• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.56-60
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• 2005

Finishing materials and colors which were expressed in the space is an important factor to decide the imagination of the space. Therefore if we analyze and spotlight the space with that factors again, we will readily know the characteristics that are expressed in our living space. A purpose of this study is how the traditionality like national thoughts, customs and behavior patterns is changed, arranged and expressed in the korean housing space in the 21c on the finishing materials and colors. Though this study we can know that the traditionality which are expressed in modern housing spaces shows with accommodating to characteristic that is expressed in traditional housing spaces.

• Journal of architectural history
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• v.15 no.3
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• pp.27-42
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• 2006

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.429-445
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• 2020

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.153-174
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• 1998

It is based on variety imagination not in monotonous through after '95 fashion trend. Specially, in women's fashion coming back of the feminity with giving status and social advance. Renaissance fashion trend in these days trend. Among modern trend. We find decorative beauty in contemporary fashion trend. There are many expressions about deep and rich color and velvet material, exaggerated collar in ruff collar shape, and applied sleeves and stomacher

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.333-348
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• 2008

The purpose of this study is to examine the characteristics of romanticism which is expressed in the latest trend and to explain them focused on anti-realistic yearning. As the method of the study, a literature review was conducted. Romanticism started from a complaint against reality and denied the previous era's philosophy and aesthetics. Romanticism placed much value on emotions and imagination. Also, the characteristics of romanticism art contains the yearning for nature, far culture, far past and supernatural world, by escaping from the complex reality which gives disillusionment. Such the characteristic can be easily found in the modern trend. Modern people, who live in the situation that the society is changed into the information society from the industrial society, have clung to the past things because they feel that the known and guaranteed world is finished. And they want to experience the new and various culture and nature escaping from insecurity on complicated reality. Also, the desire of modern people who want to escape from a daily routine world and the reality's limitations is expressed as the yearning for the supernatural world.

• Journal of Fashion Business
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• v.23 no.5
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• pp.19-30
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• 2019

The aim of this study is to analyze the stage of image change in Korean fashion design in regards to the simulacre of Jean Baudrillard. The changing phases of Korean fashion design are as follows: First, the initial stage involved simple imitation, which replicated the original as much as possible, it expressed the basic composition of Hanbok, flat cut and rich silhouette, the color scheme of traditional colors, traditional patterns, materials, and traditional ornaments. In the second stage, the subject matter intervened to distort and transform from the original, the basic composition and structure of the Hanbok were barely maintained, they were either removed or part of the structure modified or expressed using modern materials and patterns. The third stage, were based on reality but differed from reality through subject and imagination, and only left a part of the basic composition of Hanbok, and were expressed through the partial modification of the elements of the Hanbok, for instance the silhouette, skirt waist, collar and breast-tie. The fourth stage of pure simulacre, which refers to a new image with complete independence regardless of the reality. This stage differed from the basic structure and composition of Hanbok, and showcased traditional Korean image of Korea's unique cultural elements, such as hanbok or crafts and artworks, in a modern fashion with a modern sense and practicality.

• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• Cartoon and Animation Studies
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• s.45
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• pp.435-450
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• 2016

Animation is an artificial image created by artist's imagination. Animation is defined as "the art of the animated image" in the sense that immobile images can be seed as a living creature. In other words, the term "diegesis" in modern arts genre is generally considered as something that indicates fictional world in which narration develops. Therefore, when we say that animation world is formed based on diegesis, it represents the fictionality of animation world. The problem occurs at this point. Even thought the animation world is recognized as a fictional world, we contradictorily believe that the event occurring in the screen world are real and accept them as a true message. This condition is called "quasi-emotion". Quasi-emotion is not fake bit not real either, and it is the third emotional state. It happens when we "make believe" that we believe a fictitious figure or a situation. However, in order to actively operate this "make-believe" state, an appropriate environment and props are required, specially metaphorical imagination and storytelling in short animated film. So that this article will draw a conclusion from the method that make-believe the fictional world and communicate the message through analysing the short animate film, form Disney.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• Journal of the Korean Geographical Society
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• v.40 no.2 s.107
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• pp.172-186
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• 2005

I examine in this paper how the contemporary sacredness of Mt. Chirisan has been modified through the reworking of the embodied experiences of the mountain. 1 examine the theme of escapism through the cases of mountain men and Chonghakdong. The two mountain men, Huh Man-Soo and Ham Tae-Sik, tacitly suggested a modem aesthetic and environmentalist view of nature by articulating a typical form of appreciating nature in a transition period from pre-modern to modern society. Mountain men mediated their own personal dreams of revitalizing the Taoist utopian place with their social practices of modernizing and democratizing the appreciation of nature. Ultimately, the appearances and practices of mountain men symbolize the end of the pre-modern geographical imagination of the mountain as distinctive plate outside society (real world). Therefore, the vision of modem civic-national landscape, national park, was made concrete at the very site where the people's dreams of utopia, the inherited sacredness of the mountain and people's religious beliefs in its protective power were terminated.