• Korean Journal of Child Studies
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• v.26 no.5
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• pp.217-232
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• 2005

This study examined the effects of an art program based on multiple intelligence theory on children's creativity and spatial ability. The art education program focused on three processes : perception, production and reflection. Subjects were 68 five-year-old children. The experimental design was 'The Untreated Control Group Design with Pretest & Posttest'. ANCOV was employed for statistical analysis. Results were that the children in the experimental group scored significantly higher on creativity and spatial ability than the children in the control group. Results imply that an art education program based on multiple intelligence theory can be an effective teaching model for improving children's creativity and spatial ability.

• The Journal of Art Theory & Practice
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• no.3
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• pp.117-134
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• 2005

• Korean Journal of Rural Living Science
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• v.10 no.1
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• pp.43-57
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• 1999

A style of art is an expression of human aesthetic desires, social environment and other cultural yeatures of that time. costume as a means of physical existence of such expression cannot be studied apart from the art style of any given time. In this paper an attempt is made to find out the characteristics of costumes in Renaissance and Barogue by examing the theory of Wolfflin. The organic relationship with the manifestation of human beauty in the genuine art and its formality was clear so that the fact that the dress and its costume are actually a synthetic art and there is close connection with genuine art were made clear. In conclusion, costume and art style are in different genre, they pursued the same way in the same category of Wolfflin's theory in Renaissance and Baroque.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.2
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• pp.91-98
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• 1985

^x This study is an attempt to present the possibility of environmental aesthetics and its characteristic form in Korea. This paper investigated the concept of art as a traditional theory of aesthetics through R.G. Collingwood and present- day analytic philosophers who had been influenced by the ordinary language philosophers in 1950s. Accordingly, the study focused on the institutional theory of art which was developed in reaction to M. Weitz′s views. The institutional theory of art concentrates attention on the nonexhibited characteristics that works of art have An virtue of being embedded in an institutional matrix which may be called "the artworld"and argues that these characteristics are essential and defining. Taking this position, the paper examined the relation between environment and art as aesthetic object because it would be one of the ways to find tole possibility and foundation of environmental aesthetics. Furthermore, these works will be the basis to create our proper landscape or ′our own environment′as a significant and a mental cultural landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean Home Economics Association
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• v.40 no.12
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• pp.1-11
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• 2002

This paper is intended as an analysis of the Chapter on Family in textbooks of a Middle school course at the aspect of Parson's Structural Functionalism Theory. In this analysis, We'd like to explore how the value of family is expressed in the Art-Home Economics textbooks. Generally, family is a subsystem in the structural system of whole society and family has two main functions to promote stability and equilibrium from the Parson's Structural Functionalism Theory point of view. Today, the concern with the Structural Functionalism Theory is dominantly reflected in textbooks, even though it has been proposed that the Structural Functionalism is not appropriate to explain family of modem society. Like that, the question now arises: the family history and interaction is ignored in the Structural Functionalism Theory. That is to say, There are limitations of Structural Functionalism Theory. The textbooks of Art-Home Economics was based on the revised curriculum has been severely changed in terms of external system of textbooks. But, we didn't know how much the view of the Structural Functionalism Theory is involved in textbooks. In this article, we analyze the view of the Structural Functionalism Theory in the Art- Home Economics textbooks using the Contents Analysis. At the same time, we find the confusion of family value revealed in textbooks.

• The Journal of Art Theory & Practice
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• no.14
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• pp.87-124
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• 2012

This paper focuses on the social implication of new media art, which has evolved with the advance of technology. To understand the notion of human-computer interactivity in media art, it examines the meaning of "cybernetics" theory invented by Norbert Wiener just after WWII, who provided "control and communication" as central components of his theory of messages. It goes on to investigate the application of cybernetics theory onto art since the 1960s, to which Roy Ascott made a significant contribution by developing telematic art, utilizing the network of telecommunication. This paper underlines the significance of the relationship between human and machine, art and technology in transforming the work of art as a site of communication and experience. The interactivity in new media art transforms the viewer into the user of the work, who is now provided free will to make decisions on his or her action with the work. The artist is no longer a godlike figure who determines the meaning of the work, yet becomes another user of his or her own work, with which to interact. This paper believes that the interaction between man and machine, art and technology can lead to various ways of interaction between humans, thereby restoring a sense of community while liberating humans from conventional limitations on their creativity. This paper considers the development of new media art more than a mere invention of new aesthetic styles employing advanced technology. Rather, new media art provides a critical shift in subverting the modernist autonomy that advocates the medium specificity. New media art envisions a new art, which would embrace impurity into art, allowing the coexistence of autonomy and heteronomy, embracing a technological other, thereby expanding human relations. By enabling the birth of the user in experiencing the work, interactive new media art produces an open arena, in which the user can create the work while communicating with the work and other users. The user now has freedom to visit the work, to take a journey on his or her own, and to make decisions on what to choose and what to do with the work. This paper contends that there is a significant parallel between new media artists' interest in creating new experiences of the art and Jacques Ranci$\grave{e}$re's concept of the aesthetic regime of art. In his argument for eliminating hierarchy in art and for embracing impurity, Ranci$\grave{e}$re provides a vision for art, which is related to life and ultimately reshapes life. Ranci$\grave{e}$re's critique of both formalist modernism and Jean-Francois Lyotard's postmodern view underlines the social implication of new media art practices, which seek to form "the common of a community."

• Journal of the Korean Society of Costume
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• v.20
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• pp.63-72
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• 1993

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.

• Journal of Korean Academy of Nursing
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• v.32 no.3
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• pp.364-372
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• 2002

The purposes of this study was to find aesthetical-ethical paradigm of care ethics by understanding the unique moral character of care as an art and to suggest the optimal direction of nursing ethics. Method: This study used meaning-heuristic and -interpretive methods of hermeneutics based on philosophical aesthetic theory; Baumgarten's aesthetics, Schiller's theory of aesthetical education and Kant's theory of aesthetical judgement. Result: The concept of care implied aesthetical and ethical character; caring as an art was related to moral feeling based on human dignity und emotional communication in interpersonal-relationship. Caring as an art was interpreted as a moral ideal for the promotion of the humanity und the interaction in personal-relationship according to nursing theories. Philosophical aesthetics could provide the theoretical base for the interpretation of caring as an art. The proper paradigm of care ethics in nursing could be found in character-trait ethics and communication ethics according to the philosophical aesthetics. Conclusion: This study could show aesthetical-ethical paradigm of care ethics in nursing by the heuristic interpretation of caring as an art according to the philosophical aesthetics

• The Journal of the Convergence on Culture Technology
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• v.10 no.6
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• pp.371-376
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• 2024

This paper analyzes the main characteristics of proto-humanistic art theory in the book Il Libro dell'Arte by the artist of the early Renaissance, Cennino Cennini. His book, written in the late 14th century, opened the door to the Renaissance and attempted to make art independent from the poetic implications and rhetoric of literature for the first time in history. Cenini tried to have the creative nature of art, especially painting, recognized by society. Since Cennini's will became the starting point for the development of great art theories published by Alberti and Leonardo in the 15th and 16th centuries, the historical necessity of studying Cennini is fully acknowledged. Therefore, this paper examines the historical achievements of Cenini as an art theorist, who aroused academic interest in the social status of artists as well as the intellectual potential of art. Chapter 1 of this paper first examines the background of the birth of Libro. In the main body of this paper, the theoretical characteristics of Cennini's Libro as the first humanistic art theory are categorized into three areas: 1) the relationship between painting and liberal arts, 2) disegno as a bridge between mind and hand, and 3) pedagogy of painting. Through this process, this paper discovered that Libro combined practical guidelines and ethical recommendations for painting through its unique non-systematic structure. Cennini's attempt is defined as a historical practice for the intellectual emancipation of art and a historical foundation that provides inspiration for the production of Renaissance humanistic art theory.