in the early 2000's. As a method of accomplishing this research, the documents and fashion magazines related to the art and fashion were examined. Through analyzing the art in the Tang's related to fusion culture, reach a conclusion that the modern fashion has four characters. 1. The cause of high culture and economy, the trend of fashion was decorative 2. The cause of realism, the trend of fashion were modern and simple. 3. The cause of rhythmical line, the trend of fashion had natural drape. 4. The cause of globalism, the trend of fashion mixed east with west This research keep going for showing new orientalism and coinciding with 21th century's trend.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Korea Science and Art Forum
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• v.20
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• pp.455-464
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• 2015

As the recognition toward the Korean design education development to nurture creative talents for the future society has been expanded recently, various supports and promoting strategies are being suggested. This study suggests the orientalism-based new design education platform in design education field to nurture creative talents. To have the competitiveness of creative talent nurturing, the system and education programs to rear creative talents are required. The purpose of this study is to suggest the new platform for the change of direction in design education and search for the methods in detail. The research process can be described as following: First, this study stated about the research background and its boundary. Based on the literature review and the condition of the crisis of Korean design education (Korean Industrial Statistic Investigation), it described the current condition and the characteristics. Second, this study stated about the education which will be disappeared in the information society, the change of direction in design education, and the new platform. In the current study, the change toward the strategies that give priority to the growth strategies on the knowledge-based industry was stated. Third, this study stated about that the future design education should be centered on the orientalism-based creativity in the trend changing to the six conditions for the future talents and the beliefs and values toward Asia, and what methods should be sought to achieve this trend. It suggested focusing on the aim for the direction for College education and its program curriculums as the solutions in detail. Fourth, based on the contents stated earlier in this study, it stated synthetically the direction of practice through the network of the design cluster and derived the implications. In conclusion, based on the recent orientalism-based mind, this study suggested the ways to find the identity of Korean design education itself and have the competitiveness in design education programs. The ways to secure them is to come from the integrated system innovation of the network. By actively applying the design clusters, colleges and universities, designers, studios, government policy organizations, design institutes, corporates, media, and fairs, this study suggests the sustainable education system and the practical methods.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.20-31
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• 2011

Decentralization is an effort to liberalize people from its character of neutralizing or restraining people while indwelling in the previous thought system. Decentralization in fashion is one of the phenomenon of post-modernism fashion, and it is closely related to de-culturalism, crossover, abolition of rank, and etc, and it is in line with Asian look which includes orientalism fashion. The study intends to consider the Phenomenon of Decentralization of Asian Look and its Method depicted in the western fashion. The study focuses on documentary data, and the it is held with the basis of Asian look shown in western fashion. If ideology which influenced the formation of folk costume of Asia, Asian look is the dissolution of such ideology, and post-modern amusement is substituting it. The most conspicuous characteristic of decentralization phenomena of Asian look is pastiche which is a combination and reallocation of external style of many cultural zones and many folk costumes, and it shows mutual irrelevance, and it is a neutral imitation which has internal meaning and humor disappeared. Also, Asian look shows characteristics of parody and irony, which are reversal characteristics of aesthetic value which is expressed through methods of addition, modification, distortion, exaggeration, inversion, dissolution, and etc. Parody which is expressed through imitation regarding previous style shows effect of humor or satire, but its characteristics show that it expresses respect or admiration regarding the original The method of irony is showing sarcasm with ironical method regarding the peculiar style of Asian folk costume, and it pursues unexpected shock and joy, and it is closely related to orientalism fashion. Expansion and constancy of Asian look reflects the interest regarding folk of Asia and Asia, and it is a movement which intends new attempt by abolishing stereotype, and furthermore, it is expressing liberty of humans.