• Journal of the Korea Furniture Society
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• v.20 no.6
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• pp.590-598
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• 2009

The study of Lurelle Van Arsdale Guild (1898-1986)'s vanity table and stool in the Cooper-Hewitt National Design Museum is essential to understand how the stylistic change was made on industrial design in the 1930s caused by economic necessity. The vanity furniture expresses in such relatively inexpensive image transformations that would attract new customers in the Depression. The objects are donated from a collector and became one of CHM's collections in 1997. In curatorial file, other than the designer's and manufacturer's names there is nothing specified for these objects. Therefore, this study is aimed for researching the exact date for these valuable objects for understanding American Art Deco furniture in the 1930s. Moreover, studying social aspect of these objects gives clear vision for the background. Especially, the History of American Standard (Rodengen, 1999) gives great over view to the history of the manufacturer, C. F. Church Company. The record in Fortune of 1934 suggests the designer, Lurelle Guild's position among other industrial designers at that time. And Profoundly, the objects were assigned design patents. Therefore, the vanity furniture set in the CHM was a significant symbol of early modernism rising from functional areas after the Depression.

• Journal for History of Mathematics
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• v.17 no.3
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• pp.61-72
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• 2004

In this paper, we investigate several values of the Nine Chapters on the Mathematical Art on mathematics educational viewpoint. We study them with four points of view: mathematical approach through problems of real life, algorithmization of concept and type, significance of affective domain and application of arithmetic. The result shows that the Nine Chapters on the Mathematical Art have great meaning of today's Korean mathematics education and possibility of application.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.15-29
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• 2007

H. $W\"{o}lfflin's$ methodology created viewpoint of art history which is an essential factor of art, and proposed formal analysis as an academic methodology specific to art history. H. $W\"{o}lfflin's$ expressed the see-form a as the five pair concepts which are summarized by 'linear-painterly' 'the plane-the deep'. 'closed form-open form', 'multiplicity-unity', 'absolute clarity-relative clarity'. His methodology is not only in the field of art and architecture but also clothing because during the same period have a relative tendency of thought, culture, politics and economics each other. As the result of this study were as follows. Renaissance of 16 century, the style of dress was enormous and dignified by body support outfit, hard puffs, slashes, padding and expansive jewels. It make appearance of man and woman absolute clarity because Classicism styles of aesthetic consciousness is geometrically perfect form and symmetry and restrained harmony, magnificent. Baroque of 17 century, the style of dress was vigorous mobility and subtle balance by abundant and free silhouette, soft collar, magnificent ribbon loop and tassel without body support outfit. It make appearance of man and woman comfortable and natural because Baroque styles of aesthetic consciousness is extraordinary degree of originality and creativity that was evident in the devising of new styled.

• International Journal of Advanced Culture Technology
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• v.11 no.1
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2010.05a
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• pp.461-461
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• 2010

The history of architectural acoustics is a part of history of human being getting together for both politics and entertainments, is also a part of the history of nobility pursuing hearing enjoyments, is still a part history of scientists deeply understanding the concept of "just for people", and as well as is a part history ceaselessly driven by the musicians to find their real hearts through music. The history of architectural acoustics explains not only the acoustic knowledge developments in architectural design, but also the unity on contradictory of both the science and the arts, both the technology and the culture, both the sense and sense organ. The history of architectural acoustics prints the interactions between the mankind and the nature, between the mankind and themselves, between the mankind and their souls, in which course people understand their feelings more deeply and deeply. This paper discusses the brief history of architectural acoustic in China from the ancient drama stages to grand theaters in 20 century, even up to nowadays, including some most important buildings and events as well.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.118-134
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• 2003

The first purpose of this study is to take a better look it the background of Formalism art in the cultural society and to examine the aesthetic value of the formative arts of formalism architecture that are ail basically founded upon the study of Formalism. Secondly, it analyzes the aesthetic value of Formalism Art to Wear, Which can be explained as a mixture of art and fashion, by investigate to the features of art history. The results are as follows; First, Formalism Art to Wear of Simultaneity does not represent continuance but simultaneous. In other words. inside the same time and place of dimension, events art visualized without transformation. Secondly, formalism Art to Wear of Geometrical Aesthetics deals with a purely genuine atmosphere that pursues absolute perfection, composed abstract of geometrical shapes. Thirdly, Fomarlism Art to Wear of Deformation breaks analysis from balance and symmetry showing extreme transformation nil new vitality. Fourthly, Formalism Art to Wear of Space Extension experiments with post-corporeality. Post-corporeality centers the human body extension that is open to various boundaries of implosion and electronic technologies, providing us with a new Cyborg of the digital body.

• The Journal of Art Theory & Practice
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• no.16
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.155-166
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• 2004

OP-Art was not appreciated by painters and art critics. and according1y has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally. it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity. anonymity and mobility in the Op-Art fashion. The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity. which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted In diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man. can be the backgrounds of the Op-Art fashion. Second, Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators. which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques. the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society, Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modern society.

• The Journal of Art Theory & Practice
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• no.3
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• pp.35-50
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• 2005

For us, any regional art exist? Almost all art events today take place mostly in Seoul. Concentrating on the reinforcement of its power, the regional art world remains isolated without any connection with the Seoul art community. It is completely closed off from the central art scene. The regional art world seems to consider that more helpful in consolidating its status. It is in real sense suffering the absence of art criticism and art media, lack of an understanding of art and backwardness of art education. Many regional artists are dreaming of moving out from their domain, aspiring to be a member of the central art world. They make an effort to assimilate into a refined, modern style of the central art circle, rather than striving to create works imbued with regionality and locality. As the artists living in the provinces, the characteristics of their district should be above all else reflected in their art. Although they are less informed about the latest trend of culture and art, their art has to be something passionately and obstinately embodying the intrinsic quality of their regions. They have to find a practical solution more positively, instead of merely complaining about the poor condition of the regional art community. There is the need to bring about a turnabout in our awareness that regional art is confined to any limit and cannot be in the center of the entire art world. What' s most significant is to dissolve factionalism and not to depend on school ties or regional networks. As a reaction against authoritarianism, regional art has to put emphasis on attaining its originality. For this, regional art should respect regional tradition, history and background and break away from an old convention of wielding power.

• Journal of Fashion Business
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• v.6 no.3
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• pp.94-109
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• 2002

The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art's horizon. As fashion illustration is gaining recognition as a form of art which mirrors today's realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art & technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression. The concept of fashion illustration, history of fashion illustration from its incepton to modern date is reviewed and the simplicity has been researched throughout past studies published in Korean and overseas Journals.