• 복식문화연구
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• 제12권3호
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• pp.441-454
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• 2004

This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

• 한국조경학회지
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• 제33권5호통권112호
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• pp.114-122
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• 2005

Anyang city performed a design competition for the existing paper mill site and this design is the work that was submitted to that competition. The design instructions for the competition were about an organic site which had harmony of aboveground park and underground parking lot, establishment of park planning which is fit for the features of nearby areas, and security of proper parking space. This design criteria set the design concept to a new wave of Anyang by reflecting the design instructions of prize contest and features of the site and developed it as three waves. First, the eco wave, one of three waves, means that it compose the ecological healthy park and urban environment together with restoration and preservation of Suamcheon (stream), and futhermore the waves that the natural resource are maintained in a delicate ecological balance as the water resource of Anyang city are connected to the axis of mountain resource. Secondly, the emotion wave indicates that the wave toward culture and art emotional park that stimulates and fills up the emotion to makes impoverishing modems minds fertile. Thirdly, the health wave means the waves toward a park to keep the sound of minds and bodies of Anyang citizens, and healthy and sound life as well as the waves toward a park to contribute the healthy leap and development of Anyang. These three waves will enrich the park keeping the dynamic relationship mutually and will be a new culture and art code of Anyang city.

• International Journal of Advanced Culture Technology
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• 제12권3호
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• pp.290-302
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• 2024

The collaboration between art and fashion goes beyond simple marketing strategies and creates new cultural and aesthetic values through the fusion of the two art forms. This collaboration enhances the brand's image and value, provides consumers with new aesthetic experiences, and provides artists with the opportunity to publicize their works. Fashion can also break away from the existing stereotyped patterns and express the zeitgeist contained in modern society in a much more diverse way through collaboration with works of art, which has cultural and social significance. Therefore, the purpose of this study is to rediscover the meaning of fashion in art based on human life and the spiritual world, and to explore how fashion is expressed as a cultural code in modern society. In the past, most of the views looked at the relationship with art as fashion was the subject, but this paper focused on analyzing the interaction between fashion and art from an artistic point of view. This effect could be demonstrated through the analysis of the convergence case of fashion and art. It is expected that various forms of collaboration will continue in the future, especially fashion, which is based on the researcher's abstraction of color, absorbs and inspires each other's elements, and is related in various aspects such as color symbolism, emotional expression, and design composition principles.

• 비교문화연구
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• 제22권
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• pp.29-49
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• 2011

This study is focused on looking into the essence and application in the modem history of 'Martial Art Culture' that is a representative cultural code in the East Asia. Doubting and reconstructing the paradigm of the past and present, Postmodernism in the 21st century has defined marital arts as a new cultural phenomenon. This study begins by doubting whether the essence of martial arts was a cultural conduct to train both bodies and spirits. Practically used as a fighting skill since the primitive age, martial arts has fallen into sports or cultural behaviors due to the invention of the state-of-the-art modern weapons. However modern people misunderstand that martial arts of East Asia is originated a kind of cultural behaviors. It implies there is a fundamental mistake in the wat Western civilization evaluates the orientalism. This study analyzes this mistake through access method based on realities of modern history. This trial will contribute to expanding the thinking range, inquiring into varied cultural phenomena including martial arts which are misunderstood in modern history.

• 복식
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• 제54권2호
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• 한국의류학회지
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• 제33권1호
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• pp.127-138
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• 2009

This study is about the analysis on symbolic meaning and kunstwollen of Issey Miyake's art works which is influenced by various external factors such as social and cultural background, nationality and philosophy. Especially, this research focused on 'Pleats Please Issey Miyake' and 'A Piece of Cloth' which are the core of his works. The most important concept of Issey Miyake's works is the relationship of human body and a piece of cloth. Miyake's clothes has provided the time and the space where inspires the vitality into wearer. He accomplishes the most perfect beauty through incomplete beauty of cloth. Miyake wants to express the emotion of the human being through his clothes and tries to make special code between creator, wearer and viewer. Fashion is accomplished in connection with human body, not exists just as 'clothes'. Fashion has valued as an art which expresses the ideology and the sentiment of human being most directly. Issey Miyake who has tried to express human life and emotion has promoted fashion as an important part of art. Miyake is accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• 비교문화연구
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• 제25권
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• pp.35-54
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• 2011

Magnum Korea, a 2008 exhibit at the Hangaram Art Museum in the Seoul Arts Center, introduced representative images of Korea to commemorate the 60th year of the founding of the nation. Twenty photographers of various backgrounds participated in Magnum Korea. This study focuses on one of the exhibited photographers, the French photographer Bruno Barbey. Born in Morocco, Barbey occupies a special position in today's modern photography not to mention in the Magnum group of traditional medium of photography. His photographic world is affiliated with the humanism of Robert Diosneau, particularly as his photographic medium is based on communication and code. Among the photographs in the Magnum Korea collection, Barbey's photographs can be organized into six different subjects: industrial structures in nature, industrial buildings, traditional relics of culture, terminals, markets and restaurants, and daily life. This paper takes special interest in Barbey's unique perspective on Korea's traditional cultural assets focusing on 'Seoul, Jogyesa'. What is the uniqueness of our culture as contained in Barbey's works? In other words, how did he capture the special characteristics of our culture that are often overlooked or ignored because they are so familiar to us? A semiotic approach is used to discover what common but special situations and realities of Korea attracted this photographer and how he managed to capture them in his photographs.

• 기호학연구
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• 제54호
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• pp.37-63
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• 2018

본 연구는 전통춤에 나타난 대표적인 동물을 나열하여 그것이 상징하는 문화기호학적 표상에 관해 연구함으로써 한국인의 동물숭배사상과 삶의 철학을 의미화하고 한국전통예술의 정체성을 논의해 보았다. 이는 한국 문화와 예술에 관한 근원을 묻고 동물모방의 표상에 대해 문화고유의 철학적 사유를 공감하기 위함이다. 이에 한국의 동물 모방춤은 단순한 문화적 코드를 넘어서 춤에 투영되는 있는 한국인의 예술적 가치인식을 엿볼 수 있었다. 즉 주술과 성적인 은유 뿐 아니라 자연친화적 삶을 통한 순응적 태도와 현실에서의 윤리적 실천을 우선으로 예술적 미의식이 고취됨을 알 수 있었다.

• 미술이론과 현장
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• 제4호
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• 복식
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• 제59권7호
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• pp.65-76
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• 2009

Korea has established a code for the economic and cultural industry that covers a wide range of classes unlike the old information era which was limited to the simple knowledge, technology, tools, morals, and customers that had been established in our society. On the other hand, 'culture marketing' is a series of marketing activities in which value-added items are created and shared. The combination of business management and culture seemed pretty awkward considering how rapidly the world was changing, however, the nature of today's culture has changed and the economic nature of culture products has resulted from those changes. In this paper, two authors who expressed the cultural identity in the culture products are studied through a comparison analysis; the author Min Yeongsoon expressed the identity confusion that she experienced in a foreign country and how she overcame homesickness in her work; and the author Kim Ata expressed his confidence in Asia and used his clear and loud voice to express the culture in his work. In addition, today's culture products are affected by the surrounding cultures such as the member's traditional society, environmental culture, and individual's culture. It is a good source for good works of art. In this study, the efforts of seeking the cultural identity, structuring the concept, seeking a new market and possibilities are used to make a consistent process in order to make a series of the systems required for planning and developing culture products.