• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1068-1082
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• 2009

The purpose of this study was to investigate empirically the consumer behavior regarding the purchase of millinery items in relation to their evaluation criterion and demographic characteristics. The survey was carried out to 395 individuals in their 20s and over who were quota sampled according to age and gender. The collected data were statistically treated with the SPSS 12.0 program in terms of descriptive statistics, cross tabulation, t-test, one-way ANOVA, factor analysis, Cronbach's $\alpha$ coefficient and Duncan-test. The 20s and 50s over were more interested in hat products than other ages. Female consumers obtained the most information about hat products from store visits, TV and magazines. On the other hand, male consumers had it from the acquaintances and internet. Younger consumers more often utilized internet to have it. Their main purchase location was department stores. The younger purchased it more in traditional market, the older purchased it more in mega wholesale market or discount store. The consumers of hat products considered the intrinsic classification most when buying hats. The evaluation criteria employed by them were aesthetics, quality, and external attributes. Hat consumers were more concerned about aesthetics attributes than the other two criteria. Female consumers and consumers who are more interested in the hat and have a higher level of education and income considered aesthetics attributes most important.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.3-10
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• 1997

The purpose of this study was to identify the design concepts embedded in our traditional interior space. The majority of this research was achieved through literature review as well as examining traditional Korean houses. The major findings were summarized as follows : First, traditional Korean interior space is contemplative. This is created possible by the careful placement of indispensable furnitures and accessaries resulting in an abundance of unoccupied space. Therefore, the room assumes a peaceful atmosphere which calms the mind and creates a tranquil setting. To enjoy the placidity of Korean interior space a humble demeanor and contemplative thought are required. Next, traditional Korean interior space is modest. This is created by the moderate proportions that do not challenge human scale. Traditional Korean interior space does not dominate its surroundings but rather conforms with them. This contrasts with traditional western houses which utilizes an overbearing scale sacrificing intimate space. Thirdly, traditional Korean interior space is raw. In other words, the materials used in house retain their self-evident natural state and are not artifically manipulated to hide their inherent properties. The fundamental conceptual belief that interior space should not defy nature but instead become part of it. Lastly, traditional Korean interior space is not decorative Rooms are not congested with frivolous aesthetics. Although this does not immediately attract the people's attention, eventually the interior space establishes a unique line of communication with them.

• Archives of design research
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• v.17 no.3
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• pp.335-342
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• 2004

Recently there have been various research activities regarding Korean traditional aesthetics. However, those researches were mainly conducted individually, partially, and periodically, which resulted in unsystematic and incomprehensive works. Therefore, it is required to orginze all the precedent research works with more systematic and objective framework. Generally speaking, all the human activities including aesthetic activity have ends, procedure and means. In other words, human being needs three key elements for realizing any thought and those three elements include contents, formal, and practical element. Element of contents is ultimate goal to accomplish as value, concept, and meaning of thought with their aims. Formal element includes methods, principles, norms, procedure, formality and style comprising of thought in order to accomplish the goal. Finally, practical element refers to specific means, tool, media, material and techniques to concretize the contents through form. Almost all of thoughts and meaning which human being tries to express consist of language. Major elements in sentence include 'subject (omissible)' , 'objects (aim)', 'predicate (formality)', 'complement (means)' and they are composed systematically and hierarchically with rules in sentence. The study compared human activity model with language structure and analyzed their implication with design (aesthetics), which made it possible to propose analytic frameworks for traditional aesthetics. In addition, the study also systematically organized the way to realize traditional aesthetic value in the present context based on the methods developed in this study.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1098-1108
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• 2009

This study finds the meaning of Anti Couture in the examination of the tendency and characteristics of aesthetics sense of Anti Couture in Contemporary Fashion. Anti Couture disregards the traditional composition and takes some subcultural elements, moreover, have the Anti-decoration characteristics of disproportion, disharmony, asymmetry, inperfection, and irregularity such as Japanese fashion. This study analyzed 600 works from 2000 S/S to 2008 S/S to figure out the Anti Couture to summarize the eclectic, humorous, avant-garde, poor, and minimal tendencies. The characteristics of the aesthetics sense of Anti Couture according to the tendency are analyzed into ambiguity, deformation, eclecticism, deconstruction, and artless art.

• Journal of the Korean Society of Costume
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• v.15
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• pp.121-130
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• 1990

This study is focused on the swinging and trembling effect expressed in Korean costume from ancient days to the present. The swinging is a term standing for gentle movements that are created and implied by the long ties, strings, tassels, pendants and hanging ornamentations. These attatched elements of the costume move as the wearer moves. Trembling is a term expressing small vibrating movement which is created by the tiny decorative motifs attatched to Korean costume. This little decorative elements were attatched to the royal crown, earings, necklaces even the sole of the metalic shoes for a change and to draw viewers attention. The Swinging and Trembling have been used mainly to express the decorative desires. The Swinging on shaman costume is a expression of the aesthetics of evil's eye, while the Swinging shown on the costume of a schalor is expressing the beauty of personality and nature. In General during the Choson Period, the Swinging of the tassels, ribbons, string belts is a expression of the beauty of nature. Consequently the Swinging and the Trembling are the typical examples of the "Meot"(멋), Korean traditional aesthetics.

• The Journal of Natural Sciences
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• v.19 no.1
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• pp.113-139
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• 2008

This study for hair, traditional ornamentation and make up style of Korea, China, Japan. Their special aesthetic character of hair ornamentation and styles are similar difference of costume aesthetics. First we study about hair style of three countries We can find their different development characteristics of aesthetics and customes, cultural style of three countries. It is translated plain and simple for Korean, exaggerative and decorative for Chinese, romantic decoravive and decoration of Tang Dynasty influnced for Japanes. All styles are showed in modern oriental styles.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.2
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• pp.32-38
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• 2004

As for the green space construction of the modern parks, landscape design is not only for the aesthetics but its also to promote the spiritual connotation. The appearing of the exemplary type of ecological landscape reflects landscape architects have developed realization and wishes to improve the deteriorating environment and put them into practice. This paper introduces the basic intension of the exemplary type of ecological landscape, and discusses the relative background and ecological aesthetic foundation of the exemplary ecological landscape which appeared under the crisis of urban environment; lists the modern landscape designers practices of the exemplary ecological landscape; studies the developing trend of this practice which becomes multifold along with the reformation of city.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.115-130
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• 2009

A kind of Korean traditional jacket, Baeja, has been a Korean traditional costume equipped with practicality and formative aesthetics from the Three Kingdoms period to the Joseon Dynasty. Accordingly, the researcher of this study highly valued a modern sense of Baeja with various types of design and forms and attempted to make efforts to apply it into modern life. This study provided a new direction in the modernization work of traditional costumes by creating fashion images newly interpreted corresponding to a modern sense and trend through the application of formative characteristics and noticeable elements via the coordination of traditional Baeja and modern costumes. On the one hand, it would be meaningful in terms of contributing to the activation of traditional Hanbok by providing people with ample opportunities to wear it in modern daily lives variously. On the other hand, the actual purpose of this study was to perform a modernization work for traditional costumes by attempting to conduct a crossover that could let people move into other areas freely, that is, a creative and innovative research associating the area of costume history and that of coordination.

• (The) Research of the performance art and culture
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• no.19
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• pp.281-315
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• 2009

Korean traditional music has been a process art which has been changed and re-created by musicians to mirror the musical aesthetics of contemporary people. Form court music, which has tried to keep the "authentic" form as much as possible, to folk music, which is closely associated to the people's life style, traditional music has expressed the life of the Korean people. From the early 20th century, traditional music faced a totally new music culture due to the Japanese annexation and rapid westernization. A new music network was established by modern theater and broadcast system. Many gayageum (12-stringed zither) masters were able to develop their own music in this new music culture. Female musicians came to exist because of a new music education system, called gwonbeon (school for female entertainers). Due to the rapid westernization, traditional music was becoming 'extinct'. The government's new system of Intangible Cultural Heritage tried to preserve traditional culture. Traditional music came to revive but became fossilized in order to preserve the 'archetype'. The so-called Living Human Treasures took power and became a social problem. The modern school education system was one of major factors for promotion of traditional music. However, it became one of main reasons for musicians to lose their musical creativity. Today, many performers and composers try to make a new composition and renovated musical instruments to suit the contemporary musical aesthetics.