• Journal of Fashion Business
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• v.27 no.6
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• pp.99-109
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• 2023

Loewe Craft Prize is currently the most influential craft contest. During the contest, contemporary craftworks, as art with excellent aesthetic value, are selected as finalists but there are no enough studies on them as subjects. This study aimed to investigate contemporary textile pieces found in the fashion brand Loewe's Craft Prize, a Loewe Foundation Craft Prize and elucidate their expressive characteristics. The methodology of the study was a qualitative study that derives the expressive characteristics of the works within the scope of the study through case analysis along with theoretical reviews. The selection of research subjects was based on 22 works of textile pieces among the works selected as finalists for the last six years since the first year of the prize in 2016. The analysis of textile pieces showed first, the emphasis on traditional expression, second, the development of new expressive techniques for the material, and third, the pictorial character revealed in flat pieces. The expressive characteristics of contemporary textile art shown in the Loewe Foundation Craft Prize, derived based on such results were, first, the confirmation of the unique capabilities of craft through the inheritance of tradition, second, the rediscovery of textile properties through material experimentation, and third, the possibility of expanding the field of textile due to the pictorial character.

• Korean Journal of Ecology and Environment
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• v.54 no.2
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• pp.125-129
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• 2021

Chironomids are a large group of invertebrates that live in various aquatic habitats. The distribution range of these invertebrates has become varied due to anthropogenic impacts; as such, their distribution can be used as an indicator of environmental health. Adult chironomids are well known in South Korea; however, the larvae have rarely been studied due to difficulties associated with morphological classification. To address this lack of information, we collected larvae from four important rivers in South Korea and summarized their taxonomic morphological characteristics. The antennae, mandible, and mentum were used for larval taxonomic characterization. In this study, we describe the basic morphological features and key pictorial features of 20 species of chironomids, representing 16 genera.

• Archives of design research
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• v.16 no.4
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• pp.37-46
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• 2003

About 18th century in the late Chosun dynasty, various kinds of 'Min-Wha' had played a significant role and had an important meaning in the lives of the people in that period. Therefore, both in material and in technique, so many diversified 'Min-Wha' were mass produced in that time. Starting from those backgrounds, 'Hyuk-Wha', is considered as one of unique style of expression. Though, 'Hyuk-Wha', in techniques, was originated from 'Bibaekseo' classified as one of the style of expression in Oriental drawing and writing art. 'Hyuk-Wha' shows and expresses visual differentiation from rough 'Bibaekseo', in substance, written by brush made from the skin of a willow tree or the stem of a sort of reeds. 'Hyuk-Wha', in mode, has very dose relation to the process of the development of 'Min-Wha'. Judging from this point of view, 'Hyuk-Wha' has deep relationship to Taosmic character painting of 'Gilsang: an auspicious sign' or Confucian character painting of 'Hyojae: filial piety. Accordingly, 'Hyuk-Wha' has been developed to that character painting designed by another type of creative differentiations. For these reasons, 'Hyuk-Wha' which significantly shapes and contains the meanings of Chinese Character also has been esteemed to have interrelation with Pictography in application of Word mark or Brand logotype in graphic areas. 'Hyuk-Wha' which was prevalent in use of home decorations for the people existed in the past has been ceased to exist nowadays in use of home decorations by appearance of all sort of decoration articles. All these days, 'Hyuk-Wha' which was diversified as a part 'Min-Wha' and developed together with oriental drawing and writing art and character painting is to be necessarily relighted. And 'Hyuk-Wha', which is also vigorously in practical application in Western Europe is desirable to be reconsidered.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.13-25
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• 2002

The purpose of this study is to develope a creative expression technique in fashion illustration through analyzing applied techniques of the elements related to creative expressions in fashion illustrations. They were investigated in view of line, form, texture, color, space and the results were summarized as follows. In the creative expression using line in the fashion illustration. emotional effects of line created by specific character of mediums and duplicated lines have been applied to visualize movements of the objects. In shape, the transformed figure by destructing. covering or eliminating a part of the figure or the dress has been adapted. In texture. the invented texture reconstructed from actual texture has been applied, collage technique. computer graphic being used to give various images of texture. The creative expressions using color have been achieved by the shading. and spreading effects and the symbolic meaning of color for creating a spatiality in a picture plane and to give emotional effects and visual concentricity. In space, the color perspective together with detailed description. the combination of various points of view and liner perspective have been used to create depth and illusional space in pictorial plane.

• Journal of the Korean Society of Costume
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• v.54 no.2
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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.

• Journal of Science of Art and Design
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• v.1
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• pp.63-93
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• 1999

This treatise begins with finding a meaning of Paul Klee's . It is pretty simpleto choose the square of Klee. The most important formative language for twenty century is abstraction. The element of speaking for abstraction issquare. The artists are trying to contain the nature and universe in the square. The role of magic square consisting with small squares of Klee is crystallized. The other side, the test of this study is a method analysis. The method analysis is changing while concept and style have been changing according to a period. The existing method analysis is an iconology used many times in Art history. This treatise introduces France symbolists, Bernard Cocula and Claude Peyroutet's analysis of a meaning of image(Semantique do l'image) who were applied to Modern Art. based on Iconography. It also applies to analysis of artwork of Klee. Cocula's is developed from one phase to five phase step by step. The first phase deals with an appearance of artwork. Subsequently, the second phase is directly adjacent to personal feeling and impression. This is an adequate method for image study in the analysis of modern arts. This phase makes it a rule to enjoy talking with artworks above all. The third phase begins with this question 'What do you see? (que voyons-nous?).' The applies exhaustively and strictly to complicated image artworks which need an elaborate analysis. It is very hard but audiences must try to maintain neutrality in front of artwork because cord formation and interpretation should be formed objectively. The meaning analysis and interpretation of the forth phase begins with this question 'what is the image rouse'(qu'evoque cote image?).' This phase is the most important in a process of symbolic analysis. The audience investigates personal elements and common elements. The fifth is synthetic analysis and interpretation phase. The synthesis is last phase and it reaches a valuation and a conclusion. Namely, the synthesis phase makes up synthesis conclusion, summarizes image character, and completes value adjudication. Sometimes it completes no conclusions in a silence. This study found a new possible analysis example from Paul Klee's work. The study emphasizes square analysis and interpretation and uses . The analysis of artwork by Cocula's is an example of the most important work of Klee's three artworks. The first analysis of artwork is and the second one is . The third one is . In these analyses, Klee usedmagic square 'to make natural pictorial element and to explain organic living things.'

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.102-109
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• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.