• Journal of Fashion Business
• /
• v.10 no.3
• /
• pp.54-68
• /
• 2006

Suhainmyuldo (樹下人物圖) is a type of picture which expresses a person under the tree and is known to be brought to the Korean Peninsula from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini (or Iygsha), the fairy of tree, in India and the 'Tree of Life' in Western Asia which influenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way; for example, Jookrimchilhundo (竹林七賢圖: seven wise men in bamboo forest) in the Six Dynasty. There are only two items of female dress and its ornament from the 4th to 6th century Suhainmyuldo of the Goguryeo ancient tomb mural: one from the Jangchun Tomb No. 1 in which a female figure is portrayed as a part of living genre painting and the other from the Anahk Tomb No. 1 with seven female figures in a painting which is one of the earliest Suhainmyuldos, presumably from the 4th century. These two paintings must be considered in parallel with the origin of Suhainmyuldo. The mountain wizard's dress and Men's dress and its ornament in Suhainmyuldo from the 4th to the late 6th century Goguryeo ancient tomb is mostly joint adjust in which its collar is connected by a line and almost all the wizards are wearing Sang (upper garment). Most mountain wizards are wearing black feather shaped jackets and upper garments. One noticeable observation is that the mountain wizards of Mooyongchong, Tongu Ohgoibun Nos. 4 and 5 are completely different from one another in terms of ways to dress each wizard's official hats and shoes.

• Journal of Pharmacopuncture
• /
• v.15 no.2
• /
• pp.7-10
• /
• 2012

Objectives: The root of Lithospermum erythrorhizon Sieb. et Zucc. (Lithospermi Radix, LR) is a kind of heat clearing and blood cooling medicinal herbs. It can clear away heat and cool the blood, reduce toxins and disperse maculae. LR has long been used as efficacious therapy for inflammation, burns, frostbite and skin diseases such as eczema and psoriasis. Methods: In the present study, we investigate anti-allergic and anti-inflammatory effects of LR by using the 1-fluoro-2, 4- dinitrofluorobenzene (DNFB)-induced contact dermatitis mouse model. Results: Topical application of 10 mg/mL of LR effectively inhibited skin lesions induced by repeated paintings with DNFB. Topical application of LR also inhibited hyperplasia, edema, spongiosis and infiltrations of mononuclear cells. In addition, production levels of total immunoglobulin and IgG1 in serum were decreased by using LR in vivo. Conclusions: These data suggest that LR acts as an antiinflammatory agent, improving skin lesions in CD mice.

• Archives of design research
• /
• v.12 no.1
• /
• pp.133-142
• /
• 1999

Light is an essential element which make it possible for men to see things, and its important for painter cannot be too much emphasized. light has significant meanings in the history of painting as well as in human life. light playa an essential role in creating three- dimentional objects. Light has not only spiritural, psychological , and formative meanings but also in. itself in the field of drawing. In general, a study of light and colors should be understood not merely as visible effects but as something unconscious involving psychological experiences and spiritual symbols, thus, as a very subjective phenomena. The article analyzes new meanings and roles of light in modern area, examining ways in which studies of light has been performed. It also deals with the meaning and effects of light revealed in the history of oriental and western paintings, and their influence on modern illustrations through case studies in order to provide an opportunity to have a new understanding of light.

• The Journal of Natural Sciences
• /
• v.8 no.2
• /
• pp.257-287
• /
• 1996

The late period of Choson was the renaissance of the modern literature and art of the 'common-people'. Appearance of the common-people class following the emergence of such literature and art highlighted the common costume culture and evoked a fashion. The common trend of fashion of all classes at that time included a exaggerated hair style, a jacket short and tight enough to expose the breasts, a belt looking like a sensual silhouette of a woman body were expressed. Appreciating the human body could be regarded as some social advances at that age, when all the woman's clothing behaviors were restricted and controlled by the Confucian rules. Although eroticism itself is quite dependent on the basic instinct of a human being, this way of expressing eroticism had a social significance, in that women tried to be freed from the long-lasting social bondage. Therefore, the erotic mode during the late half of Choson reflected the society as well the women's repression. In addition, was the disclosure of humanity shadowed by the crusts of the hypocritical and superficial Confucian morality. It implied advances and modernity of the literature and art of the common-people at that time.

• Journal of Digital Convergence
• /
• v.13 no.2
• /
• pp.325-331
• /
• 2015

The purpose of this study is to apply the digital storytelling to the traditional portrait which includes the various historical and personal stories for modern transformation of it. In the general understanding of traditional paintings, there is a oversimplified analysis of the narrative about traditional portrait. Considering the contemporary cultural context, the multi-dimensional study on the various modern meanings of the traditional portrait are very essential. This study examines the digital storytelling application of the traditional portrait of Kim, Hongdo and applies for modern transformation. This research has the implications for modern transformation of traditional art that broaden our understanding of the various traditional portrait includes ideological and aesthetic significances by the digital storytelling.

• The Research Journal of the Costume Culture
• /
• v.18 no.1
• /
• pp.29-43
• /
• 2010

The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

• The Research Journal of the Costume Culture
• /
• v.18 no.2
• /
• pp.229-244
• /
• 2010

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the $21^{st}$ century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly 'folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

• Journal of Science of Art and Design
• /
• v.2
• /
• pp.5-41
• /
• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.