• Journal of Fashion Business
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• v.4 no.1
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.

• The Journal of Art Theory & Practice
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• no.3
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• pp.155-172
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• 2005

Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki's paintings have been recognized as linked with 'blue' in spite that he used colors within the category of 'Colors of Five Directions(五方色)', which are traditional oriental colors composed of red, lue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki's dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that 'dark blue' of the dot painting is 'Hyun-saec(玄色)'. Eventually we can make sure that Kim Whan-ki's view of Art originated in oriental philosophy and beauty.

• Acta Via Serica
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• v.8 no.1
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• pp.87-100
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• 2023

Interaction between sedentary and nomadic cultural traditions has played an important role in the centuries-old history of applied arts in Uzbekistan. By the late 19th and early 20th century, driven by urbanization in the region and the gradual transition of nomadic and semi-nomadic peoples to sedentary lifestyles, many industries and traditional cultural forms of formerly nomadic ethnic groups disappeared. Nevertheless, their role in shaping the national cultural identity of the Uzbek people is great. This is true in relation to one of the largest ethnic groups in Uzbekistan, the Kungrats, whose applied art represents a unique, viable, and yet little-studied phenomenon in the national culture of Uzbekistan. The article reviews carpet weaving, one of their surviving crafts, exemplified by qiz-gilam, a unique type of rug made using a combined technique. This study helps to show the nature of historical and cultural interrelations in the carpet weaving of Central Asian peoples and their cultural contacts with the carpet art of neighboring regions more widely and objectively. An important theoretical result of this study is the creation of criteria and tools for identifying qiz-gilam carpets. This allows us to bring clarity to the yet undeveloped system of their identification in museum and gallery practice.

• Acta Via Serica
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• v.8 no.2
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• pp.1-24
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• 2023

The art of carpet weaving is the most habitual form of traditional art in Azerbaijan, it reflects a rich inner world and occupies a special place in the history of a national culture's development. The Azerbaijani carpet has always stood out for its plots, ornaments, compositions, and high quality and the Azerbaijani people, faithful to their spiritual values, have protected and developed it throughout the centuries. In this article, several Ganja-Gazakh-type carpets from the Azerbaijan National Carpet Museum collection and their artistic and technical characteristics are discussed. Specimens of material, sacred language, and ornamentation are considered. The deepest meaning is embodied in tamga in particular. Tamga is a unique phenomenon serving as an amulet, lineage sign, and self-identification of Turkic peoples. The Gazakh carpets of the Ganja-Gazakh type cover the Gazakh region of Azerbaijan, the Borchali region of Georgia, and the Goycha Lake region of Armenia. Karapapakh Azerbaijani Turks have inhabited these areas since ancient times. Tarakama (nomads) are often equated with the name Karapapakh (black hat). One of the densely populated regions of Tarakama is Gazakh. Gazakh, Garagoyunlu, Salahli, Shikhli, Kamarli, Damirchilar, Gaymagli, Goycali, Daghkasaman, Oysuzlu, Gachagan, and pile carpets with different compositions are woven in the Gazakh carpet weaving center. Large, simple in form, step-shaped or hook-like medallions, horn-shaped patterns, animal images, and stamps with symbols of ancient Turkic tribes characterize the Gazakh carpet weaving group.

• International Journal of Advanced Culture Technology
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• v.12 no.2
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• pp.16-29
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• 2024

Mogao Grottoes in Dunhuang, China is one of the world cultural heritage, is the largest ancient grottoes art group in the world, and is a natural and cultural place with outstanding universal value for mankind all over the world. Dunhuang music and dance derived from the murals of Mogao Grottoes is an artistic representation of its thousand-year-old glorious history and an indispensable historical material for research. As one of the iconic images of Dunhuang music and dance, the "rebound lute behind the back" dance posture has unique charm value both in the original mural composition and the stage image. This paper analyzes the characters holding pipa in Dunhuang murals by case analysis, comparative research and other relevant research methods, then studies the stage image and posture of "rebound lute behind the back", and finally analyzes the stage works of "rebound lute behind the back". It is concluded that the dance image of "rebound lute behind the back" is a dynamic stage art work gradually formed by artists from the static Dunhuang murals through refining, developing, processing and transforming. This is to revive the image of Dunhuang music and dance murals, to provide reference and reference for the inheritance and development of Dunhuang culture, and then to enhance and enrich the artistic value of excellent traditional Chinese culture and world cultural heritage.

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• Archives of design research
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• v.20 no.1 s.69
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• pp.65-78
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• 2007

The mobile phone and wireless network, location based technology and other newly introduced technologies and communication media gave birth to the new terminology "ubiquitous" and are changing our daily life. Influence of such technologies and communication media is not an exception in the arts. New media art pieces using these technologies are increasing, and taking on the characteristics of public art within a wider scope of a city as a backdrop, beyond the traditional boundaries of art galleries. Of such art, locative media art using locative media has a closer relationship with city space than any other form of an, and makes various attempts to allow the spectator to reinterpret and experience city space and induce communication. These characteristics of locative media art can be considered as a method that can solve quality problems of the city space, especially the loss of the sense of place and the absence of communication. is one such locative media project with a purpose of solving quality problems of city space, especially the recovery of commercial sites and inducing communication. This project uses the paths of the city as its canvas, movement of people as its brush, the color of the roads as its pallet, and by allowing the partakers to draw paths of their own and to share their paths with others. People are encouraged to share stories about their paths. The project proceeds using barcodes that are frequently used commercially. When users wish to create their own place, they can enter their place and colors of their choice using input devices installed in the city space. Paths that are created through such a process will be displayed in public areas throughout the city, shared with others, and can create and share a stories about the city using on/off-line media.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.1-12
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• 2022

Since the early 20th century, along with the interest and development of alternative psychotherapy, the field of art therapy has also been developed and expanded. In particular, the recent development of technology and the untact era brought about by the COVID-19 Pandemic is accelerating the development of new digital art therapy contents. Among them, the hot interest in virtual reality is raising expectations and questions about the effectiveness of psychotherapy given by new media beyond traditional art therapy. In this study, the characteristics of VRAT (Virtual Reality Art Therapy) content therapeutic factors were investigated through qualitative literature analysis based on the conceptual framework and therapeutic components of ETC (Expressive Therapies Continumm), an integrated art therapy theory. As a result of the study, VRAT contents showed mostly therapeutic factors in the left hemisphere that triggered the user's dynamic, perceptual, and cognitive factors, and the therapeutic factors in the right hemisphere, which focused on sensory, emotional, and symbolic factors, were relatively few. The reason seems to be due to the nature of the experimental stage, the absence of active intervention by the therapist and long-term session composition, and the fear, clumsiness, and unfamiliarity of users about VRAT in addition to the characteristics and technical limitations of the VRAT medium. The limitations of the study include the small number of documents to be analyzed and the insufficient form of current VRAT to be called art therapy. It is expected that the characteristics of the therapeutic factors of VRAT content media and environment derived as a result of this study will be usefully used for the appropriate development of VRAT content in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.19-32
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• 2014

The Taekwondo uniform has remained consistent since it was officially designed in a V-neck form in 1976. Taekwondo is a martial art that emphasizes social etiquette; therefore, it is necessary to dress in a uniform that reflects Korean traditions and ancient oriental philosophy. However, the current official uniform has limitations in endowing traditionality and many usability problems. Thus, recognizing the problems raised with the uniform, the Kukkiwon (World Taekwondo Headquarters) developed a new style official uniform in 2011. This study is to endow traditional meaning to a new style uniform and proposes some design modifications that can convey a more traditional adequacy. The development of the new official uniform began with a specific plan for change from the existing uniform, this study as subsequent work is significant in that its endowment of symbolism and modification proposal is for the actual execution and global dissemination of traditional Taekwondo culture. The results of this study are as follows. First, we can endow Korea's traditional historicity and symbolism to the new uniform in form and colors. All contents of the design (in which the front side is open, the top is adjusted rightward, the rear length is shorter than the front length, comfort provided by side vents, dual collars for children's uniforms, and a belt) are adapted from the Korean traditional costume. Consequently, historicity can be endowed to the uniform. It is also confirmed that the traditional oriental philosophy including heaven and earth (天地), Yin-Yang (陰陽), and Five Elements (五行) can be endowed in the use of colors. Second, in order to project deeper historicity and symbolism to the form of the new uniform, this study proposes design modifications based on the selection as an item of Simui (深衣), a type of traditional clothing that contains a high symbolism similar to the Taekwondo uniform. It proposes giving shape to the practice of manners, the righteous life, and the straightforward mind by modifying the design of the uniform in the fish belly part of the sleeves, collars, back stitches, and side seams.

• International journal of advanced smart convergence
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• v.11 no.4
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• pp.206-215
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• 2022

For a long time, traditional culture has been regarded as one of the sources of the inspiration, method and language of Chinese writing. In this article, we studied the medium- and long-term impact of a traditional Chinese culture seminar attended by college students on the output of creative writing. The seminar included traditional Chinese philosophy, history, literature, art, etc. It spanned three years (22 months) and held lectures lasting for approximately two hours once a week. The subjects of the prospective cohort study included 130 first-year college students who participated in the seminar and 130 controls. From September 2016 to June 2018, 72 lectures were held. We measured the creative writing output from the first lecture (September 2016) to December 2021 (64 months in total), including novels, essays, poems, and plays. Two indicators, the total number of words (TNW) and the quality of yield (QY), were evaluated by a 15-member panel. Although the TNW and QY of the participants and their controls were similar before the seminar, we found that the participants have higher TNW and QY than the controls after participating in the seminar. The difference in TNW became significant after month 51 (p<0.05), and the difference in QY became significant after month 46 (p<0.05). After these dates, the differences stabilized. In addition, text analysis indicates that by month 64, traditional cultural elements in the works of the participating group had a higher frequency (p<0.001). The research shows that the traditional culture seminar not only enhanced the yield of college students' creative writing but also improved the quality of their work. The traditional cultural elements enriched the works of the seminar participants.