• 한국가구학회지
• /
• 제27권1호
• /
• pp.26-34
• /
• 2016

Lacquer has a high value as a coating of typical arts and crafts in East Asia including Korea, Japan, and China and traditional representative of the gorgeous satin that is fit to the cultural conditions of each region. Lacquer is harmless to the human body and its robustness, preservatives, moth proofness, and strong heat resistance can maintain a long life. It seems that it will be able to make a significant contribution to create a variety of products if we continually study and raise the productivity and quality of the goodness of these lacquer. In this context, we reviewed the Pitae lacquer wares, which is one of the lacquer of traditional techniques that can be applied to the development of daily necessities and cultural product. Joining the goodness of harmless and environment-friendly lacquer and the characteristics of the leather that can produce a variety of physical beauty can develop household goods of tradition and modernity in harmony. It is worthwhile re-interpreting the tradition in the aspect that we can develop our culture from a modern, plastic, and artistic point of view.

• 한국의상디자인학회지
• /
• 제3권2호
• /
• pp.23-34
• /
• 2001

This study aimed to investigate the Bobos style which represents new upper class in the information age and has influence on fashion world, and present the marketing strategy for that. As a result, Bobos' buying behavior of fashion goods and marketing strategy for that were as follows. The first, Bobos fashion style and their characteristics of buying behavior were 1. the pursuit of luxury and high quality 2. the pursuit of blending taste and of the traditional bourgeois and the bohemians 3. the pursuit of utility and practical thing 4. the pursuit of self expression and sense 5. the pursuit of natural and antique taste 6. pursuit of cultural and artistic aspect. The second, marketing strategy for Bobos' buying behavior of fashion goods were as follows. 1. Blending of the traditional prestige and freedom should be reflected on fashion goods. 2. The utility and natural style of fashion goods are needed. 3. The non-conspicous self expression and artisticㆍcultural taste should be reflected on fashion goods.

• 패션비즈니스
• /
• 제15권2호
• /
• pp.23-38
• /
• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.

• 한국실내디자인학회논문집
• /
• 제15권6호
• /
• pp.19-26
• /
• 2006

This subject is about the research of Shanghai Art Deco in the aspect of architectural decoration and seek to offers an examination and analysis of the characteristics related to the Art Deco design, which appeared and dominated the field of design from 1910s to 1904s in Shanghai. Study method is a theoretical consideration of reference and gathering data through field trip. In order to carry out this subject, this study will research following factors. First, factors related to Art Deco such as the period of origin, background, spirit, aesthetics, design characteristics. This is followed by the influence of Art Deco movement begun in 1925. Second, the background of Shanghai Art Deco architecture style was studied. Third, the case studies of Shanghai Art Deco Architecture and interior decoration were researched by the expressive factors which were divided by style, form, material and color. As a result early style had compradore style about 1900, later reactionism prevailed of 1920 affected by European Art Deco. Skyscraper style was built and architecture developed with racial characteristics. It has vertical and streamline form of typical Art Deco and strengthen geometrical motive in architectural expression. It appeared naturally and has the contrast of different material in material expression. It has effect on strong color as using highborn and brilliant color in color expression. They appeared chinese national spirit by using 'ot painting' in western oriented furniture. The purpose of such an examination is to classify, understand and validate Shanghai artistic and socio-cultural heritage in order to better appreciate the life philosophy of Shanghai and re-discover their basic roots. Though it began as a Western cultural movement, it is the purpose of this study to discover the inherent orientalism in its basic formative spirit.

• 복식
• /
• 제55권4호
• /
• pp.138-150
• /
• 2005

Phrygia headgear has an important meaning from the perspectives of costume history and cultural exchanges in ancient times. This study is to investigate the prototype of Phrygia headgear through analysis of its manufacturing methods and styles on the basis of prior studies on ancient sculptures and literatures conducted by European researchers and to examine its history and meanings. In these ways, this study will be helpful in understanding the importance of Phrygia headgear in cultural exchanges between the East and the West. Results of this study can be summarized as follows: Phrygia headgear was orn by eastern tribes, so it was a symbol of those from the east in ancient times. Phrygia headgear is frequently found in Greek artistic works of 5th to 4th century BC that depicted eastern tribes. Also, this headgear can be observed in artistic works for Mithras, Attis, or other gods. Since Phrygia headgear's shape is similar to that of Homer's helm, many researchers believe that it might be originated from Homer's helm. This headgear made of oxen scrotum(stierbeutel) or its surrounding skin has a long end at the top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we can draw a conclusion that Phrygia headgear was made of oxen scrotum and its surrounding skin. Dependingy on drooping patterns, there are various shapes, such as the round, tightly swollen one worn by Mithras, the tongue-shaped one found in Basilika S. Apolinare Nuovo's mosaic depicting three wise men, the balloon-shaped one frequently found in Greek vases depicting Scythian, and the one drooping to the side depicted in Alexandersarkophag. Further, some Phrygia headgear has covers for neck and ears. For example, Phrygia headgear worn by Persian Satrap tribe has such covers attached to the head part. Meanwhile, Phrygia headgear worn by Amazone tribe does not show such separate covers, Rather, one piece of oxen skin was tanned and finished to make such covers. Wearing Phrygia headgear can be interpreted in several ways. Use of animal's skin for wearing things is a unique aspect in ancient societies because they believed that wearing animal skin would give them power of the animal. Further, Phrygia headgear made of oxen scrotum was a symbol of reproductive power to women.

• 디지털융복합연구
• /
• 제15권2호
• /
• pp.301-307
• /
• 2017

디지털 기술의 발달로 모호한 감성의 자극에만 집중하며 만들어지고 있는 상업영상 들이 영상문화 전반에 트렌드 같이 번지고 있다. 2016년 한국영화의 천만관객 영화에 가까운 성공을 거둔 영화들의 모습을 살펴보면 여론몰이를 하는 사회적 현상만 존재하고 영화의 참 실체는 없다는 공통점을 찾을 수 있다. 이에 필자는 680만 관객을 동원하며 사회의 큰 관심을 받았던 영화 '곡성'을 중심으로 앞서 언급한 문제점을 관객들의 일반적 반응등과 같이 분석, 나열하고 이에 대한 올바른 개선점 등을 도출함으로써 영화예술이 대중예술의 격과 깊이를 계승, 발전할 수 있는 길을 모색하고자 한다. 문화, 철학, 종교, 역사 등 인류사회가 공유하는 문화유산의 깊이 있는 사실적 반영은 사회구성원의 문화적인 정서의 동질성과 공감 확보를 위한 필수 명제라고 할 수 있으며 이를 바탕으로 감독이 전하고자 하는 메시지나 내용이 표현 되었을 때 시간과 공간을 뛰어넘어 영화사에 각인되는 진정한 대중예술 콘텐츠가 만들어 질 것이다.

• 패션비즈니스
• /
• 제19권2호
• /
• pp.53-68
• /
• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• 패션비즈니스
• /
• 제21권4호
• /
• pp.44-60
• /
• 2017

This study is to understand the image of the Korean beauty and rewards to be gained by trying to be a beautiful person and to study differences according to demographic characteristics. It was studied with the purpose of industrializing beauty image and selling it to foreign countries. The survey questionnaire was distributed to Seoul and Kyeongkido. Respondents totaled 301. Collected data were analyzed with frequency analysis, factor analysis, $X^2$-test, and regression. Results are ; (1) The external image of Korean beauty emphasizes round face, white skin, big eyes, double eyelids, round head shape, early twenties, tall, low body weight, thin waist, long neck, long legs, and thin fingers. (2) The inner image of the Korean beauty emphasizes mature personality, social economic ability, but not housework, and cultural artistic ability. (3) Rewards gained by trying to be a beauty are psychological, actual, and social ones. (4) External face and body image of the beauty are different by demographic characteristics (sex, age, marital status, final education, monthly average income, religion). (5) The inner image of the beauty is different by age, final education, and monthly average income. (6) Rewards gained by trying to be a beauty are different by sex, age, final education, and monthly average income.

• 한국의상디자인학회지
• /
• 제8권3호
• /
• pp.35-47
• /
• 2006

This study aims to suggest the Deconstruction theory that is changing and developing by being converted into visual from as cultural code which reflects the spirit of the times and art style as well as to analyze the phenomenon of deconstruction expressed in the Fashion photographs. Fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. Fashion photographs is direct information about the fashion itself, and at the same time, it transmits various circumstances of the times. Fashion photographs has opened a new aspect called visual communication, when it's seen in new, more profound way, instead of being locked in its visible frame. Photograph is no longer a mere means to preserve documentation or pursue artistic expression. Instead, it's now regarded as a way to pursue visual transmission owing to its cognitive psychology, and this is a remarkable step toward new thing. In this study, the possible visual information function of photograph was explored from diverse aspects, such as the combination of photo and design, its linking to printing technology's mass production function, or the development of its imagery symbolism. This study shows that the nature of deconstruction can be explained as deconstruction of the sexes, deconstruction of the time and space, and deconstruction of the genre.

• 복식문화연구
• /
• 제18권5호
• /
• pp.842-856
• /
• 2010

The relationships between fashion and architecture have been interactive. Since the fashion has had the role to decide the structure type of urban environment, it is becoming the new sign of space boundary. This study searches the social and cultural characteristics of Nomadism and the relationships among all kinds of changing objects. After then, the module system characteristics are meditated by analyzing the composition method of module system in architecture. Moreover, the study examines the aesthetic values in the fashion and body architecture from artistic aspect. Based on the above discussion, the followings are the characteristics of body architecture as the social structures expressed in modern fashion. The liquidity is the fluid form of dynamic structures. It shows the extended space form which produces the continuity. The transformation is the variable structure by module system and it forms the diversified structural combination. The movement combines the controlling function to be able to regulate and move freely the body related objects. The convergence is the text combination interpenetrated mutually in enlarged space. Through this, the non-linear continuity and the access of the individual factors are shown.