• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.898-918
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• 2022

Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers' collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun's collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.752-765
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• 2022

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers' designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers' design characteristics through Greimas' Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas' and Floch's semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas' semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.10-19
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• 2002

The sublime as one of categories of aesthetics has given a great influence over art. Particularly, painters of Color-field Abstract, which can be considered as the art of the sublime, have tried to sublimate their art to the level of spirituality through expression of sublimity. The purpose of this study is to grasp distinctive peculiarities of sublimity expressed by Rothko, a Color-field painter, in his architectural work, Rothko Chapel, and manifested by Feldman through his musical piece, also titled Rothko Chapel, respectively.In conclusion, it is found that sublimity was expressed in both works through ‘immobile procession’ corresponding to ‘dualism’ of the sublime as Kant defined. More specifically, it is clarified that such immobility was expressed through the attributes of the sublime as suggested by Burke, and they implied dualism.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.5
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• pp.137-145
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• 2016

We are accustomed to using the word 'beautiful' when we see something, but we don't use the word 'sublime' very often. In fact, these two words have totally different meanings and we can say 'sublime' only for special objects. The notions and objects of sublime have been studied by numerous philosophers ranging from Longinus to Burke and Kant. According to their studies, we can feel sublimity from objects which give us fear, because the sublime is inherent in fear. Therefore, in this study, we considered the sublime in the gothic novel, A Rose for Emily, in which we can find solemn sublimity in Emily's iron gray hair, her black suit, and a red rose which stands for blood. In addition, we can feel sublimity in the image of Emily who is waiting for Homer and the image of Homer's dead body. These kinds of images instill us with fear, but also show us tragic sublimity. The sublime exists in all kinds of literature and, therefore, more studies and analyses of the sublime in literature will likely be conducted.

• Journal of Science of Art and Design
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• v.3
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• pp.178-224
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• 2001

This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.74-90
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• 2008

Since the late of 20th Century, philosophy, art, and aesthetics have attention to the movement of object that persue the dynamics and qualitative change, not existing fixed and quantitative object. Qualitative continuity, including discontinuity of specific spot and surface that occurs sudden change, is distinct characteristics considered in contemporary logo civilization, which combines and disperses according as various purpose among the different elements and objects. Therefore, I studied about the characteristics of qualitative continuity that creates the change and the differentiation continuously through the "formative characteristics of the continuity expressed in contemporary fashion" of my preceding paper. This paper is the following study of above mentioned paper, and Investigates about aesthetic consciousness leading to the various change. This is intends to consider the trans-aesthetic consciousness that accepts dynamic movement and change the different object and reforms new relationship continuously. This studies' conclusion is as follows; 1) sublimity-Infinity, de-constructive, excessive 2) jouissance - functional, structural 3) paradox-perceptual, spatial. A study about the trans-aesthetic consciousness would help to offer philosophical basis, and make a change building aesthetic foundation in explaining various relationship like as phenomenon of the retro, neo, post, fusion expressed since the late of 20th Century.

• Journal of Fashion Business
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• v.6 no.6
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• pp.56-67
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• 2002

Fashion designs reflect the trend of the times embedded within the cultural structures of eastern and western civilizations as well as the traditional styles. However, the motives in fashion designs fundamentally come from human beings' willingness for creation through deep understand of nature or using symbolism and artificial esthetic appreciation. Mankind has expressed their willingness for creation through speculation not with the attitude of conquering nature but by acknowledging the flow between their lives and nature. The purpose of this paper is to investigate human beings' transcendental and embracing attitude toward the natural environment and the human environment in fashion design. In natural environment factors, sublimity toward nature's marvelous powers and the transcending state of mind within happiness and delight or the extreme fear or unavoidable coerciveness and the consequential daunting feelings and smallness, and sorrow all stimulate the will of mental speculation and cause a transcending sublimity. A sublime state of mind does not exist in a superficial framework of enjoyment. It is rather an act of transcendence and embracement residing in a sublime object and leading man's spirit into a state of philosophical thought. Also, in man-made Environment factors, we found from magnanimity we were ability to see the true nature of an era's culture.

• Journal of the Korean Society of Costume
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• v.38
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• pp.369-392
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• 1998

In order to identify and describe the central core of fashion desire, the concept of“anti-aesthetics”and“open fashion”were analyzed based on the discourses of postmodernism dis-cussed in the field of sociology, culture, art and philosophy. In this paper, first, the new perspectives of fashion related to modernism and postmodernism were proposed, open concept, anti-aesthet-ics which is ephemerality but eternal ideology. Key principles of postmodernism as anti-aess-thetics mean the philosophy of nihilism proposed by Nietzsche indeterminency, the endd of original art(the death of art), the sublimity provided by Lyotard, and the pluralism to release human from the closed way of thinking, value, ideology. Second, the old and classical definition of fashion,“the differentiation of class”proposed by Veblen and Simmel has been changed into the“differentiation of taste”in postmodern condition. Third, the dichotomous system, that is, ration vs emotion, soul vs body, male vs female, culture vs nature, and so on has been deconstructed and disolved in the postmodern fashion phenomenon using the technique of anti-formalism, such as pastich, parody, bricolage an kitsch for the expression of sublimity and freedom of human.

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.1
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• pp.104-126
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• 2004

The recognition of the environment and its importance have generated various types of parks, such as the ecological put the environmental put and the natural academy. They are considered the connecting media for the creation of space as a new paradigm in design for the 21st century from the late 1990s, environmental designs in space planning have been created from various angles of Perspectives including restoration of the natural ecosystem and introduction of natural circulation systems. Based on the aye facts and through theoretical examination of environmental park models, this research (1) establishes the concept and the significance of environmental parte; and, based on this, classifies the types of industrial sublimity; (2) presents environmental designing principles and standards; and (3) presents the "Chung Ra pro-Environmental Park plan" based on these ideas. The following is the summary of research results: First, while existing city parks are human-oriented, interior-oriented, and shape-centered, an environmental park considers human and nature equally and gives great importance to the relationship between the internal and external of the subject. It is a mark of environmental education that considers the natural ecosystem. Therefore, the environmental park is the 21st Century′s type of an open park for creating new forms of nature, as well as for incorporating culture and values through education. In such an environmental system, nature, culture, and human beings pursue balance, harmony, and security through mutual recognition. Second, in a broad sense, the types of environmental park can be classified into Cultural Restoration, Ecological Conservation, and Environmental Replacement. Third, by selecting Chung na environmental park in Incheon, which is a filtration plant lot, as a research subject, I have presented alternative planning for environmental parte in which culture and nature coexist on the basis of environmental planning principles and standards.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.3-15
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• 2016

Between various ideological experiences, such as spatial, artistic and religious experiences, a consistent and transcendental sense exists, which is difficult to systemize or establish, in all the senses human beings experience. It shows that the depth of essence may be much deeper than that of religion or science in limits of humans' thinking and experiences. On the premise that we need to rationally understand and systemize such a sublime experience, it is thought that we will be able to expand the system of our senses through a new approach breaking away from the previous concepts used to interpret a spatial experience. Rudolf Otto, a German philosopher and comparative religion scholar, explains such an essential sense through Numinose Theory. As his theoretical analysis and approach are used to explore the mechanism of such a transcendental emotion, which is impossible to express with such words as 'sanctity', 'sublimity' and 'reverence', from various perspectives, but intend to exclude dogmatic logic. Therefore, they seem to become new and useful tools in aesthetically understanding space design and objects of arts. Thus, this study aims to examine what value Numinose Theory has in the aspect of understanding space design, based on which this study intends to use the Numinose concept as a concept of interpreting 'Jongmyo Jeongjeon'.