• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• Korean Institute of Interior Design Journal
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• v.19 no.5
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• pp.3-10
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• 2010

In the history of art and architecture, there are different characteristics in relationship between light and space. Among them, two characteristics seem to be fundamental : The first is that contrast between light and darkness is more articulated. Direct sunlight penetrates into the dark interior space made by heavy masonry structure. This is generally found in the traditional western religious buildings. The second is that light is mixed with darkness and becomes shade. Shade is different from shadow that is usually perceived as the opposite of light. Sunlight is filtered under through the big horizontal roof and rice paper walls in the traditional far-east Asian architecture and becomes weak ambient light. In this shade, there is no strong contrast between light and darkness. This difference is not only originated from the architectural differences, but also originated from the conceptual differences about light, space, and the world in two cultures. This paper tries to study the philosophical, aesthetical backgrounds as well as case examples in art and architecture of two characteristics. Based on the case studies, this paper aims to analyze the main perceptual structure. Finding the relationship between light, space, and human body by making three dimensional models is the crucial analysis method of this research. Although in real life and experiencing the world, these two characteristics are not clearly separated, comparative study based on different cultures gives opportunity to think of diverse perspectives on light and space.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.1-7
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• 1984

Traditionally dyeing fabrics with pigment extracted from carthamus flower was a popular method of obtaining red color in Korea. Such a method existed in several countries throughout the world before the synthetic dyestuff was developed. However, the traditional procedures of using natural products in obtaining colored materials are completely forgotten in modern Korea. The details of dyeing procedures fare not well documented in literature, either. In this study the method of extracting and dyeing with carthamus flower is reconstructed from Korean literature and actually carried out in laboratorf. The reconstructed method is compared with those of Japan, China, France, and Egypt, and the scientific basis of such an ancient tradition is discussed. Carthamus contains two kinds of coloring components : yellow carthamin and red carthamone. Water-soluble carthamin is first extracted by repeated washing and is usually used for the initial soaking procedure. Then carthamone is extracted in alkali solution by adding ashes of dried plants such as carthamus stalks and bean hull. Finally the solution of carthamone is made acidic by adding schizandra juice for dyeing on fabrics.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.1
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• pp.90-100
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• 1999

The Fallingwater, one of Wright's best designs, is known as a good example of "Organic Architecture". Its landscape characteristics are harmonious relationship between architecture and landscape, adaptable siting, composition of spatial and visual structure, floating spaceness, interlocking of water and house, dramatic approach, and vernacular material use. This characteristics had begun from the Prairie architecture, but also had influenced by the culture and art of the Far East. He was open to foreign cultures. Staying in Japan for years, he had travelled China, too. In this process, he might be exposed to Korean art and culture which were under Japan at that time. Comparing the front image of the Songkwang Temple to that of the Fallingwater, their compositions between architecture, water, and landscape are so similar to each other. They are also close to each other in terms of spatial structure. Therefore the landscape characteristics found in the Fallingwater design are more similar to Korean landscape architectural characteristics than Japanese ones. Therefore we are going to suggest the hypothesis that Wright is influenced by Korean landscape design in the design of the Fallingwater. Considering his impact upon the design world, it will be significant if the concept of Korean traditional landscape design is placed behind his design of the great architecture.hitecture.

• Journal of Fashion Business
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• v.24 no.2
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• pp.44-59
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• 2020

This investigated the romanticism of Alessandro Michele who leads new trends in fashion industry as a creative director for Gucci. In this study, 307 women's wears exhibited by Alessandro Michele for 3 years in Milan collections from 2015 F/W to 2017 F/W are categorized according to the aesthetic characteristics of romanticism. Additionally, the five aesthetic features of Gucci's fashion design are an addition since the appearance of abnormally large size under the influence of postmodernism. The results based on the study purpose are as follows. First, the decoration makes the garments stand out by using fancy materials, splendid multicolor combination, applique embroidery and three-dimensional objects. Second, exotic style is expressed from an occidental perspective using Chinese traditional fashion or textiles, and exotic accessories. Thirdly, sensuality is manifested using see-through materials to emphasize women's breasts, or the beautiful and sexual expression of women's body. Fourth, the new creations are designed by combining contrasting elements, such as disparate materials and, different genders. Furthermore, traditional cultures like baroque and rococo, and the 1970's vintage looks inspires the creation of retro-style. Finally, the appearance of extremely large shoulders, silhouettes, and details of the human body can be explained with expansive tendency. The aforementioned results further suggest that diverse characteristics are expressed via reflection of contemporary art and trends.

• Journal of Fashion Business
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• v.13 no.4
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• pp.21-36
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• 2009

The objective of the study is to create color plan for company D based on color images of the Bloomsbury Group paintings, which is an art institute based in Bloomsbury, London, a hometown of the company, to renew the traditional brand image of the company by blending fashion and art. This study analyzed 'D's previous F/W Color planning from 2003 to 2007 through NCS to understand characteristics of company D's color planning. It considered company D's color renewal concept by looking into Bloomsbury Group's backgrounds and pieces. Based on 2008-2009 F/W color trend and the analysis result, the study suggests a color plan with reference to a case study of the company D, for which I work as a colorist. The color renewal of the company D for 2008-2009 F/W season was categorized into theme I. Bloomsbury and theme II. Charleston for planning. The following table summarizes the result of 2008-2009 F/W season color plan with focus on development of new check and print patterns. The significance of the study can be found in that it advanced beyond the color planning stage to be applied to the actual renewal. Through a renewal of an existing brand, a fashion brand can be revitalized to have distinguished competitiveness.

• Journal of Korean Medical classics
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• v.34 no.4
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• pp.1-25
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• 2021

Objectives : This paper analyzes the exam paper titled, 'Is Traditional Chinese Medicine Just an Art?' of the Yixuetongzong(醫学統宗) to provide basis for research on regional physicians' examination in the Ming period. Methods : Cross examination, interpretation and content analysis of the exam paper were carried out. Results : This document is the examination paper that He Jian(何柬) submitted past the age of 40 at a regional examination for physicians that took place at the Duxue Wenyuan which is presumed to have been a regional education institute for medicine in Nanjing. While he had experience in anatomy, having been an army doctor when he was young, and was an experienced doctor who was an expert in acupuncture, it seems his goal to become a medical official at the royal medical center failed. He accumulated knowledge and experience as a Confucian doctor for more than 25 years under his teacher Pan Xiquan. It is unclear whether he had been educated at the regional medical education institute. Conclusion : The regional physicians' examination during the Ming period promoted test takers to learn both medical and Confucian knowledge quite thoroughly.

• Journal of Korea Game Society
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• v.21 no.6
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• pp.63-74
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• 2021

Metaverse fits well with the lifestyle of MZ generation who carries smart-phones at all times and value their identity. This study proposes a planning model that develops Minhwa, traditional Korean culture and arts, into art galleries on Zepeto, a metaverse platform. To this end, the characteristics of the metaverse platform, open world, sandbox, creator economy, and avatar, are analyzed and developed into a planning to open a Minhwa museum on Zepeto. While reinterpreting traditional Korean art in a modern way, it is worth researching as a metaverse planning and development model suitable for the new-tro sensibility of the MZ generation.

• Acta Via Serica
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• v.7 no.2
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• pp.65-88
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• 2022

With the expansion of the Russian Empire southward in the nineteenth century, connoisseurs, art historians, and scholars in Russia began to pay attention to carpet traditions in the new territories of the Russian Empire in Turkestan. In journals and other specialty publications, they underscored a need to establish claims to authority over the knowledge of the traditional craft. They were highly attuned to parallel accounts of carpet weaving from regions that had a longer history of research and collecting of carpets. In contrast to the situation in Western Europe or the United States, commentators bemoaned the fact that the public and even professed experts in Russia did not properly appreciate carpets from the Caucasus and Central Asia. These scholars articulated a need to establish authority over the carpet weaving traditions of Russia's colonial possessions, resulting in a push toward a serious study of carpet weaving as a legitimate field of inquiry. This paper uses published sources on early carpet scholarship from the late nineteenth and early twentieth centuries to examine how carpet weaving traditions in Central Asia entered an imperial discourse of knowledge. It argues that attempts to understand and categorize carpet weaving as an art form occurred along two fronts. Intellectuals and scholars attempted to wrest control over the locus of knowledge from experts in the West as well as from local weavers. In the process, they established a distinctly imperial vision of carpet weaving in contrast to competing imperial discourses and over traditional forms of knowledge.

• Archives of design research
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• v.13 no.3
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• pp.101-110
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• 2000

Taking a look at art history around the world reveals the presence of ceramics in a wide range of areas. There have been many changes and developments over the years, but especially notable is the fact that in the course of history, the craft of ceramics has become an aesthetic art form rather than serving the original purpose of providing daily object of necessity. The Art Nouveau movement had peat influence in the development of ceramics before and after 19$^{th}$ century, and its inherent style continues to be copied and produced to modem day. The Art Nouveau style can today be seen particularly in contemporary tableware designs reflecting its graceful motifs that are now richly presenting themselves on table settings. This study looks at the possibilites of Art Nouveau in ceramics, namely by combining both traditional formativ qualities and contemporary visual inspirations to seek new expressions of beauty. In order to document records and analyze formative developments of Art Nouveau, representative pieces have been chronologically presented to cover the period from 1895 to the present.