• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.4 s.117
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• pp.1-17
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• 2006

This study emphasizes users' participation, a living-transforming visuality, as users have appeared to be a central element of landscape design but ignored before. Also this study tries to propose meaning of extended visuality in contemporary landscape design on the basis of visual criticism on simple perception-and contemplations convention-based landscape design. For these purposes, this study reviews characteristics of visual changes appeared in modern reductionist paintings. In other words, arts can be interpreted in polysemous ways through bodies' experience. Deconstructive concepts derived from the theoretical reviews can be categorized into three including the participation of the users' bodies from a contemplative point of view, textuality and intertextuality, and experiences from works. Those concepts were used to criticize the previous discourse on landscape designs and to analyze various issues in the theories, themes and techniques in contemporary landscape design. The significance of the expanded visuality in contemporary landscape design is that it brings the users' voluntary participation. This structure can serve as a tool to obtain the users' perceptive effects. At the same time, it can be regarded as a process of establishing the relationships between the users and the works. Thus emphasis is placed not only on the influences of the effects structure of the works themselves, but also on the many different dimensions related to the users' bodies. It implies that the meaning of design is not determined by the designer but a product resulted from the voluntary relationships between users and works. These findings lead to ambiguous distinctions between arts everyday life, and eventually to the end of the concepts of formative dichotomous aesthetics and their effectiveness. Finding of this study call for not only redefining the space where landscape design is created and communicated, but also reconsidering the concepts of landscape design and its ontological meanings.

• Journal of Fashion Business
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• v.11 no.4
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• pp.204-220
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• 2007

The background of Korean Ethnical Costume was originated from those northern mounted nomadic groups, which was Scythe style Costume Culture. Through the antique records and paintings of tombs bequests hereby describe the forms of Scythian Cotume (1) Headgear : There was Conical Cap(or Pointed Cap), Feathered Cap, and Crown. (2) Clothes : Both Men and Women wore Jacket as upper garment with leftsided collars, narrow sleeves to the length of the hip line. As lower garment, they wore the tight Trousers and Kungo(:窮袴)that was attached with gusset. (3) Belts and Boots : On the upper garment bound the leather Belts that was hanged a hook that was shaped of animal form at the end. Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. To the Boots, they wore leather boots. (4) Ornaments : Ornaments divided into Dress Trimming(:Gold plaques), Earrings, Necklaces(;Torques), Bracelets, Rings. Scythian Gold Plaques were divided into several types according to the shape, animal style(curved beast shape, profile shape, head reversed over its back shape), round shape, quadrilateral form, star shape, flower shape, crescent shape, bundle shape, human appearance. Earrings consisted of a plain ring and pendant ring was a middle ornament hung from it to a pendants which hung was made of heart shaped leaves of the tree, beads-linked. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crescent-shaped pectoral style, Crown style. Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Rings were rhomb-shaped and animal shaped styleRings (5) Animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been inten-ded to guarantee the power of the aggressor.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.45-48
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• 2008

Using these systems, additional information on the paintings and exhibits may be provided in the forms of text, image, speech, and video However, at museums and exhibitions, many tourists are often interested in exhibits of some particular style, authors, or coteries. The proposed Augmented Reality based guidance system may guide the users to exhibits of their interest for selective viewing. Location of the next exhibit of interest may be informed to the users as well as additional multimedia information on the exhibits of interest Such information is shown on the Augmented Reality views of the user's display device. The proposed system is composed an Ultra-Mobile PC (UMPC), an inertia tracker, and a camera. In the beginning, the user may select his/her preference on the exhibits from the menu, and then the system starts guiding by showing the relative orientation, distance, and visual cue to find a next exhibit. When the user finds and locates the matching visual cue within a matching box of the display screen, the system provides multimedia information on the exhibit. According to the preliminary user test, the proposed system is convenient and useful for navigating through large-scale exhibition.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.131-139
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• 2010

The ten traditional symbols of longevity are represented as 10 which means perfection in oriental philosophy, the sun, mountain, water, cloud, rock, pine tree, elixir plant, tortoise, crane and deer. each subjects symbolizing longevity had used in isolation. unlike China and Japan, the ten symbols of longevity became a fixed form and was widely used in paintings, household effects and clothes in Korea. therefore, It will be a meaningful study how the ten symbols of longevity, as one of subjects in painting, changed into a pattern on clothes. The ten symbols of longevity was affected by various philosophies and religion. especially, it laid emphasis on order by Yin-Yang and the Five Elements theory. the order was applied to arrange each subjects and use colors carefully. the sun colored with red and was on the upper. the pine tree colored with green meaned tree and was on the left. the earth and the mountain meaned the soil and was on the center. the rock meaned the iron and was on the right. the water meaned the water and was on the bottom. The subjects of the study were embroideries like spectacle cases, spoon cases and pouches. the scope of study was the Latter Part of the Joseon Dynasty because there are more relics in the Joseon Dynasty than any other times.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.79-95
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• 2006

The relationships between costumes and literature are the remarkable characteristics in the history of Japanese costumes. Among them, the literary designs which have literary subject matters seem unique to Japan. In Japan, the history of the literary design traces far back and its examples are abundant in various literatures in the Heian era. It is particularly notable that the literary designs take a relatively large part of Kosode pattern in the pre-modern period, the Edo era, which can be cleary seen in Kosodehinagata-bon, a collection of Kosode pattern of those era, in addition to various sources of extant relics or paintings. These literary designs lie the tradition of the literary lyricism as aesthetic sense in the japanese costume history. The literary lyricism means the lyrical mood evoked by literature. The purpose of this study is to examine how the literary lyricism which has supported those literary designs was formed and developed. The literary designs on costumes related with the relationships between literature and formative art, for example painting. Those typical example, which started in the literature tournament, utaawase, was devised for matching up with the character of the assembly. They continued as a sort of the intellectual amusements. In the pre-modern period, the literary designs developed In relation to not only subject matters but those expression. Moreover, it shows the extremely typical example that a series of Kosodehiinagata-bons, consisted solely of literary designs, was enjoyed as a device of reading materials like poem anthology.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.44-55
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• 2006

The purpose of this study is to examine the characteristics of man's boots in the Joseon Dynasty and compared them with those of the Ming and Qing Dynasty to find the influential relationships between them. Boots in the Joseon Dynasty are divided into several kinds such as Heukgwejapihwa, Hheuksapihwa(黑斜皮靴), Heukpihwa(黑皮靴), Mokhwa(木靴), Hyeopgeumhwa(挾金靴), Suhwaja (水靴子), Jeonpihwa, Gijahwa(起子靴), and Baekhwa(白靴). In addition, Jeong(精: footwear) was put inside boots. They tend to be named according to their materials or ornaments on them. First, Jeong put inside the boots is regarded as footwear for the comfort of the feet or protection against cold. Mokhwa appears in literature around the 19th century. As shown by remains and paintings of those days, it is considered to have become the common name of boots as it underwent many changes. On the other hand, a book in the era of King Gojong includes pictures of Suhwaja. Compared to Hukpihwa in the same book. The topside seems to have been raised in order to make the wearer who put on a military uniform feel comfortable when walking, since the bottom piece is hard. Baekhwa is worn not only with funeral garments but also with Sibok(時服), one of official uniforms. Boots in the Joseon Dynasty had been made following the design of the Ming Dynasty since official uniforms were conferred upon King Gongmin in the late Koryo Dynasty. But turning the late Joseon Dynasty its detailed design changed little by little. The topside of the boots became more round, the entrance part became wider, height of the shoes became taller, and the bottom piece became parallel to the ground.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.72-81
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• 2009

The purpose of this study is to develop geometric patterns which can be reinterpreted in a modern sense and textile designs which can be commercialized in the mural painting of Goguryeo Dynasty's tomb. Of 42 tombs where genres and portraits could be observed, the costume style of Goguryeo dynasty could be mainly observed in the tombs built in the 4th and 5th centuries. Since geometric patterns found in the portrait could be represented in a modern sense, this study was intended to develop the patterns of a necktie which is one of cultural products by applying geometric patterns in the mural painting of Goguryeo Dynasty's tomb in the 5th century with many patterns distributed. The scope of patterns was limited to a square, a triangle, a circle, and a diagonal line which were the basic of geometric patterns found in the mural painting. The methods of study were literature review and empirical study. Adobe Photoshop CS3 was used to edit geometric patterns found in the mural painting of Goguryeo Dynasty's tomb in the 5th century. By extracting a square(${\square}$), a triangle(${\vartriangle}$), a circle(${\bigcirc}$), and a diagonal line(${\diagdown}$) from edited images, predicted images were proposed before products were made. Finally textile designs were made through the simulation of edited design patterns in the necktie and handkerchief. This study will contribute to the positive effects on the development of cultural product designs applying the characteristic of geometric patterns and the construction of Korean image.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.103-116
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• 2010

Recently, the art of the Latin America Culture is being actively introduced into our country. Many concepts in the fashion field contain Latin American culture and their influence is growing. This present study, based on a correct understanding of and research on Latin American culture, is an attempt to expand the expression of fashion design and explore the use of works of art in fashion. The case study is on Frida Kahlo (1907~1954), who was a Mexican woman painter who gives us some inspiration in contemporary fashion design. The scope of this case study investigates the Haute couture and the Pr$\hat{e}$t-$\grave{a}$-porter women's wear collections and photos from 1998 to 2009 which were greatly influenced by Frida Kahlo and analyzes through the formative elements of dress, color, form, pattern and material. Frida Kahlo was a painter whose composition of surrealism held the world of life and death, pain and pleasure, love and parting, thought and freedom, and tradition and modern, etc. As a design inspiration, her influence reaches into accessories, and hairstyles, as well as the Pr$\hat{e}$t-$\grave{a}$-porter. This current study for the correct understanding of the new culture and the introduction of art into the fashion design might be helpful in making fashion a work of art and in extending the expression of the fashion design concept which is based on commercial art.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.133-148
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• 2016

This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.94-108
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• 2011

The goal of this dissertation is to analyze various Romantic styles appearing in modem fashion based upon the 'Difference' theory developed by Michel Foucault. The characteristics that represent 'difference' in change of dress style are absence and resemblance. They are derived from the Foucault's interpretations of 'difference' represented in the paintings by Vel$\acute{a}$zquez and Magritte. The formative characteristics of the Romantic style dress in the 19th century are suppression of body, fixed form, volume, and ornamentation. And the aesthetic values of that are subordination, sensuality, and maternity. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to absence and resemblance. The results are as follows: first, absence in fashion means that body is more emphasized than dress represented by omitting part or the entire of dress or using the transparent materials. In modem fashion, absence also frees the body from dress and creates ambiguity of boundaries between body and dress. Another characteristic of the absence is lessening the volume, which means the size of dress remains still big but the weight is lightened. Second, resemblance means the formative similarities between the Romantic style of the $19^{th}$ century's and that of modem fashion created through using modem technology and materials. The characteristics of the resemblance are the fixed form, lessening of volume of the dress and ornamentation. Feminine beauty inherent in the original, such as subordination, sensuality, and maternity, looses its symbolic meaning and what is created is a new combination of images and signifiant that contain no or uncertain meanings. Thus totally new and different Romantic style is created. The Romantic style in modem fashion changed into the appropriate style to the modem society under various conditions such as designer's will, postmodernism, changes of femininity and technology.