• The International Journal of Costume Culture
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• 제12권2호
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• pp.202-209
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• 2009

Hakka is a very special sub-ethnic group in China, which was formed during several migrations in Chinese war history. Today the majority of Hakka people, living in the boundary between Jiangxi, Guangdong, and Fujian province, still keep a quite old custom and culture. The bell hat for children is a unique and splendid illustration. We have imposed researches and studies in local area a lot and interviewed the local crafts-women to get to know more about bell hat. We are trying to describe the decorations on the bell hat, silver items and embroidery respectively, and then give an overall analysis of Chinese auspicious culture that the motifs of decorations have contained.

• 패션비즈니스
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• 제4권1호
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.

• 미술이론과 현장
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• 제4호
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• 한국실내디자인학회논문집
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• 제20권6호
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• 패션비즈니스
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• 제1권1호
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• pp.71-83
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• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• 복식문화연구
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• 제4권3호
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• pp.427-445
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• 1996

According as the fashion at the latter half part of the 20th century is diversified and made into high-class gradually, it is demanding the individuality of each one. Especially, since the beginning of 1980s, fashion came to represent the restoration mood in a modern style because of the popularization of post-modernism. And with this, it came to result in the reappearance of minimalism which was one of anti-culture in 1960s. In this study, this researcher grasped the appearance background, concept and structural concept of minimalism, and tried to study the influence that he minimalism had on fashion in the flow of fashion over the first half period of the 20th century. Minimalism is the fine art trend of American characteristic which quicked by the meeting of European culture and American culture, according as the new avant-grade art of Europe moved to America after World War II Minimalism which appeared, refusing the mechanisation, industrialization and mass production of America and the falsehood of consciousness and sensitivity under existing system remained obscure by the pop art which is the commercial fine art of same period, but it came to expand the domain of work possibility of modern fine art, and it became the basis of appearance of post-modernism. Minimalism has 4 kinds of structural features which are nonside nature, repetitiousness and environment nature with 3 dimensional feature which is issue nature. Minimalism is appearing in the exfcellent and future-oriented fashon of Andre Kureju t the time of 1960 well. Then science revolution and minimalism aroused the mini-revolution, and they made the compact radio in electric home appliances and the miniskirt in fashion appear. The features of minimal fashion as Retro '60' which appeared in the decedent mood with the 21st century just before on are as follows: First, the are the pursuit of concise plastic line. Second, it is the use of high tech material Third, the miniaturization in size amy be enumerated. Minimal fashion will appear s the positive confrontation from of mankind as the optimistic viewpoint about feature in the situation hat environment was destroyed and the resources were exhausted.

• 한국의류산업학회지
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• 제10권2호
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• pp.138-146
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• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.

• 비교문화연구
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• 제47권
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• pp.27-51
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• 2017

본고는 패전 후 일본의 대표적인 문예재판인 '채털리 재판'을 중심으로 평화헌법(신헌법)이 보장하는 인권을 사수하려고 하는 변호인 측과 검찰 사법권으로 대표되는 공권력과의 대립을 판결문을 중심으로 고찰한 것이다. 판결문을 통해서 드러나는 재판소의 외설문서의 판단기준은 '성행위의 비밀성'과 '사회통념'인데, 이들을 판단할 때 재판소는 편파적이고 애매한 기준을 부여하고 있다. 또한 재판소는 이 작품의 예술성과 외설성에 대해서 양자는 전혀 다른 차원의 것임을 인정하면서도 예술성을 공공의 복지를 기준으로 공권력인 재판소가 판단해야 한다고 주장한다. 이에 대항하여 변호인 측은 평화헌법이 보장한 표현의 자유는 무제한적이며, 중요한 것은 작품의 내용이 비인도덕인지 아닌지 라고 역설하였다. 이러한 변호인 측의 주장은 패전 이전의 상황을 연상시키는 공권력에 맞선 것으로, 단지 풍속 단속에 대해서 항의하는 차원이 아닌 과거의 일본을 재현하지 않으려고 한 투쟁이었다고 할 수 있다.

• 한국의상디자인학회지
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• 제12권1호
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• 헤리티지:역사와 과학
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• 제55권2호
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• pp.114-129
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• 2022

1950년 12월 국립박물관이 국립박물관과 덕수궁미술관의 중요 소장품을 부산으로 소개할 수 있었던 것은 김재원 관장의 기민한 조치로 미군의 차량과 철도 등 가용한 자원을 효과적으로 지원받을 수 있었기 때문이다. 국립박물관은 소장품 수호 임무를 수행하면서, 임시수도 부산에서 박물관의 기능을 유지하기 위해 노력했다. 전쟁 중에 국립박물관이 진행한 학술강연회와 연구발표회는 전쟁 중인 한국의 임시수도에서 학술 연구와 대중 강연이 재개되었음을 알려준다. 국립박물관은 이러한 소식을 언론을 통해 홍보함으로써 전쟁 중에도 국립박물관이 본연의 기능을 회복하기 위해 안간힘을 쓰고 있음을 시민들에게 알렸다. 1953년 국립박물관이 개최한 <현대미술작가초대전>과 <이조회화전>은 국립박물관 기능을 정상화함으로써, "피란민의 도시" 부산에 "문화의 분위기"를 조성하는 데 기여하기 위한 것이었다. 이러한 사업들은 전쟁으로 위축되어 있던 국립박물관의 역할에 대한 국내의 인식을 제고하고, 나아가 국립박물관을 재건하는 데 도움을 줄 수 있는 미국 등 외국 외교사절과 공공재단 등의 관심을 이끌어내기 위한 것이었다.