• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.1
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• pp.78-87
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• 2003

Based on the qualitative analysis regarding five dominant characteristics of fashion in the transitional period of the 21s1 century, subsequent quantitative analysis was conducted and the following results were obtained. First, it was found that 85% of the clothes analyzed showed these five characteristics. Secondly, among the five characteristics, the new-naturalism shows the most significant trend and neo-retro was also found as one of the leading features along with the new-naturalism in the transitional period of the 21 st century. However, the frequency of technicism is less than was expected. Thirdly, analysis of the distribution of fashion characteristics according to fashion designers and seasonal changes show that new-naturalism, neo-retro and hybrid spread relatively evenly among each designer. The quantitative study confined the results obtained through the qualitative study.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.11
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• pp.1649-1659
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• 2002

It is anticipated that, in the 21st century, aesthetic sense will be altered radically with the introduction of new value systems and ethical standards. At the beginning of the 21st century, new aesthetic senses and identities have already emerged and exerted influence to the society, arts and fashion trends. The purpose of this study is to analyze the aesthetic characteristic of the transitional period of the 21st century. This study employed the qualitative analysis and the main aesthetic characteristics of the 21st transitional period were found as hybrid, technicism, neo-retro, new naturalism, and multi-nationalism. The transitional fashion in the 21s1 century mirrors the post-modern trends with diversity and indeterminacy as the basis of changes. It is expected that this pattern will continue to extend persistent and dominant influence to the future fashion industry. In the subsequent study, quantitative analysis wi]1 be conducted to verify the aesthetic characteristics analyzed in this study.

• The Journal of Korean Philosophical History
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• no.54
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• pp.43-75
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• 2017

This paper is to examine how Joseon intellectuals understood $g{\check{u}}$(古) and $j{\bar{i}}n$(今) and how its history consequently changed. It is to take a macroscopic view focusing on differences of different schools. Understanding of '$g{\check{u}}$' and '$j{\bar{i}}n$' directly and indirectly affected academia, art and even politics throughout Joseon dynasty. As different scholars and schools distinctively understood $g{\check{u}}$ and $j{\bar{i}}n$, issues of tradition and creation; conservatism and progressivism and; ideal and reality were deeply discussed. Those discussions greatly and historically contributed to making changes in politics and society as well. A cultural tradition of emphasizing '$g{\check{u}}$' took a deep root in overall Joseon society. Meanwhile, understanding of '$j{\bar{i}}n$(今)' or '$x{\bar{i}}n$(新)' was required with changes of times. as When people thought the reality is confusing or corrupt, they adopted restoration(復古) which means to go back to basis as the slogan. Awareness in $g{\check{u}}$ and $j{\bar{i}}n$ served as a drive to change the society. However, they never lifted their voices for '$j{\bar{i}}n$' or '$x{\bar{i}}n$,' abandoning '$g{\check{u}}$'. Criticism on '$g{\check{u}}$' was merely for criticizing being bound by '$g{\check{u}}$,' not targeting '$g{\check{u}}$' itself. '$J{\bar{i}}n$' actually was a dependent variable of '$g{\check{u}}$.' It is a dichotomous view to consider '$g{\check{u}}$' as conservatism and '$j{\bar{i}}n$' as progressivism.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.148-169
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• 2019

The purpose of this paper is to understand characteristics and trends of calligraphy styles through the analysis of handwriting. Renowned Calligraphy of Korea (海東名迹, Haedong Myeongjeok) is the first collection of famous Korean calligraphers' masterpieces and was published by Shin Gongje (申公濟, 1469-1536) in the early sixteenth century. While my previous studies have focused on analyzing the publishing backgrounds of and differences among the wood block editions and stone-carved editions of the various remaining copies of Renowned Calligraphy of Korea, this study examines the calligraphy style in the early Joseon period as represented within the collection itself. This study tries to identify the aspects of style transitions among two categories of calligraphy: (1) the calligraphy style of scribes who were in charge of documentation in the central administrative institutions (館閣) and (2) the calligraphy style passed down among the Goryeong Shin clan (高靈申氏). This study verifies that various styles which emerged based on the influence of the revivalism of the late Yuan dynasty gained acceptance in the early Joseon period while the traditional Wang Xizhi style was still in use. The most notable revelation of this study is that the calligraphy style of Kangli Naonao (康里??), a Yuan dynasty calligrapher from a remote region to the west of China, appears to have become acceptable during this period. Indeed, various Yuan dynasty styles were flowing into Korea during the late Goryeo and the early Joseon period that stand in contrast to Zhao Mengfu's "pine-snow calligraphy style." Finally, the authenticity of the Eo Sukguan (魚叔權)'s record in A Storyteller's Miscellany (稗官雜記, Paegwanjapgi) is reviewed in this study. Eo claims that writing attributed to Park Gyeong in Renowned Calligraphy of Korea was actually Shin Jageon's. However, the analysis of the relationship between Shin and Park based on their backgrounds and their political positions suggests that Eo's claim is not valid.