• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.330-341
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• 2018

In recent years, a number of Chinese artists are interested in 'Chinese-style'. 'Chinese-style' can be understood as an art form in which Chinese elements are combined with modernized sensibilities. This paper analyzed how Chinese traditional elements can be effectively implemented in fashion photography, focusing on Chen Man, a leading fashion photographer in China. Our research shows that Chen Man looks to the traditions and history of China to inspire her modern work, which makes her unique as a Chinese fashion photographer. She tried not to repetitively express typical images of Chinese elements but to visualize the symbolic meaning of traditional elements as new images of modern China. Through this practice, she were able to effectively communicate the images of products and brands promoted in fashion photos. Furthermore, her works are being recognized by not only the fashion industry but also the international art elite as they contribute to building and promoting Chinese fashion identity. Research on Chen Man's work is significant in providing a new way for 'Chinese-style' fashion photographers to reinterpret Chinese traditional elements without following Chinese tradition.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.47-57
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• 2021

The purpose of this study is to find out what the implications for communication in the Untacted era are through interpretation of works created by researchers for communication and relationship using traditional Hanji materials as a new communication method to cope with the situation of Corona 19. This work uses an in-depth interpretation of the motivations, intentions, and meanings of researchers who are challenged with their experience, knowledge, and intuitive insights. The works and interpretations that were originally exhibited for the purpose of human relations and communication using Hanji materials representing traditional Korean beauty are as follows. First, creative activities that utilize traditional materials for human relations and communication through overcoming the limitations of the untact era, such as Corona 19, are helpful for mutual understanding and finding meaning. Second, the use of traditional materials for the formation of relationships and communication between people in the same ethnicity, language, and space can be a medium for forming a common perception. The findings will provide motivation for the use and expansion of human relationships and communication in disaster situations as basic data.

• Korea Science and Art Forum
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• v.35
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• pp.315-329
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• 2018

This study starts from the points of comparative analysis about cultural differences of old traditional communities. Those communities are Chinese Fujian tulou and Historic Villages of Korea Hahoe and Yangdong. (i..e.Yangdong ) I worked field study on traditional communities in two countries and literiture study. I have analysied on characteristics of Fujian tulou and Yangdong. and compared Fujian tulou's characteristics with traditional characteristics of Yangdong The results of this study are as follows. First, Fujian tulou was built according to the nature, and they have worshipped their anscestor and they are the blood relative community. Second, Yangdong was built according to the nature, too. But Yangdong has been completely reflected the confusianal societies' classes.( ex : yangban and slave ) Yangdong has the characteristics on confusianal community. From the results of this study, I think that further study is needed about non- physical cultural factors which were served to maintain the traditional community like governance, self doctrine and community rules.

• Journal of the East Asian Society of Dietary Life
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• v.25 no.5
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• pp.779-790
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• 2015

The purpose of this study was to determine the awareness and preference relating to traditional food and yaksun food by university students majoring in culinary art and foodservice in the Daegu and Gyeongbuk area. This research carried out an investigation on 492 (male 257 and female 235) students. 'Awareness of traditional food' was gained through school education in male students (37.4%) and female students (46.7%). For 'the most-favored traditional food', 260 (male 138 and female 122) students most often responded galbijjim, followed by bibimbap, bulgogi, and kimchi. For 'the part that requires the attention most in improving traditional food', variety of taste received the highest votes by 109 male students (42.4%) and 98 female students (41.7%). For 'awareness for yaksun food', the most popular paths were TV, newspaper and the Internet in 123 male students (47.9%) and 139 female students (59.1%), where as 97 students answered school education (19.7%). For 'the part that requires the attention most in developing yaksun food', variety of taste received the highest votes by 103 male students (43.8%) and 106 female students (41.2%), which was the same result for the development of traditional food. For 'awareness on the possibility of popularization of traditional and yaksun food', needs for food development received the highest score of 3.99 (male 3.99 and female 3.99) by 5-point Likert measurement. In conclusion, high awareness levels of health, traditional food, and yaksun food in university students in Daegu and Gyeongbuk majoring in food-service will contribute to a healthy food culture. Further, this research will have a large impact on development of various convenience foods in the food-service industry as well as home.

• Journal of architectural history
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• v.15 no.3
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• pp.43-57
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• 2006

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.

• Archives of design research
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• v.16 no.3
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• pp.33-40
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• 2003

With the view of an art history, 3D Animation is one of the media that was anxiously solved the issue of time and space by traditional painters, however it still could not acquire the proper position in the art field due to compromising commercialism. This is the result of devaluating for the possibility of art itself and it is only a matter of the range to apply 3D animation. In order to obtain a proper position for an art genre, previously it can be focused on how to visualize the 3D animation from our perceptions. 3D animation should not ding to the realism, it can be understand in the way of a narrative relation between the description of objects and the objects itself, further more it will be illustrated as whole units. After the aesthetical reflection, 3D animation production can be defined as an art genre and also independent from commercialism. Therefore this paper is the first step for improving 3D animation as an art and trying to discuss the way to observe 3D animation.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.249-257
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• 2010

In performance art, actors on the stage play an important role. The purpose of performance art is not in producing expression of superficial or trite pleasure, but in presenting a source of philosophical catharsis regarding essence of a human life. It is actors' responsibility to bring such expression onto the stage. Performance art not only involves technical skills but should be a cultural expression to represent tradition, spirituality and identity of a nation. In Korea, performance art tends to follow Western methods of expression. It is desirable to set a future direction to further develop methodology of expression in performance art. As part of such effort, the research examines how the rhythm of traditional Korean dance and dimension of time and space in performance art are effectively visualized in their relation to "stage direction." The research illustrates characteristics and concepts of Korean dances in terms of inhalation in deliberate hypogastric breathing ("danjeon') and rhythms of exhalation (gutgeori, jajinmori, huimori). Also, the research aims to enhance dramatic effect on the stage, which is distinguished from presentation of ordinary actions, by emphasizing dimension of time and space in visualizing expression.

• Journal of the Korea Convergence Society
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• v.12 no.11
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• pp.169-184
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• 2021

Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.110-122
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• 2010

The purpose of this study is to analyze the expressional traits and internal meanings of fake design in the 2000s' fashion, based on study of art and design area. For achieving the purpose, this study performed related research works and a demonstrative analysis of fashion collection photographs. The scope of this study is from 2000 to 2009. The results are as follows. Fake design uses trompe-l'oeil which is an art technique related to the meanings of 'deceive or fool the eye'. This eye-deceiving technique has been used for a long time in the art, and particularly noticed as one of techniques of Surrealism. Art works using trompe-l'oeil express familiar and unreasonable world at the same time, and also the fusion of reality and fabrication. Fake design in design area of the 2000s makes people take daily life in unfamiliar way by unusualness and breaking the boundary between real and fake. By fake design, people can enjoy fun and a sense of freedom with amusement rather than unpleasant of being deceived. Fake design in the fashion of the 2000s uses eye-deceiving technique and also focuses on the concept of 'fake'. The expressional traits were categorized as realistic expression, surrealistic expression and fake value expression. The internal meanings were analyzed as breaking boundary between real and fake, rediscover dailiness, new attitude to traditional thinking. In conclusion, fake design in the fashion of the 2000s gives playfulness, fun, feeling of release and will be pursued continually.