• Journal of the Korean Society of Costume
• /
• v.51 no.2
• /
• pp.149-167
• /
• 2001

Today, every culture has taken on the compromise form by means of the cultural difference, variety, and pluralism according to the internationalization and the advance so that it has been developed toward the half-blooded and multilayered the aspect. In accordance with this current of the times, this thesis observed the feminism found in the multiculturism of the end of the 20th century, the third world, and technology with the side of the tendency of modern fashion, considered the hybride phenomenon which is pulling down the wall between culture and genre due to the social diversification. and predicted the fashion trend do 21st century serf on it. Multiculturism is the movement that began to arise in the academic world of America and the literary world form the close of 1980's in accepting the variety of culture and regarding the culture with the more balanced and wide view and just as it is, it means the attitude of accepting one or more cultures of variely and the position of taking interest in the culture of minority race not the culture of a governing race. It is the fashion of feminism adapts dualism like unisex, androgynous look, etc of bisexual lendency in the 1980's, it shows new style with crossover of liberal sense because there is not the difference of sex in fashion. The eco-feminism pursues the natural sexuality not being instrumental and dismantling and expressed it in the Gender expression of an integrated human being. The trend of ethnic fashion in the close of 20th century is that the element of hippie is working so strongly. By adding embroidery of Oriental style, accessories of Indian style, feathers, beads, a hempen hood to the ethnic costumes of Asia and Latin, is shows the figure of ethnic hippie. As the cycler fashion is the future clothes through technology of computer, it uses a cool glass material bringing up the image of a spacesuit in order to expresses cyber image through artificial color combination of sheen colors, Though this techno-color fashion has established the fresh stimulation and the innovative aspect with ultramodern materials and image of futurism, it transmits a hope of estranged people and the natural elements. Hybride means a cross and mixture of animal and plant in Korean and is also called fusion. The phenomenon of hybrid predicts to comes the period of a cross and variation because something completely new comes into the world by contamination, mixture and compromise through meeting something different each other and it has on advantage of developing something existing to one more stage. It is prospected that in the society of 21st century, the borderline of traditional gender will be disappeared, variety and individuality will determine the individual behavior, and the masculine value will be substituted by feminine value. In the society giving priority to feminine value, a fashion stuck closely to women is what must reflect lives of woman under the proposition of woman's beauty, being on original function. So, it is considered that a fashion with added convenience and practicality having the function which is easy to put on, comfortable to act, able to express solves so much, and able to show various appearances according to T.P.O will get into the spotlight.

• Journal of Korean Philosophical Society
• /
• v.131
• /
• pp.165-197
• /
• 2014

In this paper, I investigate on the human nature in philosophy of Wang Yang-Ming and Buddhism from a Kantian point of view. The core argument of the philosophy of Wang Yang-Ming, Buddhism and Kant is that all human beings have the pure abilities a priori to overcome themselves, to realize their own potentialities. This is called immanent transcendence. At this time human beings can be free. Kant, Wang Yang-Ming and Buddhism claim that all human beings themselves will overcome their desires from their mind and body through the immanent transcendence, reflection and contemplation on their own. When we give up the external knowledges, throw away obsessions with the selfish desires and go back to our inside, we can see our original nature. To have an insight into this inner nature, to respect the moral law a priori, this is to overcome the ourselves, and to be a Grate Man(聖人) and a Buddha. This way is the only way to be a Grate Man and a Buddha. The main proposition of Wang Yang-Ming's philosophy is expressed 'There are no things without mind.'(心外無物) The core of Kant's transcendental philosophy is called the Copernican Revolution by himself. Copernican Revolution means the transition from the object-centered epistemology to the subject-centered epistemology. 'Innate Knowing'(良知) and 'Perform Innate Knowing'(致良知), 'All human beings have the mind of Buddha'(一切衆生悉有佛性) contain the apriority, immanence of Moral Law. In this respect, the theory of Innate Knowing in Wang Yang-Ming and mind of Buddha in Buddhism, pure Moral Law in Kant has the same structure grounded in subjectivity. Even if we have the mind of Buddha, innate Knowing, moral law a priori, the reason why we don't know our original nature is that we fall into the obsessions with selfish desires, and that we have inclination to external interests. So the moment you see our original nature, ordinary people themselves turn into a Buddha. These changes and transitions are immanent transcendence. All human beings have the ability to do this changes and transitions. Buddha does not exist outside of us, but it exists with our reflections on our human nature. Buddha can not existed without our insight into the our innate Ego. Where there is our original nature, there is a Buddha. So Buddha is called the another name of the original figure of human beings.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.2
• /
• pp.172-195
• /
• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.