• Journal of Korean Philosophical Society
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• v.148
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• pp.101-128
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• 2018

While there are various opinions about the relationship of Schiller's thought and Kant's, it is undeniable that Schiller owes much to Kant. What distinguished Schiller from other Weimar thinkers at his time, such as Goethe, Herder and Wieland, was that unlike them Schiller accepted Kant's project of critical philosophy. In fact, Schiller did not just accept it, but tried to interpret and formulate anew the relation of beauty and morality and some other aesthetical-ethical ideals on the basis of the new philosophy. Schiller's famous project of 'aesthetic education of mankind' itself is the product of such an endeavor. In this work we follow the history of Schiller's acceptance of Kant's critical philosophy and ruminate over its implications. And then, we'll show that Schiller's 'beautiful soul' in Grace and Dignity (1793), which is often suggested to be a proof of Schiller's conflict with Kant, was understood on the basis of Kant's moral theory. In this part of the work, we compare Schiller's ideal of the 'beautiful soul' and Shaftesbury's ethical thought, which is often presumed to be its background. From this comparison we'll be able to see that there is a considerable disparity, despite apparent similarities, between Schiller's and Shaftesbury's ethical ideals, which is due to their respective philosophical sources, that is neo-platonic metaphysics and Kant's critical philosophy.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Archives of design research
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• v.17 no.2
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• pp.479-486
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• 2004

We need to seek after new direction and order of design that puts more value on the spirits and culture of human beings in the 21st century, creating a new, all-inclusive value in which individual human being, the society and the environment can co-exist in a peaceful relationship by overcoming the materialistic, analytical, competitive, and differentiated values of traditional industrial society. The aim of this study, then, is to present a new method of design that can meet the demands of the 21st century in a civic age of information, knowledge and culture, by focusing on Monistic ideals derived from a deeply rooted Oriental philosophy. The concept of Monism is embodied by a mind set that treasures the benefit to others over rewards to the self, puts more importance on the spiritual life hidden behind physical phenomena, thinks more of what lacks than what exceeds, elevates the mind over the body, and seeks after beauty via a total harmony of balance and development that can be feasible only by combining all these elements. Ultimately, the new design principle based on the Monism consists of three basic elements: (1) identification of the subject and the object between things under the perception that all things are one (Unification); (2) the ability that helps things exist with appropriate beauty maintaining balance and stability (Harmony); and (3) the attitude of sharing to maintain sustainable vitality by filling up what lacks or is missing in a whole(Change).

• Journal of the Korea Furniture Society
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• v.26 no.3
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• pp.267-273
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• 2015

This study is a review on the relationship between furniture purchasers and producers in the Joseon period. Understanding the relationships in our traditional spirit and the Joseon furniture that reflects a aesthetic sense is a meaningful work. Joseon was to build an ideal country which put emphasis on the order and harmony through Theory of 'Yeak' as the confucianism nation. Human aesthetics, which emphasis on the spiritual value by confirmity to nature and forcus on the relaxed, deficient personality rather than completeness was established as the central formative consciousness of the Joseon Dynasty. The nature of things in the confucian scholar prior to the representations of things is expressed in the form of master craftsman's skill and soul. Formative consciousness of the confucian scholar is to realize ideals by communciation and interchange with master craftsman's soul in the form of the Joseon furniture. The beauty of restraint and brevity in the Joseon Dynasty furniture includes meanings and procedures of art work. It implies an orderer's purpose of production and a producer's products. Understanding the spirit of times in the production becomes the cornerstone capable of getting closer to the furniture ultimate proper function. These problems have a very close relationship with the problems of modern people's commnuication. We expect an even higher growth of the furniture by achieving more improved communication based on the consumer's great insight and the producer's passion.

• Fashion & Textile Research Journal
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• v.22 no.1
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• pp.1-10
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• 2020

Romanticists realized the ideals of a more fantastic and better society for the present day in which they lived; in addition, dress was an important medium of expression of this period. The Incroyables were a group that expressed eccentric forms and abuses of luxury through their clothing, centering around the second generation of financial elite groups during the French Directoire. Incroyables created their own fashion that expresses their new image in dress, expressing the intense personal innerity of life, which was influenced by the romanticism of pursuing an internal expression of the subjective and emotional individual. This study used a literature review to analyze the characteristics of the Romanticism expressed in the Incroyables fashion. The research results were as follows. First, it was an expression of an emotional desire for and ancient regime. Incroyables fashion were based on bourgeois nostalgia for the days of the ancient regime that resulted in an emphasis on individual and original human views. Second, it was also a hybrid of Romantic classicism. It was a form emphasizing body form where body beauty expressed a classical form through a dress under the influence of neo-classicalism that desires to return to nature.

• The Journal of Art Theory & Practice
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• no.7
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.458-475
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• 2017

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

• 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

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.