• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• The Journal of Art Theory & Practice
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• no.4
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• Journal of Nutrition and Health
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• v.45 no.6
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• pp.577-587
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• 2012

This study was conducted to investigate the consumption pattern and perception of traditional soy sauce and soybean paste products in male and female adults aged 19 and over in Seoul and Gyeonggi-do areas in order to promote the development of the products' industry. The survey was conducted between October 1 to October 15, 2011 among 294 male and female adults aged 19 years and over in Seoul and Gyeonggi-do areas. The gender distribution of the subjects was 33.3% males and 66.7% females. For a perception on traditional dietary life, the degree for enjoying meals with cooked rice as the staple food revealed that 32.3% of the subjects responded 'strongly agree'. The intake frequency of traditional soy sauce and soybean paste products in the subjects of the study showed that in the case of doenjang, 49.7% of the participants consumed it twice a week and 21.4% consumed it once a week. For gochujang, 59.9% consumed it twice a week and 19.0% consumed it once a week. The perception on the preparation method for traditional soy sauce and soybean paste products showed a low level for traditional soy sauce and soybean paste products. The reason for purchasing traditional foods showed that 77.6% of the subjects made purchases for convenience and 8.2% purchased it for its small package. For the subjects, the priority for purchasing traditional soy sauce and soybean paste products was as follows: in the first rank, ingredients & origin made up 33.7% and price comprised of 26.2% of the priority. Regarding satisfaction for soy sauce and soybean paste products in the market, the degree of satisfaction was high for gochujang. With regard to gender difference, female subjects showed a significantly lower satisfaction for cheonggukjang and kuk-ganjang, and a significantly higher satisfaction for chin-ganjang, compared to the male subjects. The results of the study depicted that consumer's requirement was high for traditional soy sauce and soybean paste products in the market, particularly for the safety of the products in the market. Consumer satisfaction was relatively positive yet, some efforts are needed in order to improve the quality of cheonggukjang and kuk-ganjang.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Journal of the Korean Society of Costume
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• v.39
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• pp.99-111
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• 1998

Cubism has played a great role to change traditional concept of art and visual of people as developed into one of new art stlyes. It has avoided three dimensional perspectives and reformed the concept of time and space. It expresses objects with geometric shape by simplifying and reconstructing the objects after taking them apart. This has the effect of simultaneous vision and transparency and brings in collage by combining geometric image and visual elements. The results of the study as follows: First, the geometric shape expresses straight lines, curves, faces, and cubics by simplifying the objects. In fashion, it expresses circles, triangles, squares with a cloth. This shows visual changes as three dimensional space moves. Second, simultaneity disassembles and recontructs the objects. It tries to understand the internal shape with method of disassembling and makes visions coexist. In so doing, cubists adopt simultaneity for expressing shapes. In fashion, it expresses new items through disassembling or combining with other items. Third, transparency simplifies cubics by duplicating with transparent flats and crosses contour lines for reconstructing the simplified objects. This implies broader spatial order. It allows people to perceive penetration of layed clothes. Fourth, collage expresses geometric shape by adding visual elements(concrete image and color). It uses concrete image with paper, letters, cloth, etcs, which is not related to painting, and introduces various colors. In fashion, it uses dolls, postcards, feathers, metals, plastics, for patchwork.

• Journal of the Korean Society of Costume
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• v.41
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• pp.117-138
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• 1998

This study can be divied into three major sections: 1. Background on the 1980s : The 1980s can be characterized as a era of rising expectations over the quality of life. Interest in art, history, culture, and new technology increased to appeal to a greater audience. In fashion, these changes led to greater focus on quality and unique stylishness as fashion represented a medium through which luxury and refined tastes could be expressed. 2. Textile Trends of the 80s Divided into 4 Periods : The period of 1980-82 saw the mixture of natural lines with constructive lines. The textiles used in fashions in this period can be characterized by natural materials, mannish materials of the 1950s, feminine materials of the 1920s and 30s, and spoty materials of the 1960s. The period of 1983-85 was an avante garde period which used rustic avante-garde materials and art craft materials. The period of 1986-87 can be described as minimalistic and neo-classical which incorporated materials which represents a metropolitan feel, retro decorative materials and sporty, futuristic mat-erials. Lastly, the period of 1988-89 produced ethnic and natural fashions which relied on traditional British materials, country elegant and innocent look fabrics, ethinic and ecology-minded materials, in addition to comfortable and sports casual materials. 3. Characteristrics and methods of expression for textiles in the 1980s, : In the 1980s, the development of textiles have can be divided into 4 distinct patterns: decorative materials, sporty materials. In generals textiles have increased in their decorative nature-especially decoration by texure. Textile have also incorporated the mixture of contrasting themes in order to create new fabrics.

• Journal of the Korean Society of Costume
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• v.28
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• pp.169-186
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• 1996

Wangeja Chulgungdo (The Painting for a Crown Prince's Outgoing for Schooling to Sungkyunkwan) for this study which is held by the Korean university Museum is a kind of documentary paintings which not only have the value of art history but also give a glimpse of the court ceremonies for a Crown Prince. This painting offers various historical clues to understand the procedure for a Crown Prince's official entrance of Sungkyunkwan participants of the ceremony and other ceremony-related items$\ulcorner$Wangseja chulgungdo$\lrcorner$ was the painting drawn for a series of court procedures of Crown Prince Munjo's official en-trance of Sungkynkwan. When he was old enough to begin learning Sohak on March 11. 1817 that is ; he held Heonjakrye(a ceremony for offering drinks to the ancestors) at Munmyo passed Iphakye(a ceremony for en-trance of school) at Myungryundang and received Suharye the next day. $\ulcorner$Wangseja Chulgungdo$\lrcorner$ had the strong char-acteristics of documentary paintings in terms of art history which was intended to leave the historical event of a Crown Prince's entrance. It reflected the traits of documentary painting style in late Chosun Dynasty; a technique that strongly relieved the ceremonial scenes against the background such as mountains and rivers; a painting that not only captured the vivid actions of personalities ar the crucial moment of the ceremony but also depicted the cer-emonial vessels and items very realistically. Authors could confirm the ceremonial think-ing of the traditional society through a Crown Prince's entrance which controlled the details of every part of the performances of the court ceremony.

• Architectural research
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• v.2 no.1
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• pp.1-6
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• 2000

Ever since Viollet-le-Due began to examine Gothic structural elements using his method of geometrical analysis in the nineteenth century, art and architectural historians and a few engineers have periodically attempted to ascertain the structural advantages of the various characteristic features of Gothic architecture. In none of these studies, however, has the way forces work within the lightweight and spacious masonry Gothic buildings been precisely interpreted. The approach taken by art and architectural historians has therefore tended to be primarily descriptive and to be based on intuitive assumptions. This study intend to analyze the Gothic non-vaulted nef unique(aisleless) structures of Lower Languedoc which has never been scientifically tested, and to provide as comprehensive an explanation as possible of the way in which these non-vaulted buildings work. In order to achieve this goal, this paper Is to examine, by means of finite element analysis. the links between the width of non-vaulted aisleless structures, the configuration of the arches, diaphragm arch, and the buttress. Finite element analysis with a computer provides a more accurate analysis than the methods of analysis that have been heretofore applied to Gothic structures, as well as permits us to visualize the global stress behavior of the structure. Combined with traditional methods of studying historical buildings, therefore, finite element analysis inevitably give us a broader understanding of the processes involved in the design and construction of medieval buildings.

• Korean Security Journal
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• no.8
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• pp.45-64
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• 2004

The pivotal emphasis of the physical training for the security agents of the security headquarters in the North Korea is to inspire them with the defense physical training-centered ideology and the war spirit. Their special martial arts is the protectee-centered offensive arts rather than the self-centered arts. It puts emphasis on training black belt-holders in diverse martial arts rather than in a certain martial art. Thus, the physical training for security agents in the South Korea should be also developed into the ways to rear them as black belt-holders in diverse martial arts rather than to foster them as high grade-holders in a certain martial art. And also, professors majoring in security and physical science have to develop jointly the measures to improve the physical and mental agility and the basic physical strength to inspire rapid handling and perseverance, to develop the physical training program to reduce mental and physical stress of security guards, to develop the standard for the examination of physical strength suitable for the body figures of Korean people and the regular evaluation with the standard and to apply traditional folk-games such as the swing and the seesaw to the physical training for security guards.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.39-56
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• 2012

For a long time, architecture has functioned as something that is inevitable for humans, a necessity that provides housing settings and living spaces for human lives. In the creation of art, architecture is a genre that has a field of infinite possibilities of endless inspirations of the present and the future with its unimaginable various styles and functions. This study aims at analyzing the figurative formation and characteristic expression style of nude architecture with modern fashion design, reinterpreting it by a modern edge, and expressing it into an originative costume work. Furthermore, the purpose of this study is to provide a new motive for the potential of continuous development of modern fashion in the future through an endless study on artistic architecture that includes nude architecture and an originative expression style that will prepare a momentum that indicates the direction into a new line of fashion.