• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.452-466
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• 2013

The Silla Dynasty was an open society and was an independent, creative, brilliant culture built on diverse cultures and values. Transforming from the Silla Dynasty to the Unified Silla, it unified the culture of the Three Kingdoms into one. It also displayed unique clothes that adapted new foreign elements into rich clothes forms unlike previous styles. This study first classifies the aesthetic consciousness of the Silla Dynasty by exploring the beauty of the Silla Dynasty realized through artifacts, books, and records in the Silla Dynasty and defines the each characteristic of the aesthetic consciousness. Second, it highlights the independency of Korean beauty through an investigation of how the aesthetic consciousness form appeared through these new appearances in the aesthetic consciousness of Silla Dynasty clothes. The results of the study show that the aesthetic consciousness of the Silla Dynasty can be inferred through Silla Dynasty artifacts, literature, sensuous beauty, and records that were classified into random natural beauty, humorous beauty, and decorative technical beauty. The Silla Dynasty aesthetic consciousness and aesthetic consciousness appeared in Silla Dynasty clothes based on the aesthetics of authenticity that created the honest and simple aesthetic moving of the early natural aesthetic sense of the Silla Dynasty. Silla Dynasty clothes are found to have transformed into an ornamental aesthetic consciousness of a sensual and decorative aesthetic consciousness in a Unified Silla.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.42-58
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• 2009

This study researches previous aesthetic categories and organizes new one which is applied to fashion design. With the frame of the new aesthetic category, a survey about aesthetic consciousness and aesthetic enjoyment are conducted. Also, this study discusses about the variety of the aesthetic consciousness and aesthetic enjoyment which are arisen from peculiarity of fashion and the necessity of the systemized criticizing theory. Through the survey of aesthetic consciousness about fashion designer's clothes, there are possibilities of varieties in visions and critics about fashion works. But it is necessary to read in right way about kunstwollen and symbolic meaning of designer. In order to read aesthetic consciousness inside of a fashion designer's works properly, the interpretation method which follows in systematized phases such as iconology and semiology is necessary. Contemplation for the 'clothes' which is a part of an art Is not just simply see the object and judge subjectively but examine the factors which have influenced to the formation, kunstwollen, and symbolic meaning. Also, the process and the attitude which enjoy the aesthetic value have to be analyzed and criticized which based on systemized interpretation frame. The 'Clothes' is one artistic object which expresses kunstwollen of fashion designer and he or she puts in a sentiment and an ideology into the clothes and which reflects the present society and effects to the descendant.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.67-83
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• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.74-90
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• 2008

Since the late of 20th Century, philosophy, art, and aesthetics have attention to the movement of object that persue the dynamics and qualitative change, not existing fixed and quantitative object. Qualitative continuity, including discontinuity of specific spot and surface that occurs sudden change, is distinct characteristics considered in contemporary logo civilization, which combines and disperses according as various purpose among the different elements and objects. Therefore, I studied about the characteristics of qualitative continuity that creates the change and the differentiation continuously through the "formative characteristics of the continuity expressed in contemporary fashion" of my preceding paper. This paper is the following study of above mentioned paper, and Investigates about aesthetic consciousness leading to the various change. This is intends to consider the trans-aesthetic consciousness that accepts dynamic movement and change the different object and reforms new relationship continuously. This studies' conclusion is as follows; 1) sublimity-Infinity, de-constructive, excessive 2) jouissance - functional, structural 3) paradox-perceptual, spatial. A study about the trans-aesthetic consciousness would help to offer philosophical basis, and make a change building aesthetic foundation in explaining various relationship like as phenomenon of the retro, neo, post, fusion expressed since the late of 20th Century.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.151-164
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• 2004

This Studies on 20th century fashion was carried out according to the classification of the times as made up Belle Epoque, New Look, Big Look, and Body-Consciousness. Aside from research in literatures, research into 20th fashion also include the analysis of photo had been taken from various collection. The enlargement beauty of costume had been place under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness. the true nature of the voluminous enlargement in costume had been traced. To conclude, this study finds there are between the aesthetic characteristic differences in the aesthetic consciousness of the costumes in history and the present-day fashion. The aesthetic consciousness of the voluminous enlargement of the present-day was found to have the following characteristic ; (1) History-oriented tradition (2) Metaphorica autonomous (3) Freedom of breaking with restriction (4) Dismantling the irregularity (5) Hedonistic play instinct (6) Psychological compensation (7) Sexual sensuality (8) Ideal of the times (9) Aesthetic ornament (10) Feeling of satisfaction through self-enlargement. From list above. metaphorical sensuality, aesthetic ornament and the feeling of satisfaction driven by Self-Enlargement are the same characteristics found in the aesthetics consciousness of the voluminous enlargement of the costume In history in that they are the aesthetic consciousness above time and space. It is metaphorical sensuality which transform woman's body in to distorted images as influenced by both capitalism and materialism in the last 20 years. These are represented by the sadomasochistic and fetish images as the woman's metaphorical voluminous enlargement is apparently becoming more positive, radical and obscene especially in terms of expression.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• The Journal of the Korea Contents Association
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• v.12 no.5
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• pp.175-187
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• 2012

The purpose of this study is to investigate the mechanism on how the aesthetic consciousness of "Mat" and "Meot" of Korean dance is realized with the analysis of aesthetic meaning and value found in the aesthetic experience of Korean dance, and also the aesthetic concept and consciousness of Korean Studies. First, "the aesthetic consciousness of endless life theory" is from the curved motion, which is one of the basic principle of Korean dance, and is to be sublimated to the aesthetic consciousness of "Mat" and "Meot". The life theory of the Korean dance is to be cleary realized by the curved movement aiming the Circle, which is the important principle of movement for feeling aesthetic consciousness of "Mat" and "Meot". But, the Korean dance movement has been affected to follow the Straight motion frequently in recent days rather than the Curved motion due to the influence of the Western style movement. This makes difficult to find aesthetical sense of "Mat" and "Meot". So, it is very crucial to keep and improve the Curved motion in the Korean dance for protecting and developing aesthetic consciousness of "Mat" and "Meot", the unique feature of the Korean dance. And the continuos effort and plan of Korean dancer is also needed to make the Mind and the Body coexist each other. Furthermore, the research on this aesthetic consciousness of "Mat" and "Meot" of the Korean dance should be kept going.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.367-389
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• 2011

The aesthetic attitude, in general or in particular, represented in matters of taste through aesthetic ideas and value judgments postulates a certain literary logic. And this literary logic reveals itself a sense of morality, philosophy, or moral aesthetic consciousness through the moments of act and thought demonstrated in the characters invented in literary works. Henry James, among many others, offers a very special cultural paradigm for transnational argument because of his diverse ways of shaping transatlantic relations in terms of aesthetic consciousness. And this international paradigm produced varied expressions referring to Henry James as "an American expatriate," "an Anglicized American artist," "a Europeanized aesthete," "a cosmopolitan intelligence," "a bohemian cosmopolitan" to designate his literary career and its characteristics shaped in Europe. Such expressions resonate with Transatlantic Sketches, James's first collection on travel and cultures in 1875 which heralded his long "expatriation" in terms of self-distantiation. James's temperament of mind, far from being always identified with shared values within an ideological framework, never avoided friction with fixed ideas but rather absorbed it fully for another friction which intervenes in his house of fiction. My question arises here regarding his cultural belonging or dislocation: where is the place of his mind or what could be his ultimate destination? In this essay, I'd like to define a place or rather the place of James's literary mind by proving a certain "sympathetic justice" for his literary logic. For this purpose, I'll try to examine: how James used transatlantic perspective, a spatio-temporal assessment to formulate his moral aesthetic consciousness; and how the aesthetic framework functions in assessing his literary logic of aesthetic consciousness. To start with the first argument, I'll analyze some essential aspects of aesthetic attitude of his characters to postulate a persona capable of theorizing James's aestheticism conditioned by the transatlantic context. And for the second argument, I'll examine how the persona functions in formulating a proper cultural stance of James's aesthetic consciousness in transatlantic perspective to illuminate the way of how Jamesian individuality reflects the American mind. This process of theorizing a place of James's own will lead, I hope, to our discovering James's ultimate destination on the assumption that it'll prove or create a certain "sympathetic justice" for his humanist aestheticism, a Jamesian absolute morality.

• Cross-Cultural Studies
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• v.25
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• pp.267-290
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• 2011

The purpose of this study is examining a circulation and conflict of concepts and logics of the $Chos{\check{o}}n$-ness by analysing the $Chos{\check{o}}n$ national character and $Chos{\check{o}}n$ aesthetic consciousness. As entering the modern period, we understood the nations as a unit of the artistic awareness. So, national art is defined as a national character expression from this period. The $Chos{\check{o}}n$ aesthetic consciousness by raising in this period, which is connected with the discourse of national character, carry out a discussional practice defining the Korean originality. However, there is a circulation and conflict of concepts and logics about the $Chos{\check{o}}n$ aesthetic consciousness in the process of a discussion. For the most representative examples are 'the white-clad folk' and 'the beauty of sorrow'. An Hwak and Yanagi Muneyoshi are representative debaters who try to establish the $Chos{\check{o}}n$-ness and their discussion supports these facts. As An Hwak regressing of the respect for high antiquity, he demolished the historical character from the $Chos{\check{o}}n$-ness and overlooked aesthetic differences by a periodical change. Yanagi Muneyoshi totally separates arts from politics and disposes of Korean arts in an abstract timeless-space. The function of such an early-modern period's discourse about $Chos{\check{o}}n$ aesthetic consciousness is that $Chos{\check{o}}n$ national character makes the dehistoricization and depoliticization.