• Journal of Science of Art and Design
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• v.6
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• pp.5-32
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• 2004

Kim Hwan-ki's New York Period works consistently present, as the central signifier, a curvilinear paradigm which has been derived from his creative consciousness. The purpose of this study is to bring to light what exists behind curvilinear paradigms; a fusion of history and society with the artist's individual consciousness as a fused aspect of history and society. To make this aspect suitably understood, this study focuses on curvilinear signifier which are analyzed and considered objectively. The results of which are as follows: It is a representative example of transforming a curved line which is the modern quotation of traditional Korean art, most directly works done in porcelain. He takes the aesthetic consciousness of Korean art as the power of his works and takes aim at the collective consciousness of all races. Looking through the background of his times, his artistic subject was to find the ethic characteristics of our excellent tradition and highlight them in his art. To him, art is not about making the most of a skill but instead about allowing one's inner spirit sing it's own song. This thought is conveyed in curvilinear signifier of his works. Therefore this study has asserted that Kim Hwan-ki's curvilinear signifier in his New York Period works has strong ties to the cultural vein of Korean history and society at it's base as well as simply in his individual level. This assertion is not to set form in a superior position as a Formalist but to show form as having the will to deal with the significance of an artist's mode by interpreting the experience of the interpreter.

• Journal of the Korea Convergence Society
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• v.9 no.10
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• pp.209-215
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• 2018

The level of cultural enjoyment in Korea has improved every year, but the culture that the general public possesses artworks has not developed so much. Most artwork trading systems, from traditional ones to the latest blockchain-based ones, are designed for expensive artwork trading and are hardly accessible to the general public. In this paper, we propose a blockchain-based artwork trading system that can improve the culture of the general public's art collection and contribute to the popularization of fine art. The proposed system consists of three interacted blockchains for identification, artwork registration and smart contract. The proposed system utilizes the advantages of the blockchain system for users to provide trust to each other, and introduces the concept of art notebook for artists to build trust in their own artwork. Since the proposed system builds a trust system through participants rather than experts or external organizations, it can reduce the cost of trading and deal with artworks that can be owned by the general public.

• Journal of architectural history
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• v.13 no.4 s.40
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• pp.55-74
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• 2004

This study researched the art-educational thoughts as a modern idea influenced with the social and philosophical transitions in the 19th century. Moreover, this study focused on Frank Lloyd Wright's educational thoughts, because those educational revolutions had appeared as one of the results that Western society's character was rapidly changed by those revolutions, so called, Industrial Revolution, American and French Revolution, and Cultural Revolution of Romanticism, from late 18th century, and eventually because that revolutionary educational ideas had closely and basically many relations with Wright's thought. As a result, even though Wright's education such an apprenticeship was a traditional shape, which was not the old-fashioned educational method discipling to the skillful man, but against the existing education through the self-learning from experiences in nature. That is similar to transcendentalists such as Emerson who searched for having an inspiration in Nature. Namely, Wright himself had struggled against the existing dualistic educational concepts through Wright's monistic thoughts on art-education including architecture based on not naturalism but the philosophy of nature by romantic idealistic philosophers such as Shelling, Fickle, Kant, Hegel including with his Master, Sullivan, and by revolutionary educators such as Freobel, Ruskin, Dewey, and above all by his Unitarian doctrine. However, Wright's thoughts was at that time so radical, and as Wright himself acknowledged that, 'because the philosophy back of it, of course, as you know, is midway I guess between East and West', such all philosophical objects to influence on Wright were so abstruse idea which is usually called 'Romantic' or 'Mystic' that is mingled with East's and West's essence. That is, because Wright himself catched that the theories and methods of the art-educational thoughts would not be easily perceived, and he judged that in a word as a character which could not be taught. After all, Wright's romantic progressivist art-educational thoughts have not been perceived, disseminated in general and widely.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.

• Journal of Conservation Science
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• v.37 no.4
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• pp.362-369
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• 2021

In museums, exhibition content focuses mostly on cultural heritage's historical values and functions, but doing so tends to limit visitors' interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors' traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors' scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as "easy to understand and useful as the esoteric science exhibition was combined with media art" (16.7%), "wonderful and interesting" (11.7%), and "firsthand experience was good" (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors' active participation. This exhibition's content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.

• Journal of Science of Art and Design
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• v.6
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• pp.81-99
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• 2004

For making something to use as a tool since the emergence of mankind, the initial pragmatic purpose has transformed into a new genre of art over time. Things defined like this have rooted in our culture as tradition so far. In the midst of today's various trends, a reflection of tradition and a modern search for tradition by re-creating it are much more needed. To any people in any time, a new trend would undeniably develop on the basis of its previous tradition in any form. The colors appearing in such artwork are also an expression of each people's unconscious potentiality as essential grounds for human aesthetic. The traditional Korean Bojaki, which was made out of women's pragmatic mind trying to recycle trashy pieces of cloth in the 19th century of Chosun Dynasty, appears as a symbolization of our nation's original form in unconsciousness. It includes Confucianism, Buddhism, Zen and the Yin-Yang and Five Elements thought, which have been together with naturalism. The five colors appearing in the Yin-Yang and Five Elements are the basis. Fourteen selected samples around the five colors seen in the color scheme of the Chosun era's Bojaki were measured and their color values were found by analyzing them based on HCV(Hue, Chroma, Value)of the five primary colors as well as the five secondary colors. After choosing a few colors with bare eyes close to traditional Primary Colors and Secondary Colors amongst 14 pieces of data which particularly used traditional Five Colors and examining them using spectrophotometer(JX777), the following conclusions were drawn. Comparing only colors in Primary Colors, the result was red 7.11R 4.59/10.69, blue 6.71PB 3.18/6.45, yellow 3.91Y 7.56/6.12, respectively. With regard to Secondary Colors, it was reported that red 7.96RP 5.42/10.3, blue 7.8B 5.16/5.53, green 8.03GY 6.05/4.34, yellow 2.73Y 7.47/4.07, purple 2.39RP 4.69/4.56, respectively. (diagram) As a result, the standard of Five Colors can be used in modern fiber color. There are differences in dyeing material, methods and kinds of fiber of that time, but women of Chosun Dynasty combined and made fabric which was circulated. Consequently, an applicable attribute of the aye-color values was considered.

• Korea Science and Art Forum
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• v.23
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• pp.95-109
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• 2016

The background and objective of this study are as follows. Gwangheemun, one of the 4 small gates of Seoul Castle is a space to represent ordinary people and it is a valuable cultural heritage that shows the process of technical transition of fortification technology during Chosun Dynasty. It is a place that we can expect to play a role as a field where history and culture mix and communicate together. But currently, the environment and facilities around Gwangheemun have fallen behind and become old, so they need to be reorganized as their local feature is not shown distinctly. We need to vitalize the new traditional space that shows local feature. This study has drawn out the method, contents and the result of study like as follows. This study aims to establish an identity based on the historical and cultural backgrounds and suggest the contents to vitalize the space of Gwangheemun as a traditional cultural heritage. By this, this study aims to create a historical and cultural space where people can enjoy, eat and look around. Therefore, based on the historical and cultural feature, it gives an identity as moonlight street, and it has developed and suggested 5 contents to vitalize space: Gwangheemun maintenance, plan, castle restoration plan, village inside the castle, village outside the castle and fashion art street. Contents to vitalize space has a meaning as a specific developmen method of urban restoration, and we can expect to be used as a direction to develop the area to enhance the cultural quality of life of both inhabitants and visitors by forming the brand identity of surrounding area with traditional cultural heritage.

• (The) Research of the performance art and culture
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• no.22
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• pp.157-183
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• 2011

This study is to find out the legitimacy and features of Honam Choreography via Lee Mae-bang and Han Jin-ok, two of the masters, and to seek better and more creative ways to pass it down in view of regional particularities. The study looks into the traditional choreography's multi-conceptuality that is derived from various forms of art and lends it its identity with the original notion rooted in Buddhist dancing. Despite the local cultural traits of the Honam area, the fact that Lee Mae-bang is more feminine and Han Jin-ok more masculine shows the two's worlds of dancing have been created from different perspectives, though they are quite common in their roots and locales. The particularities of passing down traditional choreography are given a thought in this study with the distinction and identity taken into account. Also, it will give an opportunity to discuss the importance of localism as aesthetic consciousness and communica tion channel. In any case, there is no doubt that local difference and communica tion make a very important source of culture when we look into the originality of the choreography.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.626-636
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• 2005

These days. the representative fashion image is sexy look. Hence, a bodily exposure phenomenon has been spread by the effect of minimal fashion. In terms of this trend, the body make-up art such as the temporary painting have the painting dyeing the surface of skin has the characteristic naturally decolorized. It is different from tattoo pricking the skin with dyes. Especially, Henna among the temporary painting has been used to represent the individual characteristic for a long time. However, the research of henna pattern related to fashion images and korean traditional patterns has never been developed before within the country. In the research, we developed Korean Henna design through the application of Korean traditional patterns. First of all, a fashion image was classified as five parts (romantic, sexy, eligant, modem and casual) adopted by relebvant experts.