• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.120-133
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• 2008

The purpose of this study is to analysis types of light and to find the characteristics of light in contemporary fashion design. In a scientific context, light is electromagnetic radiation of a wavelength that has the characteristics of straightness, reflection, refraction, scattering and diffraction. But in philosophical speculations, light has been used as a metaphor of 'being', 'to-be' or 'enlightenment.' And through the ages, people have tried to represent and apply the light into plastic art like painting and architecture. The types of light in fashion design was categorized as those; reflective light from the surface of clothing which is the result of interaction between illumination and material, representative light as the pattern of light or light effect such as sun or its rays and optical or psychedelic patterns, luminescent light from light emitting material like phosphorescence or LED which combines into fashion design, projective light from a medium to reveal virtual patterns on the surface or a fashion design itself using holography. These lights in fashion design can be considered as reflection of emphasis of sexuality, longing for fantasy and mystique, visualization of interaction and communication and groping for the play.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.42-53
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• 2008

This study is about the development of Fashion Design using of Korean Motive applied Digital Medium. With rapid change during the 21st century, digital media has emerged as the most important communication tool to facilitate speedy and interactive conversation. The recent emergence of 'Mass Customization' is a good reflection of digital transition's interactive features, realizing product variation and customization through flexibility and immediate responsiveness. In this so-called digital era, fashion is a tool that facilitates the use of digital media, while acting as the object, or the purpose, where digital media can be applied. This study looked at the development situations and future utilization method regarding digital fashion, which was recreated through digital media. In this study, a new design process was developed through digital media and actually manufactured Korean image clothing to reflect the motif of plant found in Korean folk paintings. Three-Dimensional(3D) digital shape was dressed in virtual clothing for comparison, thereby adding some features of textile design to three-Dimensional(3D) shape. Through the process, the study can provide various potential accesses to future development of fashion design utilizing digital media.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.459-473
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• 2019

This study analyzes a new aesthetic value of fashion design utilizing media art technology based on Marshall McLuhan's media theory, vitalize a creative fashion design by applying media art technology into traditional fashion design and discover the possibility of various formative expressions. The result of the analysis under the three criterion extracted through the examination of other art genre such as dance, music, architecture and painting are as follows. First, new concept clothing was designed in the way of combining science and technology with existing costume designs. Second, applying technology based media art images on clothes has been noticeably effected by changes to clothing surfaces. Third, fashion design using technology based media art stimulates the five senses and creates new communication structures. In conclusion, this study reveals that fashion design utilizing technology based media art, an innovative medium for future fashion development in digital society, has expanded the boundaries of fashion design beyond limits and contributed to diversity in creative fashion design.

• The Journal of Art Theory & Practice
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• no.16
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• pp.175-199
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• 2013

Capriccio which has emersed in Italy of the 18th century is a new genre of the landscape painting. This genre represents reality, but it is very artificial product correspondingly its concept and character. It's birth place is distributed on various regions in Italy, but the main stage was Rome. Till the middle of the 18th century Rome was the Holy city of the Grand tour, the home of the Neo-Classicism and furthermore the field where archaeology and art history began to be instituted. On such historical situation the Capriccio came out and was recognized as the best popular genre in the visual art. It was favor of the art collection with the antiquity together and reflected the consciousness of the contemporary to the ancient. This study will examine the phenomena in the newly-developed archaeology and with few representative works of Giovanni Paolo Pannini as central term consider the Capriccio and the archaeological connotation. The systematical and institutional archeology which appeared at the age of the Enlightenment, on the contrary to the critical theories at the same time against capriccio, because it was regarded by them as paradoxical and too much sensitive, utilized it as a theoretical method very actively. Some among Historians and archaeologists did it, especially Francesco Bianchini distinguished the capriccio from simple imagination and made it a capacity of the knowledge. And through it he wanted to find out the historical truth. The visual art was influenced and encouraged by such attitude of the archaeology. However it's output spreaded out in various courses. While Giovanni Battista Piranesi, the best known Capriccist of the 18th century, tried to revive the antique through the epical value and his own imagination, Pannini gave priority to the strict historical research. In the such context Panni succeed Giovanni Battista Nolli who made the great map of the city Rome. Their Capriccio profited motive and was inspired by the historians and archaeologists such as Bianchini and Muratori. The Capriccio reflects not only the academic and popular interest for the antique, but also influenced on the upcoming scientific archaeology vice versa. It caused by their reasonable Interpretation and restoration of the antique through the visual medium. Finally as archaeological landscape Pannini's Capriccio is a historical case, in that the Capriccio applied the theoretical method of the archaeology to make art. It served as a momentum for the connotation to the archaeological thought.

• Journal of the Korea Convergence Society
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• v.11 no.10
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• pp.171-179
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• 2020

This study was attempted to identify the media preferences and the reasons of cancer patients. The data collection was conducted on 76 people. and they are 6 men, 70 women with 38 breast cancer patients, and 38 patients with other cancers. For measuring tools, self-written questionnaires and Mandala paintings were used for single-time art therapy. The data analysis compared the results of technical statistics, independence verification and chi verification using the SPSS WIN ver.25.0 with the Mandala painting. There were no significant differences in media preference by age and duration of the disease, and there were significant differences in media preference by disease. In the Mandala painting, the characteristics of the medium and the factors of specific disease showed that there were reasons and effects of preference media choice. This study is meaningful in that it concentrated on the art therapy access and support in terms of the cancer outpatients, which have been concentrated on inpatients so that they shed light to the support and intervention needed by the outpatients, and can be used as basic data for the development of art therapy programs to help stabilize the mind of cancer patients in the future.

• Archives of design research
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• v.11 no.1
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• pp.131-142
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• 1998

Gustav KJimt (l862-1916)was a pioneer in the field of painting and decorative art. He was severly critized by the art critics of the time because of his rebellous art style. He firmly believed that there should exist a new kind of art that should portray the essence of the new liberalized era and that shoud reveal the idea of an artist in his work. Klimt was an aesthetic who sought beauty in life. He represented man as a micro universe within the macro universe. In order to portray man's inner being and to depict the process of life and death in nature, he symbolically employed female entity as a medium. Through uses of the circles, triangles, rectangles, and the spiral forms in his paintings, Klimt symbolized the meanings of man and nature. The circle symbolizes the universe and female entity; the triangle, human being; the rectangle, the earth and male entity; and the spiral, a universal force that attracts the opposite poles. The highly decorative characteristic nature of Klint's paintings and murals has often been modified in the pattern design field. It has been applied to home-furnishings and apparel textile designs, stained glasses, tiles, and posters. The techniques and layouts of these designs have been modified so that they may suit their manufacturing processes. In general, these pattern designs have two spectrums. One is the kind of design that has faithfully carried out Klimt' s original painting style. The other is the kind that has extracted the essence from the Klimt' s original art work.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.6
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• pp.347-359
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• 2016

People are destined to live according to the time and fate after they are born. Man is connected with the idea that is called the Chinese zodiac sign related to one out of 12 animals, regardless of one's thought. This paper was written with the expectation that it will be a new turning point understanding the mutual influence and its changing process by catching the ethnic belief and emotion as well as its cultural background in the Asian Zone by investigating the meaning of the 12 Chinese zodiac shown in the folk painting from the viewpoint of folk lore including "Chinese zodiac sign" culture rooted in our daily lives. The animal 'Rat' has been lived well human beings accompanied by the fable or the nature, while the animal 'Ox' has been living together with human history. The 'Tiger' has been considered the 'Power retreating disease or a devil' to humans, which is the most frightening but near at hand. The 'Rabbit' in the fable is inculcating hope and ideals to humans. The imaginary 'Dragon' is rooted in the deep national belief, which is seated as 'Guardian god' of farming culture and mankind, while the 'Snake' is playing a role in protecting humans as the 'Sea God' in Tsushima and Jeju Island, and has been believed and followed in the deep mind of humans. The 'Horse' in the nomad culture has been adorned as the basic creature of nomadic society in the character of a psychic medium between the human and god or their 'Guardian god'. The ancient Japanese regarded 'Monkey' as holy, being connected with treasure. It infers a human's desire to borrow wisdom from 'Monkey'. 'Chicken' includes the meaning of a lucky sign connecting the sky and the human world by arranging together with humans. The 'Dog' is believed and followed as performing the function of a messenger connecting this world with the afterlife in the next world tale of shamanism. The 'Pig' also lives well with humans, being interpreted as fecundity. Although the meaning of the 12 Chinese Zodiac animals has ethnic differences, all of them have been shared with humans, rooted in the human mind, being believed, and followed in human lives.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.2
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• pp.12-27
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• 2003

The purpose of this study is to look for an environmental design method based on open narrative structure, and to promote various experiences and interpretations of space through user's engagements. That is to say, the designer does not lead specific events through separate Boning but using the continuous open composition users are provided with margins for their imaginations. Spatial formulation through open narrative structure gives us various thoughts and it plays an important role in making a sequential space. Like an abstract painting, it is a complex story making or arranging a montage of images containing stories that elicit the reader's engagement through diverse interpretations. Like this, open composition exists in an ambiguous state and it is possible to interpret unfinished‘evolving work’within it. Utilizing open narrative structure, this study attempts to apply the idea of sequencing and open composition in the case of designing Arirang Culture Park. Open composition should induce various engagements by users and could be a medium which organically connects nature, culture and people. The spatial strategies of‘ambiguity’ and‘transparency’are like a bundle of complex and heterogeneous factors. Finally, the study focuses on the ‘integration’of the main ideas that compose multilayered space. ‘Voidness’and‘thickening’are also used for spatial strategies in open narrative structure. As alternative plans for undecided programs of the space, the voidness can be a strategic design program with flexibility about changes of futures. Also, thickening can be a strategic design program for functional reinforcement of the space, for the dramatic effects and for the generation of incidental events. Although both voidness and thickening seem paradoxical, we can see they are similar in the way that both focus on various spatial uses and by how they do not function as one-to-one correspondence, but as multiple correspondences. Therefore, open narrative structure is possible to apply in designing space and it can be an alternative design strategy for inducing multiple interpretations of space.

• Journal of the Korean Home Economics Association
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• v.40 no.6
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• pp.1-19
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• 2002

This study is to observe the meaning, aesthetic formative nature of the human body which has been not only a main issue and discussion object but also socially, culturally connected with clothing by contemplating it in the respect of the trend of art. Additionally, a work of contemplation about human body introduced to fashion design was analyzed to renew the meaning and value of the formative art inside the human body. The way and scope of this study is to contemplate the concept and meaning of human body, based on the documentary records such as art history and clothing history in the West society as a main theme. The results of the analysis were as follows: In the first place, the formative characteristics shown in the modem arts expressing the human body since 1990 which are cubism, futurism, metaphysical painting, dadaism, surrealism, pop art, happening, feminism, body art, and technology art are distortion, exaggeration and dismantling. Second, the aesthetic formative nature and meaning in the human body appear to be different according to the standard of ideal beauty of human body when we examine the expression of it from the aspect of art-history and the meaning of human body implied in it. Besides, human body is being used as a messenger which delivers the message of modem artist to other people. So the changed meaning of human body has affected the clothing and made it possible to manufacture and form new styles of clothing that have never been before. In conclusion, the human body in the modem era plays an important role as a brand-new formative medium of communication in the human society and contributes to the development which applies the aesthetic formative nature of the human body to fashion design.