• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.538-548
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• 2000

A study analyzes the eclectic trend shown in Andy Warhol look to explain the pluralistic aspect which is expressed in the late 20th century's fashion. Eclecticism is a trial to dismantle the barriers between pure art and popular art, high culture and low culture. This pursues harmonious accommodation and coexistence of all areas without being confined in the conventional lofty taste or high art. This thesis studies the characteristic aspects of the eclectic trend by classifying this trend into sell culture, mass media and fashion around the Andy Warhol look. The sexual eclectic trend in Warhol look is bisexual one shown in clubland and the world of modeling and supplies fashion with abundant expression and ambiguity. Warhol established cultural eclecticism by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion and escaped from the fixed idea on materials and design. Also he generalized and democratized specialty or nobility conventional paintings had possessed through introducing repetition and mediocrity and fully utilized every kind of mass media, Hollywood movie stars and daily necessaries in producing works. Andy Warhol who asserted‘Business Art’that was the mixed form of artistry and commercialism had creative and futuristic taste and proposed the direction to develop current fashion and art where the concept of economy is importantly brought into relief.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.10-21
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• 2009

The shape of floral pattern in the period of Rococo are a pots, a flower and ribbon style, a flower and a stripe style, a lace style and a scene style etc, and also in that time an apperance of softness of curved line, delicacy and smoth line, irregular and unrestraint line, motive of tiny and extra ordinarily, little bunch of flowers, and stripe style was a feature. The style of presentation were a presentation of fixed style such effect as lace, and a presentation of realistically style emphasized a massiveness and a cubic effect, and also used a natural color, and the presentation of abstract expressed like imagined anything and fancied. Weaving expressed delicate, brilliant, fantastic, and an atmosphere with elegant. embroidery was expressed in creation with emphasized in reality. Printing was fantastic with exotic in development of chintz due to effection of orient. The based on a salon civilization, the refind beauty of taste of royalty gave a refinded feeling with over affectionate in preference with a softness of curved line, and a motive of tiny and extra ordinarily. The classical beauty of elegant was realistic in being concentrated on building up blance and homony. The natural beauty of romantic was in being devoted the theme with soft and fantastic.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.403-413
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• 2005

The purpose of this study is to interpret the elegant dressing visualized in modem fashion on the basis of the concept of elegance in dress and its aesthetic characteristics from the holistic viewpoint. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding, considering from the documentary study. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony. To grasp the trends of elegant styles since 1990s, contents analysis of the articles related to elegance in Vogue has been done. As a result, they have been classified into four groups of elegant styles which are Classic, Elaborate Couture, Soft Minimalism, Kitsch Elegance. Classic Elegance and Elaborate Couture Elegance represent traditional ones with conservative viewpoint. Soft Minimalism Elegance is a modem version of elegance. According to postmodernism as a open system, even kitsch has been refined to keep accompany with elegance fur aristocratic taste of high class. As a result of this study, in fashion from the 16th century to the first half of 16th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society. However in the end of 20th century it seems to start to fade in fashion trends such as mass fashion, youth culture, casual fashion etc. Rather, it can be thought that elegance has been expressed as one of the aesthetic values in dress, by virtue of its value of high class as well as its conservative stability.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.102-122
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• 2001

Uymsikdimibang(음식디미방) - a book written around 1670 and implying the methods of understanding the taste of food and drink - records many kinds of alcoholic drinks. it is obviously a practical problem to explain the process of brewing alcoholic drinks. However, if we intend to approach the alcoholic drinks on the practical aspect, we can not explain why many kinds of alcoholic drinks were brewed. I acknowledge only that it was true to have brewed rice wine easily on the basis of the increase of the production of rice and the two-crop farming system of rice and barley in a paddy field as well as, for many kinds of alcoholic drinks to have increased as a result of the development of brewage since the middle and second half of Chosun. It is not until we approach the alcoholic drinks of those days on the level of meaning, value, and symbol that we can get a correct answer as to why Uymsikdimibang records many kinds of alcoholic drinks. In the second half of Chosun, confucian ideology was firmly established in country village societies, the idea of clan rules was instituted, and patriarchal system was organized. Such a social atmosphere was to emphasize the practice of confucian moral principle such as performing religious service on one's ancestors and receiving a guest, and in the course of it, the alcoholic drinks were recognized as important materials all the more. It seems that the subdivision and elaborateness of the meaning of the alcoholic drinks were in progress. As a result, I think that the alcoholic drinks would vary in kind and be graded. From ancient times, the alcoholic drinks were men's favorite foods, and the significance of the authority and prestige given to the alcoholic drinks was increasingly promoted by the rise of the social position of men in the second half of Chosun under the influence of confucian ideology. Subsequently, the alcoholic drinks became symbols which represented even the family's tradition and dignity. Therefore, men born of the nobility(Yangban) tried to brew the various and dignified alcoholic drinks relatively. Through the brewage such as this, they endeavored to maintain their privilege. I think that the diversification of alcoholic drinks was developed in the process of a series of social-institutional change.

• Archives of design research
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• v.11
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• pp.130-139
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• 1995

The dictionary defines the word 'Design' as planning and designing. Though this is a meaning confined to decorative function, the conception of modern design in this capitalist society of mass production and mass consumption can be said to have reached a new stage of the meeting of industry and the arts. This means the two sides of design' the side of beauty and usefulness The side of beauty should be understood in view of the sense of beauty, and usefulness should also be considered from the viewpoint of consumer's taste and preference This is thought to be the natural problems of design The origin of design can be understood from the background of capitalism. But the capitalism can be said to be the mode of Western thought and action developed based on Western thinking. The capitalism is an economic system derived from the society of industrial capitalism through commercial capitalism. but this economic thinking has been resulted from a mature social system of democracy and civic society. The civic society and democracy are derived from polis of ancient Greece and Rome. and the ancient Greek and Roman society was a society developed from the social system of the nobility and slaves. Polis continued to develop based on the positive territorial expansionism centering around the Mediterranean on the basis of Hellenism. and European countries achieved the intergration of religion. society and politics based on this. thus accomplishing the spirit of capitalism Our design is believed to have been derived from the direct import of Western capitalism. Accordingly. as the original form of Western capitalism has become our economic system. so our design copied that of th West. And our traditional culture and sensitivity which are different in the original form and root of racial disposition seem to breed discord between them. It is. therefore. very important and meaningful for us to exert all possible efforts to seek the root of our disposition and tradition and grope for the appropriate thought and style of design.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.37-50
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• 2016

Recognizing the problem of fallacy in geographical name of Changokbyeong(蒼玉屛), assumption has been made on the location of Changokbyeong through literature research on antique maps, ancient paintings, and old prose, through field survey on rock inscriptions and landscape characteristics, and through interviews with local people. Furthermore, Baegyeonwa, the Cuckoo Hut, and Iyangjung(二養亭), an annex to the cottage, both of which were managed by Saahm Park Soon(思菴 朴淳), the Subject of Jouissance, were studied in depth with emphasis on the spatial structure as well as special features of the area as a garden. The major findings are as follows: Changokbyeong is a spatial threshold that imparts a sense of unity with Okbyeng seowon(玉屛書院) and indeed Changokbyeong is presumed to have been the frontal river terrace of Okbyeng seowon according to the analysis of antique maps and rock inscriptions. This ancient location and the Ogari Stone Wall, the present day Changokbyeong, are only 460m away so that both areas are considered as falling under the influence of Changokbyeong landscape. The expression "Changokbyeong Geupsangeum(蒼玉屛及散襟)" written in an old prose tells us that the high rock wall with Sangeumdae inscribed on the rock might be the rock wall of Changokbyeong. In addition, while not a single rock inscription has been found on the Ogari Stone Wall, 11 rock inscriptions designed and ordered by Saahm Park Soon, the Subject of Jouissance, are found on every corner of the high rock wall standing in front of Okbyeng seowon, 8 of those 11 being place names and recitative poems(known as Jeyeongsi: 題詠詩) in close formation resembling the handwritings in a little notebook. This provides a strong evidence for assuming the location of Changokbyeong to be the frontal river terrace of Okbyeng seowon. The "Songgyun Jeoljo Suwol Jeongshin(松筠節調 水月精神)" rock inscription on Changokbyeong should be considered as the stamping ground and as the symbolic language of Changokbyeong that bears the high character and nobility of the Subject of Jouissance, Saahm Park Soon. The inscription should also be recognized as the handwritings of Wooahm Song Si-Yeol(尤庵 宋時烈) correcting the misconceptions that persisted until today. Meanwhile, the garden remains of Saahm's Changokbyeong are composed of four sites: Sangeumdae-Sugyeongdae-Cheonghakdae-Baekhakdae from the left. At the back of Sangeumdae, there is the original house, the Baegyeonwa(拜鵑窩), and on the fantastically shaped stone wall at the left of Baekhakdae, there is the annex, the Iyangjung, together creating a landscape composition that overlooks the splendor of the Ogari Stone Wall. The Iyangjung is located on the highest spot to the left of the four sites, and it is believed to have been a little outhouse and library for Saahm which remains to the present day as a place where Saahm's character can be felt. The drinking plates[窪樽] made of rock that are affectionately arranged on the broad flat rock in front of Iyangjung is part of the garden remains that reflects the artistic taste of Saahm regarding the drinking culture at the time.