• Title/Summary/Keyword: artistic products

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A Study on the Development of Textile Design Contents Reflecting The Cultural Characteristics of Multi-cultural Society - Focused on Folk Paintings in China, Vietnam and Japan - (다문화사회의 문화적 특성을 반영한 텍스타일디자인 콘텐츠 개발 연구 - 중국, 베트남, 일본의 민화를 중심으로 -)

  • Park, Sang Oh
    • Korea Science and Art Forum
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    • v.30
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    • pp.119-127
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    • 2017
  • Multi-cultural societies in the era of globalization are now common phenomena all over the world. Since our country has already entered into a multi-cultural society, we can no longer stay in the ideology of a single nation. However, current national policies and researches related to multi-cultural society in Korea are limited to institutional aspects and unilateral education of Korean culture. Therefore, this study aims to overcome these practical limitations. The purpose of this study is to acquire design resources in the folk paintings reflecting the culture of each country. And We will develop textile design content that can be applied to most closely related textile products in daily life. Through this, it is aimed to raise awareness of various cultures and to suggest a communication method through cultural exchange. Therefore, this study has developed color and textile pattern design contents through analysis of characteristics of China, Vietnam, and Japan peoples of the three most frequent countries based on the status of domestic marriage immigrants. And tried to apply it immediately to various textile products. The results and contents of the study are as follows. First, the domestic multi-cultural society was formed through international marriage, and the largest number of marriage immigrants came from China, Vietnam, Japan, the Philippines, Cambodia, Thailand, Mongolia and others. Second, folk paintings are suitable for developing textile design contents as an important factor implied by different cultures of different countries. Thirdly, we have developed the pattern and coloring DB and textile pattern design contents by using folk paintings of China, Vietnam and Japan. As a result, we could verify the utilization of contents reflecting the cultural characteristics of each country and the possibility of commercialization. Based on the results of this research, we hope to contribute to the harmonization of the emotional and artistic aspects that naturally share the culture among multi-cultural society members and to develop differentiated related products.

Design Development of Fashion Cultural Goods to which Korea Image is applied - mainly centering around the goods of scarf and necktie - (한국적 이미지를 응용한 패션문화상품디자인 개발연구 - 스카프, 넥타이 상품을 중심으로 -)

  • Nam Jae-Kyung
    • Journal of Science of Art and Design
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    • v.6
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    • pp.249-266
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    • 2004
  • Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

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A Critical Study on Arthur C. Danto's' Philosophizing Art' (단토의 '철학하는 예술' 개념에 대한 비판적 고찰)

  • Kim, Baik-Gyun
    • The Journal of Art Theory & Practice
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    • no.10
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    • pp.183-202
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    • 2010
  • The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

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Diversity and origin of bottle gourd, Lagenaria

  • Yuasa, Hiroshi
    • Proceedings of the Plant Resources Society of Korea Conference
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    • 2002.11a
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    • pp.96-97
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    • 2002
  • Bottle gourd, Lagenaria siceraria, is one of the oldest cultivated plants. To bigin with, its fruit was used as a complete liquid bottle or container. It was a very widespread cultivated plant in prehistoric times, for example (there) is a report from Peru as early as between 13,000 B.C and 11,000 B.C. The dug-out finds in Japan proved to be about 95,000 years old according to the /sup 14/C analysis. The bottle grourd was the most important plant before the invention of pottery in many areas of Asia, New Guinea, Polynesia, America, and Africa. I would like to suggest that there should be "The Bottle Gourd Age" prior to the Pottery Age. Bottle gourds are also used for various purposes such as food, masks, pipes, musical instruments, medicine, symbols, artistic products and also as penis-sheaths of men's attire. Their purposes number more than 220 including 70 varienties of containers or bottles. I consider that its utilization should be called a culture, as it were, "The gourd culture." The shape and the size of the fruit of bottle gourd have a larger variety than those of any other plant. As for the size, it is reported that they range from those that are shorter than 3cm to those that are ovoid and longer than 60cm in diameter. With regard to the shape of its fruit, the bottle gourd can be classified into 7 groups and even more than 30 races, considering the difference of the size. The seeds are so variable without two horn-like projections, with smooth surface or longitudinalines, white or brown, with smooth corky margin. Generally, it seems that there is no correlation between seem shape and fruit shape. My study shows that the seeds of gourd. My study shows that the seeds of gourd in Asia are so simple in shape and in color except for the size. But the seeds of those in Africa are various and seem to be beyond the confines. Explaining the great diversity of the seeds of those in Africa therefore, they appear to have no correlation among the types of fruit of the bottle gourd with African origin. It might be supposed that another 4 wild Lagenaria spp. distribute only in Africa. The intraspecies hybrid is confirmed between the bottle gourd, Lagenaria siceraria, and wild L. spehaerica. And Fl hybrid is sterile: it has no fertility. However, even though the shapes of the fruit and the seeds are different, they can cross with each other. Moreover, their hybrids grow up to be extremely vigorous and have normal fertility. Fruit shapes of Fl plants are similar to those of their parents, if they have the same character. Whereas, the fruit shape often became different from each other when the cross occurs between those with different fruit shapes. It is shown that dumbbell shapes, HYOTAN in Japanese, is recessive while its bitterness is dominant. Thus the character of F2 hybrids Is segregative. I'll give further particulars of the heredity of the groud in my lecture.

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Consideration of preservation methods for plant genetic resources in natural monument - Focusing on preparation for becoming effective of Nagoya Protocol - (천연기념물 식물유전자원의 보존방안 고찰 - 나고야의정서 발효 대비 중심으로 -)

  • Kim, Jung A;Kim, Hyo Jeong;Shin, Jin Ho;Kim, Dae Yeol;Jo, Woon Yeon
    • Korean Journal of Agricultural Science
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    • v.41 no.3
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    • pp.193-203
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    • 2014
  • Natural Monument is a designated cultural property as part of the country. According to Article 2 of the Cultural Properties Protection Act, a national, ethnic and global heritage artificially or naturally formed, with a great historical, artistic, scientific and landscape significance is defined as a cultural heritage. Animals, plants, topography, geology, minerals, caves, biological products and special natural phenomena, having a great of historic, scenic and scientific value, are defined as the monument. According to Article 3 of Cultural Properties Protection Act, the conservation, management and utilization of National Heritage should be kept intact in its original form. So, Natural monuments are managing as retained its original form under the Basic Principles of current law. The highest population of coniferous tree in natural monument plant is ginkgo tree including 22 objects, followed by pines, junipers that order. And in case of broadleaf tree, there are zelkova trees, retusa fringe trees, pagoda trees, cork oaks, silver magnolias and etc. There are many of reported efficacy in available natural monument plants. The efficacy of plant species on pharmaceutical like anti-cancer, anti-diabetic, anti-obesity, antioxidant activity, neuroprotective, improves cholesterol, anti-inflammatory, liver protection and anti-bacterial efficacy, on cosmetics and beauty like the inhibiting formation of skin wrinkles, whitening effect, variety of materials and the efficacy of the proposed utilization of its various papers and etc have been widely reported. Before the Nagoya Protocol enters into force, the future role of the National Research Institute for Cultural Properties Administration of Cultural Heritage should be obtain a legal right to manage the social, cultural and national natural monument with emotional value to the plant genetic resource as a natural monument efficient ways to study and preserve traditional knowledge biological resources by securing a claim to the sovereignty of the material will be ready.

Visual Image of a Yangbanxi (Chinese "Model Play") Dating from the Cultural Revolution Period in China - With the Focus on Images of Revolutionary Heroes in the Beijing Opera The Red Lantern (중국 문혁기 모범극(樣板戱)의 시각이미지 - <홍등기(紅燈記)>의 혁명영웅상을 중심으로)

  • Moon, Jung-Hee
    • The Journal of Art Theory & Practice
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    • no.5
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    • pp.197-215
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    • 2007
  • Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

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Spatial Characteristics of Cultural Economy Emergence and Diffusion: Creative Retail Shops in Bukchon (문화경제의 발현과 확산의 공간적 특징: 북촌의 창의적 소매업을 중심으로)

  • Lee, Kyung-Ok;Lee, Keum-Sook
    • Journal of the Economic Geographical Society of Korea
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    • v.9 no.1
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    • pp.23-38
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    • 2006
  • This study attempts to investigate the spatial characteristics of cultural economies of Bukchon in Seoul, where abundant cultural assets exist. This area has been the administrative-political core locale since 14C, therefore, a lot of traditional- and contemporary-cultural facilities are remains, This area possessed unique place characteristics by coexisting traditional and modern cultures, and thus attracted to culture demanders. Recently many economic activities have increased in this area, and most of them are related with the cultural elements of the region, In particular creative retail shops, which produce goods by flexible-specialized production system, have been agglomerated in this area, The goods are designed, produced, and sold at the shop place. Most of them are uniquely designed hand made products, and produced a few amount. The economic value of these products related with the cultural environment of Bukchon. These creative shops emerged at the front of Samcheongdong street in the beginning, and then have diffused into the inside of Samcheongdong street and Hwagae street. The shops have very unique exteriors related with traditional houses in this area, and located on roadsides where are not many passerby. Most owners of the retail stores are highly educated and studied design, and produce goods by themselves at the shops. The reason that they opened their shops in Bukchon is directly related with the unique cultural environment of this area. They hope that more unique and artistic stores join this area so that developed this area as culture and fashion combined area.

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A study on small stone crafts in the Cho Sun Dynasty (조선조시대 소품 석공예에 관한 연구)

  • 유해철
    • Archives of design research
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    • v.12 no.2
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    • pp.157-168
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    • 1999
  • Stone in the Cho Sun Dynasty has been used as the material of industry arts, widely building materials and an important material for the artistic design. But it has been generally used as an use of practical living Product like, suban, a metal printing type, a fire place, a pillowcase, a pencil case, etc, and ornament with the quality of stone material and the aesthetic view. There are several problems as like size, quantity, delivery and processing method with the stne material according to its variety and selection. Accordingly it has been studied through the whole process of shape, a material selection of design and processing method as well as studying about small stone crafts which were manufactured in the Cho Sun Dynasty, considering these problems. Stone crafts in Cho Sun Dynasty has been widely used as a living tool. There was some what difference on manufacturing purpose on its technique of folk crafts of stone crafts, but, through the research of collected crafts, they were almost the same that social need, user's taste and hobby in those days were reflected in. In the result of analysis as dividing the stone crafts into daily living product, stationery and tool, the major of daily products have been manufactured with emphasis of practicability. And they have been manufactured from agalmatolite for the propose of use. further, kitchen product had no design due to the function and living products which has been used in the main living room has been carved with the decorative expression of the various form by using intaglic, relieve, inlaid technique, etc. For the stationery, it has been characterized with aesthetic point considering the decorative effects & selection of material in accordance with use. A material for manufacturing has been used in the range of agalmtolite, atopaz, a sapphire, white stone etc. As the result of this research, It was noticeable that there was the spleudidness on the expression of design and carving. It was also noticeable that black stone and guanite have been widely esed because it didn't need the delicacy as a tool.

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Sociocultural Factors Leading to Creative Thinking and Idea Generation (창의적 사고와 아이디어 생성에 영향을 미치는 사회문화요인들에 대한 탐색)

  • Lee, Seon-Young;Kim, Jeong-A
    • (The) Korean Journal of Educational Psychology
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    • v.31 no.4
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    • pp.767-794
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    • 2017
  • Creativity is a social byproduct formed in a specific sociocultural context. Although creativity differs according to the level of culture ranging from supranational, national, professional to organizational levels, research studies documented in literature have mainly dealt with creativity in the (super)national level. For example, differences in personal creativity in the East and the West led by collectivism and individualism, respectively have been dominating in the studies about cultural differences in creativity. Consequently, the domain specificity of creativity and the effects of a more micro level of culture, such as domains, occupations, and organizations, on creative outcomes have been dismissed. Understanding the characteristics of domains, and sociocultural and environmental factors leading to creative products is worth investigating considering that the conception of creativity today highly relies on the nature of domains valued in a certain sociocultural environment. This study reviewed a wide range of literature regarding creativity and sociocultural and environmental factors in order to explore how culture and/or cultural factors inspired creative thinking and generating ideas for creative performance and products. Cultural factors were identified either as a value or a practice (custom) and examined on the supernational, national, professional, and organizational levels. For supernational and national cultures, issues on individualism, collectivism, artistic social atmosphere, and multi-cultural experiences were discussed, while the professional and organizational cultures delved topics on the domain of architecture in which both originality and functionality are greatly valued for creativity. The authors concluded that the impact of culture on creative thinking and idea generation varied according to the levels of culture although issues on multifactorial aspects of culture, differences between personal and collective creativity, and the identification of culture either as a value or a practice (custom) should be discussed further for future studies.

The Study on the Factors of film's Processing Fluency Inducing Film's Preference Fluency (영화의 선호도 유창성에 영향을 미치는 영화의 처리 유창성 요인에 관한 연구)

  • Choi, Nak Hwan;Lim, Ahyoung
    • Asia Marketing Journal
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    • v.13 no.4
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    • pp.29-54
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    • 2012
  • Recently, as film has been admitted as the artistic merit and higher value-added business, the past studies on film have been lively carried on various fields. Especially, the film business is thought to be value-added business and has explored the causes of influencing spectators. However, there are no researches enough to explain what induces the choice and diffusion of the film. The film is not only hedonic products but also typical example of experiential products. So how to process film formation plays important roles in explaining the procedures of forming preference on the film and the movies spread more widely. But the great part of study of films has been concentrated on exploring hedonic factors of influencing spectator's choice. Until now there is not enough study for the relationship between experiential information processing and film preference. To explain film's preference, our study focuses on preference fluency and processing fluency that can provide an insight for our question about the relationship. In this article, to explain the procedures of processing experiential information and forming preference on the film, our study focuses on finding the relationship between film's processing fluency and film's preference fluency and explores the factors that affect film's processing fluency. To achieve the goal of this study, we distinguish factors of film's conceptual fluency from factors of film's perceptual fluency and explore the paths from the factors to film's preference fluency. The factors which have effects on perceptual fluency are hypothesized to be distinction of image expression, distinction of sound expression, correspondence between actors' image and their role. The factors which have effect on conceptual fluency are supposed to be well-organized story, suitability of lines expression. The experiments in which students were sampled at 'C' university were conducted in 2010 (december). Data collection was proceeded through questionnaires. We test the hypothesized model by using structural equation modeling(Amos 17.0). The fit indices for the model are as follows : x2=416.266(df=213, p=0.00), GFI=0.855, AGFI=0.812, RMSEA =0.069, IFI=O.925, CFI=0.920, TLI=0.905. According to the guidelines, there is evidence that our measurement model fits data. The results of empirical study are as follows. The path from film's perceptual fluency to film's preference fluency is supported(estimate: 0.223, C.R: 2.641). The path from film's conceptual fluency to film's preference fluency is supported(estimate: 0.397, C.R: 4.863). The path from distinction of image expression to film's perceptual fluency is not supported(estimate: 0.113, C.R: 1.665). The path from distinction of sound expression to film's perceptual fluency is supported (estimate: 0.190, C.R: 2.042). The path from correspondence between actors' image and their role to film's perceptual fluency is supported(estimate: 0.686, C.R: 5.566). The path from well-organized story to film's conceptual fluency is supported(estimate: 0.396, C.R: 4.023). The path from suitability of lines expression to film's conceptual fluency is supported(estimate: 0.536, C.R: 5.441). Concludingly, our study explored the influencing factors of film's processing fluency inducing film's Preference fluency. First, film's perceptual fluency and film's conceptual fluency have positive effects on film's preference fluency. Second, distinction of image expression is not significant on film's perceptual fluency, but distinction of sound expression and image's correspondence of actors' image and their role have positive effects on film's perceptual fluency. Lastly, well-organized story and suitability of lines expression have positive effects on film's conceptual fluency.

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