• Cross-Cultural Studies
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• v.35
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• pp.155-184
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• 2014

The present study aims at exploring in detail the Buddhist worldview and aesthetics of humor in Jo O-hyeon's literary works. This includes the same context as an elucidation of the ways in which his poems closely correspond in expressive forms and thematic contents. It is because, in Jo's literary world, where short poems and prose poems form a contrast, the expressive forms and thematic contents sharply differ depending on the ways in which prajnapti (provisional designation) is either foregrounded or backgrounded. In his literary world, when such a view of language and a worldview based on prajnapti are foregrounded, works that either inherit or play a variation on the fixed structure of the sijo emerge; and when they recede to the rear and are backgrounded, verses in the form of the prose poem are formulated. In addition, in Jo's literary works, where such a worldview of prajnapti and an aesthetics of secular humor intersect together, the thoughts on bheda-abheda(difference-non-difference) and the madhyama-pratipad (middle way) are formed. Such thoughts have considerable significance because they not only harbor a possibility of deconstructing and overcoming the opposition of the sacred/profane but also present a vision of a new unity.

• Fashion & Textile Research Journal
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• v.15 no.1
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• pp.1-11
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• 2013

This study analyzed the expressive characteristics of padding in contemporary fashion. The methodology of this study was quantified through documentaries, fashion collections, and internet news. The results of expressive characteristics and methods were as follow. First, variability showed the creation of dwelling space by air filling, detail mode by zipper, and diversity of recycled filling by zipper pocket. It reflected the pursuit of nomadism and subversion of permanence by change of filling. Second, it was sexual symbolicity that showed the blurred androgynous silhouette by air filling and padding bar design of the chest, stomach, shoulder for the male body silhouette. It emphasized male sexual identity and power through the expression of a modern ideal body. Third, decoration displayed various crafts (such as knitting), various fabric such as polapolis, suedette, corduroy, denim, leather, knit, and spangle. It reflected visual pleasure, scarcity and various interpretations. Fourth, playfulness character forms throug hair filling, unfamiliar fashion items, diversity of silhouette and change of uses. It reflected a pleasant feeling through astonishment and surprise, nostalgia involved in memory and childhood play and disembarrassment from reality. Fifth, simplicity showed the elimination of a sportswear's factor with regular wad quilting, elimination of wad quilting, wad quilting following the structural line of clothes and the structual line of clothes omitted. It reflected disembarrassment from stereotype and an emphasis on essential elements.

• Korean Institute of Interior Design Journal
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• no.26
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• pp.104-111
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• 2001

This study deals with the expressive characteristics of Installation Art and their applicability to environmental design, and as such, aims to specify a artistic methods from the contemporary art. What Installation Art is search of in their works is "the state of relationships" which is "to replace the concept of form with that of structure, and the concept of space with that of the environment" that is, the terms of relations in the overall environment of time and space. Installation Art essentially relies on a multiplicity of forms and attitudes leading to projects which positively make use of "spatial-temporal process" to reaffirm and "problematise" their open-endedness manifest in complex contextuality and shifting temporality. This study presents a new interpretation of spatial-temporal dimension, site-specificity, and intermedia art that we find in Installation Art and tries to combine that new artistic insight a with environmental design to provide a basis for integrated art. This study places a great emphasis on the interdisciplinary approaches to the environment we inhabit, which I hope will contribute to generating a greater number of creative possibilities for environmental design.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.119-128
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• 2008

The surrealism art form comes from the world of unconsciousness. Based on its expression of the world of imaginary, it boldly demonstrates the arrangement and the forms of contradicted objects and the development of collage, montage, and protage techniques in the works which had a big influence on the growth of the modern art. The ideology and the modeling characteristics shown in the surrealism had various expressive forms and meanings in the modern compound expression and it grew out of the former standarlized forms and brought diversity and individuality based on the sensibility of the new avant-garde art form and showed great potential as it presented harmony in the multiple forms of art. The purpose of the research was to analyze the influences that were put on the surrealistic fashion art works and the works of the representative designer, Jean Paul Gotie. The characteristics of Jean Paul Gotie's surrealistic fashion comes from destruction, sexual image, and the mixture of heterogeneous. It is evident that the surrealistic fashion went beyond certain groups of avant-gardists' salvation of the world and were put to practice use, reaching out to the ordinary consumers. This was resulted from the revolutionary movement called, "anti-mode van fashion" led by Gotie. The surrealistic style will be led by various techniques and trends and developed through new characteristics in multiculture merged with various fashion styles.

• Journal of the Korean Home Economics Association
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• v.27 no.2
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• pp.1-19
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• 1989

Dress is an expressive art form which involves a human activity; utilizes techniques under sufficient technical control that results in the production of typical forms on the basis of aesthetic standards. This study was conducted to clarify a relationship of Impressionism and it's image in dress-Bustle style. Artists such as Manet, Renoir, Cezanne, Gogh, Gauguin, and Rodin were reviewed. Impressionism was a method of painting that consists in repoducing an impression exactly as it is experienced from contemplation nature. The Impressionists used a technique of separate, fragmented brush strokes and pure prismatic colore, aiming at rendering changing effects of light. Fashion designers such as Charles Worth, Givency, Cardin, Ungaro, and Lacroix were examined. Throughout their fashions, they focused on the naturalism of feminine and seductive image-the touch of Vegetable Venus depicted on the paintings of Manet and Renoir; expressed "unmitigated sexiness" in various forms of Bustle sytle creating a seductive beauty, revealing body contour, breast and legs, and using a fragmented motif and flowers with vivid color.

• Archives of design research
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• v.13
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• pp.123-137
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• 1996

Weaving, is an ideal subject for study to designer who is concerned with interrelationship between art and technology. Double cloth is a two layered fabric that can be woven on the loom with more than 4 harnesses, is often used to produce special woven fabric such as double width fabric or reverse pattern fabric, etc, in textile industry. Because of the attractive characteristic of two layered structure, double cloth technique can be applied as expressive media in fiber art requiring aesthetics and creativty. in the work, the concept, types, and characteristics of double weave have been studied through literature survey and sample production and the potential characteristics of this technique is, especially, emphasized by analysing the representative works of artists specilized in a double weave. Double weave technique can provide various images or forms throught the variation of structures and expressive styles and therefore suggests another characteristic expression creative means for weaver to develope.

• Korean Institute of Interior Design Journal
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• v.16 no.5
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• pp.22-29
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• 2007

In the face of the new dimension of the developed technology $L{\acute{a}}szl{\acute{o}}$ Moholy-Nagy, a master of 'the Bauhaus Akademie', made an effort to constitute the integrated life of the intellectual and the emotional by translating the experiences of the new technology Into the emotional language and the cultural realities. As an artist who criticized in the constructivist ethos the conception of the image as the imitation and brought the Image movements into relief Moholy-Nagy groped for a new expressive idea that can be called as 'the idea of the non-representational spatial expression' in which the expressive elements interact one another. His idea of the non-representational spatial expression that is made up of the pure forms of the nature, the direct colors and the spatial elements is oriented to incorporate the modern realities, i.e. the space experiences as the complicated sensory workings and the new technology as the measure of the human thinking, and further to see where they will move to. This study is on the one hand purposed to explicate the fundamental idea of the non-representational spatial expression that was poorly illuminated in spite of its importance in the respects of the design and art history, on the other to re-actualize the implications of the space-design which are contained in it.

• Journal of Fashion Business
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• v.5 no.2
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• pp.73-86
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• 2001

This study aims at reviewing the Kitsch aesthetics, grasping the relation between the Kitsch and consumption culture, and pursuing the intrincis meanings and expressive characteristics of Kitsch in the hair style and head dress in the 1990s. Kitsch generally implies a vulgarity, and a bad taste, and can be considered to be a kind of vicarious experience, the aesthetic deception and self-deception. In spite of these negative inplications of Kitsch, the aesthetic categories of Kitsch have been spread to public and been accepted by the public, with the help of the powerful promotion of the modern day mass media. 1. The intrincis meanings of Kitsch convey 1) escapism, 2) conformity, 3) amusements, 4) identification. 2. The expressive characteristics of Kitsch represent 1) aesthetic inadequacy: hair style and head dress showing the imperpectness, accumulation(superfluous ornaments), vulgarity, untidines. 2) resistance: hair style and head dress featuring deconstructional and violent forms revealing the uneasiness, and unsatisfaction of the given regularity. 3) humor: hair style and head dress featuring the innocence, humor, and fun for a relaxation and diversion. 4) hedonism: hair style and head dress with the erotic and sexual feelings. 5) retro, romantism: hair style and head dress featuring the elegance, femininity, folklore, ethnic, and nostalgia.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.59-74
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• 2013

Post-modern society leads us to accept diversity and variability instead of pursuit of the absolute truth, beauty or classical value systems, thus leading to hybrid phenomena. The purpose of this study is to analyze characteristics and expressive effects of hybrid expressions through which to provide conceptual bases for interpreting expanded meanings of fashion illustrations that express aesthetic concepts of hybrid culture. Hybrid refers to a condition on which diverse elements are mixed with each other, so any one element can not dominate others. It is often used to create something unique and new by a combination of unprecedented things. Hybrid can be classified into four categories: temporal hybrid, spatial hybrid, morphological hybrid and hybrid of different genres. Temporal hybrid from a combination of past and present in fashion illustration includes temporal blending by repetition and juxtaposition. Spatial hybrid shows itself in the form of inter-penetration and interrelationship by means of projection, overlapping, juxtaposition and multiple space. Morphological hybrid expresses itself through combination of heterogenous forms and restructuring of deformed forms. Hybrid of different genres in fashion illustration applies various graphic elements or photos within the space, and represents blending of arts and daily living. Such hybrid expressions in fashion illustrations reflect the phenomena of diversity and variability of post-modern society. Hybrid expressions in fashion illustrations predict endless possibility of expressing new images through combining various forms or casual elements and can develop toward a new creative technique.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.