• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.113-117
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• 2007

Wabi-Sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty. It occupies roughly the same position in the japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West. All things air impermanent. All things are imperfect. all things are incomplete. it offers an aesthetic ideal that uses the uncompromising touch of mortality to focus the mind on the exquisite transient beauty to be found in aoo things impermanent. Wabi-Sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional. Wabi-Sabi is the art of everyday life. These may be the methods for the relationship establishment between human and space on the ground of Wabi-Sabl concepts which is commonly found no in contemporary interior space in japan.

• International Journal of Contents
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• v.17 no.1
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• pp.27-36
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• 2021

Information design is a new scientific subject, which was named in the 20th century. The design methods of information design and the display of information are continually evolving with the change in the world. While sorting out the background and concept of information design, this article aims to identify the issues of information design. One issue is that environmental information design is a vague concept. Thus, leading to this type of information design is without any comprehensive analysis. Second, the impact of culture has not received adequate attention. This article is based on the Japanese Wabi-sabi culture. It analyzes the impact of culture on information design. The article deeply explores the role of Wabi-sabi in information design through case studies, and it reflects the characteristics of design products by culture.

• Korean Institute of Interior Design Journal
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• v.20 no.3
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• pp.110-118
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• 2011

Today aesthetics expression could be a 'Everyday-life Beauty', because today art & design are closely related with a contemporary life. This thesis dealt with a everyday-life and sensitive design which sublimate from everyday-life material to the concept of aesthetics, such a purpose of this thesis establishes a base of everyday-life design through everyday-life aesthetics. This purpose made to pay attention to Japan's aesthetics concept, because Japan has been maintained and developed its own everyday-life aesthetics. Even if Japan doesn't have only everyday-life aesthetics, it is useful that is studies as some kind of a prototype. So this study analyzed about a everyday-life aesthetics and the expression method through the case-study of Japan. According to Yonagi Muneyoshi and Leonard Koren, the Wabi-Sabi has three conceptual characteristics like impermanent, incomplete, and imperfect and six expression characteristics like implication, tranquility, simplicity, coarseness, purity, and association. This study process is as follows. In the first a vocabulary of interior design was derived from three conceptual characteristics and six expression characteristics, and spatial facts was abstracted from it, and then volume, form, and then shape of composition facts of interior space was extracted from it. Finally the expression characteristics of the Wabi-Sabi in interior design was derived from these processes. In conclusion, the expression characteristics of the Wabi-Sabi in interior design is the transitional space through a Shadow, the conversional space through form and material composition, and the copying space through a natural friendship.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.17-27
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• 2007

The goal of the study was to research how the japanese fashion effects on the japanese fashion's current. This study was processed by the 'wabi', 'sabi', 'tsu', and 'iki' which were the foundation and core of the japanese traditional culture. This study also investigated the japanese style to help the recognizing of traditional design which needed for internationalization and informational periods. The review of related literature is presented under the following headings : (a) japanese culture, (b) japanese beauty, (c) japanese style, (d) japanese fashion designer. Conclusively, Japan complete unique design of world by on the basis of own tradition and beauty of japan which were revealed on the their common daily life. So To help there cognizing of traditional design which needed for internationalization and informational periods, fashion designer of the world must research the meaning of the trend and motive power of the world fashion, base on the cultural back ground of their country. And for this, the grounding educational curriculums for fashion designer include the process which can promote awareness of their country's culture, tradition, and beauty.

• Journal of Fashion Business
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• v.13 no.2
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• pp.30-49
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• 2009

This study was intended to research how such Japonisme affected the western fashion and to consider that the unique Japanese fashion was implemented in the western mode as the traditional aesthetic sense got jointed with the western culture together and was expressed as the modern Japonisme beauty. The beauty of 'Date' was the aesthetic sense created focused on the noble culture of public family. On the contrary, 'Iki', 'Wabi', 'Sabi' and 'Shibusa' is the Japanese lower middle class's universal living aesthetics. 'Kawaii' is influence on an animation, cartoon and character industry as well as the whole world’s fashion style as one of the common aesthetic sense of the world people in the modern time. That is, Japanese fashion designers expressed the human body with such the aesthetic sense by the design of shape, space, fusion, amusement through clothes. It could be concluded that they created an autonomous amusement’s design world over the visual beauty of human body.

• Korean Institute of Interior Design Journal
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• v.23 no.1
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• pp.114-121
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• 2014

Rikyu-Konomi and Enshu-Konomi accomplished the base of Japanese Dado as well as has set Japanese representative traditional culture. These are the products of the spiritual culture completed by the ideas of Sen Rikyu and Kobori Enshu, that are Wabi spirit and Kirei sabi spirit combined with the tea. This study is about the interpretation of Japanese traditional space designs related to Rikyu-Konomi and Enshu-Konomi as Japanese Traditional spiritual archetype. The process of this study is illustrated as follows: At first, it mentions the concept of Konomi as self-organizing system, and esthetic characteristics of Rikyu-Konomi and Enshu-Konomi. Secondly, it clarifies internal meanings and spacial characters of Konomi in the Japanese traditional space through the exploring Taian tea house as the example of Rikyu-Konomi, and Bosen tearoom and Katsurarikyu as the examples of Enshu-Konomi. Thirdly, it ascertains Rikyu-Konomi and Enshu-Konomi represented in the contemporary architectural spaces. It analyses the relation between modern traditional space designs and traditional archetypal vocabularies, and examines those spaces from an esthetic point of view for modern implication of Rikyu-Konomi and Enshu-Konomi. In conclusion, it clarifies the contemporary significance of Rikyu-Konomi and Enshu-Konomi in terms of japan traditional space design.

• Journal of Fashion Business
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• v.11 no.4
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• pp.232-246
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• 2007

The purpose of this study is to investigate aesthetic characteristics and aesthetic consciousness of the style that European fashion(Paris, London, Netherlands) has accepted the since $19^{th}$ century. The mode Japonisme's development process in around $20^{th}$ century and 21st century has 6 characteristics as follows; 1. Accepting kimono as dressing gown 2. Accepting kimono as Japanese style's objet of Japanese taste 3. Accepting Japanese textile's skills, patterns, and asymmetry. 4. Accepting kimono's formative nature : flat pattern, flexibility, style etc. 5. Shocking of Japanese style's beauty 6. Accepting characters and casual wear Japanese aesthetic consciousness expressed on unconstructed design or deconstructed design that is the aesthetic characteristic of Japanese fashion is , , and the aesthetic consciousness expressed on Zen(Seon) style, cartoons of character fashion, and costume play is .

• Journal of the East Asian Society of Dietary Life
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• v.5 no.2
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• pp.1-10
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• 1995

Nanboroku is Japanese book of tea written by Mr. Nanb -s kei who was the ablest pupil of Mr. Sennorikyu(1522~1591) and is said to be completed in 1593. In this study, Sennorikyu's opinion concerning meals served in the Japanese tea-ceremony was interpreted and the origin of the meals was clarified. The meal of the tea-ceremony is to be given not the extent of starvation, but in conformity with the manner of daily life in the Buddhism temple. It means not the plain foods, but it is to be served by understanding taste for the simple and quiet, that is Wabi and Sabi traditionally known in jpan. Also, the meals of forty-seven times served in the tea-ceremony given by Mr. sennoriku in a certain year between 1582-~1588, which are recorded in the volume No2, and classified according to the kind and frequency of the menu and foods. Therefore the origin of the meals of tea-ceremony in the present age was clarified.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1184-1195
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• 1997

The purpose of this paper is to investigate the zen aesthetic tendencies of Japanese contemporary costume, especially designs of Rei Kawakubo and Issey Miyake. Zen is one of the Buddism, which is originated in India, and is the religion and philosophy for salvation. There are many resemblances between Zen and postmodernism. Zen has influenced on the 'non-ornamental' culture in japan, and attaches importance to poverty, moderation as the essentials of the son aesthetics, as it were WabiSabi aesthetics is connected with the art of Tea. In this paper, it was classified zen aesthetics with the beauty of non-dualism, the beauty of poverty, the beauty of purity, the beauty of emptiness and the beauty of deepness, and then applied aesthetic categoties to the costume designs of the Rei Kawakubo and Issey Miyake.