• Journal of the Korean Society of Costume
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• v.24
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• pp.121-142
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• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.123-139
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• 2007

Since the late 1980's, the number of research papers published in the Journal of the Korean Society of Costume(JKSC) has increased. The JKSC is usually known for its focus on issues relevant to the aesthetics of dress, fashion design, and the history of Western or Oriental dress. The main goal of this paper is to link the academic importance of the fashion marketing field to the expansion of the journal and society. First, we defined the scope of the fashion marketing field, based on a literature review and general practices of other competitive societies and journals. First, we reviewed the curricula of the fashion marketing field from 49 universities in Korea. Next, we examined the research topics and methodology of 271 papers in the fashion marketing field published in JKSC since its first issue in 1977. By comparing the findings from the curricula and research, we drew conclusions for the fashion marketing field of the journal and society. We found that the approximately 80% of the fashion marketing courses provided at the undergraduate level are related to merchandise planning and selling processes from the company perspective. However, in more than 85% of the research papers, consumer characteristics and decision-making processes were the main focus and were used as key variables. These findings imply that more various methodological approaches are required for the research to enrich the theoretical background which, in turn, can support curricular development in fashion marketing field. The fashion marketing field in JKSC and society should make the most of accumulated knowledge in product design, symbolic aspects of fashion, and the qualitative approach in the research topics of the JKSC and society.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.112-119
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• 2013

This study focuses on an innate 'spiritual' quality of arts including building art, or a meaning of the religious philosophy of 'creativity-art'. In particular, this focuses, among two aspects in roots of modernism, especially on the irrational facet veiled by the name of 'a new' religious faith, rather than the rational such as the function. In fact, although modern Avant-gardes' religious philosophical faiths called by different names respectively have generally considered as one of the sources for their designs, nevertheless it had veiled because of the religious 'orthodoxy power' at that time. Arguably, as known well, the creativity of art is intimate relation with a religious ideas. Thus, for this purpose, this study treats this theme in central these three issues; Orientalism, Universalism, and Froebelianism which are intimate in the realm of religious philosophy. Ultimately, through a research on the universal religious philosophy in all three objects as keeping a quality not of pantheism but of 'Panentheism' emphasizing the individual's 'divine' artistic volition, this study deepens the understanding on the Creativity-art as the main characteristic of modernity. Namely, it is very important to draw a distinction between pantheism and Panentheism; because, through the pantheism, it is difficult to comprehend a stream and a characteristic of the twentieth new religious thoughts including those of modern avant-garde artists, as well as their existential free-will as a whole.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.126-141
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• 2014

The purpose of this study is to analyze the specific mimesis types of common character costumes in MMORPGs, which have stories that are very similar in structure to ancient myths and fantasy novels. As the subject of the research I have selected "Diablo 3" created by the American video game developer, Blizzard Entertainment Images of 5 characters, for both genders - Barbarian, Witch Doctor, Monk, Demon hunter, Wizard - were compiled for a total of 10 images, and these images were compared to popular archetypes in mythology, religion and literature. analyzed them separately according to the mimesis type. For this study, Articles and books containing the Aesthetics, Mimesis and Digital culture were researched in order to study the costume features and the Mimesis types and compare them to the costumes in the MMORPG. Firstly, the character Barbarian is a successor of the barbarian character of the previous product. The outfit worn by the game figure is based on the common images expressed in the movie . The makers created an analogous-imitation mimesis by replicating the image in an exaggerated and grand form. Second, the character Witch Doctor derived its motif from the Voodoo cult, and was expressed in analogous-imitation mimesis, using the very shades and patterns used in real life. Third, the character Monk, blending the image of a priest in Eastern Europe and images of its oriental counterparts, was expressed in transposition-diversion mimesis. Fourth, the Demon Hunter took the source of its inspiration from the image of a Witch hunter in the medieval times. The game character has a sharper sleeker figure than its model, and uses more acute shapes and darker gloomier colors expressed in an analogous-imitation mimesis. Finally, the character Magician took a formless character and expressed it in transposition-diversion mimesis taking as its basis some fantasy novels.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.95-102
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• 2019

This paper mainly studies two films created by Huo Jianqi, Nuan and Postman in the Mountains, and analyzes the aesthetic style of Huo Jianqi's local movies in three parts. The first part deals with the characteristics of Huo Jianqi's local movies and discusses the theme selection, theme performance, character creation and emotional expression of the film. The second part elaborates Huo Jianqi's film and television works from three aspects: picture language, voice language and color language, which further reflects Huo Jianqi's aesthetic style. The third part analyses the puzzlement in the development of local films and how to develop them. With its unique oriental aesthetics, unique perspectives, unique rural scenery and characteristics, Chinese local movies have become the most representative of the overall level and style of Chinese movies. Chinese local film is the reflection and care of Chinese local culture, showing strong regional local culture, regionality is its distinct feature. Since the reform and opening up, with the changes of the times and the renewal of film directors, local films have shown distinct characteristics of the times. Through the analysis of Huo Jianqi's aesthetic style of local movies, this paper hopes to provide some valuable reference and inspiration for the development of Chinese local movies.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.