This is the study of American Aesthetic Movement and the Louis Comfort Tiffany's Decorative art. At first, I supposed that Louis Comfort Tiffany (1848-1933) was the most successful American Aesthete. He insisted that he pursuit of ‘quest of beauty’ entire his art life at the speech in 1919 retrospective exhibition. The ‘quest of beauty’ is one of creeds of Aestheticism became known through the famous English aesthete Oscar Wilde lectured at the American tour lecture in 1882-1883. Interestingly Wilde also addressed English Arts & Crafts Movement and the ideas of John Ruskin at the lectures. So American public and artists could be accepted both English decorative art movements synthetically. That resulted many of artists turned their focus on decorative art media or decorative art production, as like interior design, stained glass, art pottery, etc. To American artist, interior decoration was another medium for artistic experiment or art-making to realize ideal beauty in everyday life. To beautify everyday life and environment with artistic utilitarian goods was the goal of William Morris(1834-96)' who the leader of Arts & Crafts Movement, so as to Louis Tiffany. Then, Louis Tiffany tried to show his individuality by the eclectic synthesis of the Oriental-Western styles. He synthesized Western & Oriental arts of disparate region or ages uniquely. Finally, his eclectic design method would be applied for creating interiors to artistic unity. Because of Louis Tiffany was a Colorist painter and American Aesthetic Movement artist also, he searched for beauty and wished to express the beautiful ‘color and light’ effect through his art. To accomplish this artistic goal, he used oil and watercolor paints, from opaque to transparent and also translucent at the same time. At last, he developed the ‘Favrile glass’ to describe the colored light, coloring, shades and gradations more than paintings do. Furthermore, he used a variety of decorative media like glass, enamel, jewel and textile for the natural/artistic reproduction of color and light effect in nature. What was the reason for Louis Tiffany's pursuit of naturalism in his product design? The reason was that he sympathized with the John Ruskin's design concept with ‘garden room’ interior design. He tried to depict natural landscape or garden flowers and vegetables on the stained glass windows, glass vases, lamp shades, enamel work, jewelry to construct Aesthetic-practical garden room. That was also the way to be accomplished the authentic goal of Morris' Arts & Crafts Movement.So he incorporated various art companies and then developed art industry complex. He was also an entrepreneur who produced variety of household products industrially. The reason is that he hoped to realize the ideal of William Morris. Who advocated to beautify the interior and daily life for the public. But real consumers of the Morris products were only the wealthiest high class in England and also in America. However, Louis Tiffany's decorative art work differentiated from the Morris'. Because he wanted to answer the demand for consumer democracy. Therefore, he pursued artistic & economic goals simultaneously through his art enterprises as he accepted Aestheticism and Arts & Crafts Movement together. To realize this double goal, he produced kinds of decorative arts and household goods as the colorist artist- aesthete entrepreneur.

현대인의 심미적 욕구는 계속 증가하고 있고, 대도시의 개발정책은 디자인 도시만들기, 인공섬의 등장 등 그 욕구를 충족시키는데 많은 노력을 하고 있다. 이렇게 환경의 심미적 가치는 매우 중요한 가치로 부각되어가고 있다. 환경, 디자인 분야의 심미적 가치의 개념을 통 해 아직 그 개념이 모호한 해양의 심미적 가치를 정의하고, 특성을 파악한 후 해양개발정책에서 난개발을 막고, 해양의 심미적 가치를 보존 하기 위한 방법으로 본 연구에서는 심미적 가치가 다른 영향평가들과 같이 표준화, 객관화된 방법으로 평가할 수 있도록 시뮬레이션 기법을 이용하여 대중의 선호도를 정책에 반영할 수 있는 시스템을 설계하였다. 특히 정책에 반영할 수 있도록 인공물의 평가대상을 구분하고, 그 평가 요소를 객관적 차원의 요소인 색채, 형태, 질감으로 분류하여 시뮬레이션 할 수 있도록 하였고, 전문가뿐만 아닌 지역주민의 의견수렴이 이루어질 수 있도록 환경평가내에서 평가할 수 있는 방법을 제안한다. 해안인공물 뿐아니라 범위를 넓혀 구 체화하여 실제 정책에 반영될 수 있도록 검증하는 과제가 남아있다.

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer’s brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer’s name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

본 연구에서는 객관적인 아름다움에 대한 주관적인 미적 경험으로서의 인지적, 감정적 경험에 관여하는 뇌 활성화 과정을 기능적 자기공명영상을 이용하여 검토해 보았다. 우선, 프랙탈 이미지에 대한 미적평가 행동과 제로 보편적인 아름다움의 준거를 확인하였다. 평정 결과에 기초하여, 전체 270개 이미지 중 가장 점수가 높은 50개를 아름다운 이미지로, 점수가 낮은 50개를 아름답지 않은 이미지로 선정하였다. 두 가지 조건을 블록으로 제시한 신경영상 연구 결과, 아름답다고 평가한 이미지에 대해서는 미적 경험에 관여하는 인지적, 정서적 처리에 관여된 부위인 전두엽과 대상회와 뇌섬엽이 활성화되었으며, 아름답지 않다고 평가한 이미지에 대해서는 부정적인 정서와 관련된 중후두회와 전설소엽의 활성화가 관찰되었다. 아름다움 평가에 대한 조건별 접속분석의 결과, 미적평가가 긍정적인 이미지에 대해서는 측두엽의 활성화가, 부정적인 이미지에 대해서는 두정엽의 활성화가 특징적으로 나타났다. 이에 대해 의미론적 해석과 추상화 과정과 연결하여 논의하였다.

해안에 인공물을 건설하기 전에 교통영향평가나 환경영향평가는 필수적으로 이루어지고 있으나, 심미적 가 치는 몇몇의 인공물에서 필요에 의해 전문가들 의견 위주로의 조사가 이루어지고 있다. 본 연구에서는 선행연구를 통해 해양의 심미적 가치의 개념과 특성을 알아보고, 심미적 가치가 다른 영향평가들과 같이 표준화, 객관화된 방법으로 평가 할 수 있도록 시뮬레이션 기법을 이용하여 대중의 선호도를 정책에 반영할 수 있는 시스템을 설계하였다. 특히 정책에 반영할 수 있도록 인공물의 평가대상을 구분하고, 그 평가 요소를 객관적 차원의 요소인 색채, 형태, 질감으로 분류하여 시뮬레이션 할 수 있도록 하였다. 차후 주관적 차원의 요소도 그 특성을 AHP기법(의사결정방법)을 이용하여 분석해 적 용할 수 있도록 할 예정이다.

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical ‘Chicago’ formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

해양의 심미적 가치는 해양자원의 하나로 넓은 영역에 파생적 가치를 창출하고 있으나 그 개념과 정의가 추상적이고 가치 평가에 대한 체계적인 연구가 미흡하다. 본 연구에서는 선행연구를 통해 해양의 심미적 가치의 개념을 정의하고 인지되고 있는 가치를 정량적, 정성적으로 평가하고자 설문조사를 수행하였다. 설문조사의 결과를 바탕으로 해양의 심미적 가치의 특성을 분석하고 심미적 가치의 보존방안을 고찰하였다. 해양의 심미적 가치를 보존할 수 있는 방법에 대한 사례와 유형별 연구를 지속할 예정이다.

컴퓨터기술 발전은 다양한 분야의 새로운 변화들을 만들어내었다. 특히 컴퓨터게임분야에서 시각적 비주얼을 실사 에 가깝게 구현하면서 사용자들에게 더 높은 몰입 단계로 이끌고 있다. 본문에서는 컴퓨터 발전과 함께 비약적으로 발전한 게임(FPS)에서 사용자가 인터페이스를 통한 시지각적 관조를 체험함과 동시에 가상공간과 몰입이라는 뉴미디어아트 영역의 미학적 해석을 고찰한다. 게임과 예술이라는 상이한 분야를 비교하면서 게임 인터페이스 안에서의 유 저(사용자) 관조와 유희의 방법적 접근을 통해 가상공간 안에서의 감상자 태도와 관조에 관한 연구이다.

경관설계는 환경의 문화적, 생태적, 인위적인 요소들을 고려한 물리적 변화를 통해 외부공간을 창조하는 일련의 과정이라 할 수 있다. 경관에 관한 지속적인 연구가 조경분야에서 이루어져 오면서, 설계와의 연관성 또한 중요하게 자리매김 하였다.하지만 경관설계 과정에서 많은 요소들의 생태적·사회적 가치에 높은 비중이 실려 반영되어온 반면, 다양한 미적경험 및개념에 올바른 이해와 이들을 측정하는 기준 및 척도에 관한 부분은 체계적으로 고찰되지 못한 점 또한 주목해야할 부분이다.본 연구의 목적은 환경미학 이론과 척도들에 관한 고찰을 통해 경관설계의 이론적 근거와 기초자료를 구축하는데 있다.이를 위해 인지요소와 감정요소의 특성을 고찰하고 각 요소들 간의 상호관계를 측정하는 심리학적 척도를 이용하여 물리적환경과 인간의 경험과 행위의 상관관계에 대해 분석하였다. 인간이 환경을 지각하는 과정에서 발생하는 시각 자원에 대한평가와 감정의 동요는 환경의 미적 질을 측정하는 골자이며, 궁극적으로는 행태에 영향을 미치기도 한다. 이용자와 방문객들의장소에 대한 선호도와 보다 나은 행태를 유발하기 위해서 설계자나 연구자들이 숙지해야 할 사항이기도 하다.이는 또한 경관설계에 관한 연구가 생태적 지속가능성과 기능적인 측면에 주안점을 두며 발생하는 문제점, 즉 환경의보전과 인간에게 활동공간의 제공이라는 두 가지 욕구를 동시에 충족시켜줘야 한다는 패러독스를 해결하기위한 초석이기도하다.현대 경관설계는 외부공간의 질 향상과 생태적·사회적 기능제공의 기회를 부여하기 위해 노력하고 있으며, 그 과정에 발생하는갈등의 해소를 위해 학제 간 연구 등 다양한 접근방법을 시도하고 있다. 그런 점에 착안할 때, 설계가와 연구자들은 환경의미적 질과 이용자 경험이나 반응과의 상관관계가 개인의 삶의 질이나 웰빙 등의 생태적·사회적 가치, 인간의 행태, 나아가도시 재건 등에 까지 영향을 미치는 점을 인식하여야 할 것이다.

이 논문은 퇴계의 한시에 나타난 대나무의 형상사유와 미의식을 연구한 것이다. 퇴계는 조선을 대표하는 성리학자인 동시에 약 2000여수의 한시를 남긴 조선중기 사림의 대 문호였다. 이 시기 조선 사림들의 예술 경향 속에는 사군자로 지칭되는 절개와 지조의 상징물들이 독특하게 나타나 조선 사림의 예술을 선도하였다. 시․ 서 화를 통한 사군자의 예술지향은 성리정신과 조화를 이루며 한 시대를 풍미하 게 되었다. 이 중심에 퇴계의 대나무에 대한 한시가 있었다. 퇴계는 동아시아의 문학사에서 대나무를 형상화한 다양한 장르의 문예들을 접하고 이들을 바탕으로 대나무를 문학적으로 새롭게 인식하기 시작했다. 퇴계는 대나무를 직접 가꾸기도 하고 완상하기도 하면서 대나무를 비유와 상징의 수법으로 형상화 했으며, 당시에 유행하던 대나무 그림위에 제화시를 남기기도 했다. 그의 대나무 한시에는 다양한 미의식이 함의되어 있다. 그가 주창한 대나무 이미저리는 주로 선비의 굳은 지조 와 곧은 절개를 상징한다. 퇴계의 대나무 한시에는 꿋꿋하고, 맑고, 깨끗하고, 강 인하고, 의젓한 이미지를 그려낸다. 그의 대나무를 소재로 형상화한 시 속에는 枯淡, 拙樸, 苦拙, 淸眞등의 楚楚한 풍격의 미의식이 함의되어 있다.

The purpose of this research is to rethink Alvar Aalto's architecture on the basis of the aesthetic concept of play. This attempt is valid because he had asserted the importance of play in his design. But more fundamentally, his critical view of the instrumentalised rationalism implied the idea that a human being is “Man the Player” as well as “Man the Thinker”, of which theory was elaborated in Johan Huizinga's Homo Ludens (1938). Premised on it, this paper investigated the evolution of the play idea in aesthetics and located Aalto's concept within the map. Summing up, his play was an intuitively grasped desire opposed to a rational requirement, which leads to a dialectical synthesis. This schema is similar to that of Schiller, in which Spiel reconciles the reason and the sense. However, Aalto's play could be differentiated into the "astonishingly rational" and "a jest", each of which roughly corresponds to the Spieltrieb (play impulse) and the sinnliche Trieb (sensuous impulse) in Schiller's thinking. On the other hand, Aalto's architecture illustrates play that could be interpreted as the overflow of surplus energy. This play is the very concept that can bridge the gap in the form-function formula of modern architecture. Aalto's play idea seemed to basically originate from his personality but its value must be confirmed by the Finnish litterateur Yrjö Hirn as Aalto mentioned in his statements (1953 & 1972). It appears that Aalto's play concept was materialised in architecture through his typical design language, such as the undulating wall, the aperspective space, the imitation of nature and the collage of heterogenous elements. However, we should be careful not to reductively analyse the application of play in practise. As Huizinga's comprehensive theory suggests, the play element exists in any cultural areas including any architectural activities. In conclusion, this paper argues that Alvar Aalto the Homo Ludens presented the possibility of critical rationalism in modern architecture by imbuing dry modernism with "the life enhancing charm" of "the art of play".

Since the end of 1960s, an era of internationalization, Interculturalism has been reflected in intercultural plays which borrow concepts of foreign-cultural aesthetics for the performance and create a new stage language. Among many writers and performers, Oh, Tae-seok created his own unique aesthetic performances through experimental and avant-garde methodologies connected with various areas of art. His plays are worth studying since they suggest us a point of view which helps us to get out of the ordinary, fixed thought and try to see variety of reality. Therefore, our study categorized Oh, Tae-seok’s play into four areas according to grotesquery interculturalism : Evil sprit, Abhorrence, Exaggeration and distort, and Heterogeneity. Based on this category, we analyzed plastic artistic characteristics of his plays’ stage costume, for example, shapes, materials, and color, and tried to enhance the aesthetic value of his plays. We made a conclusion that the play showed grotesquery features in stage costume, which represented death, tragedy, evil sprit of human negligence, surprising and grotesquery abhorrence by deformity of the body, exaggeration and distortion, ridiculousness, and heterogeneity, the mixture of abnormality and unstableness. Our study could help produce adequate stage costume matching the features of the performance, and be the cornerstone of grotesquery aesthetic interculturalism study reflected in stage costume.

The advent of various arts and remarkable development of mass media since 1980s accelerate fashion photographs' advancement. The expression of fashion through photographs can represent characteristics of ages, societies, cultures, traits of designers and techniques of photographers. This study focuses on Cindy Sherman's fashion photographs, which represent different kinds of respect to the women's states and identity. Cindy Sherman describes neglected women, sexual characteristics, and tries to overcome the limitation existing in modern society. By analyzing her fashion photographs, women's identities can be examined and the new trial of fashion photographs' expression is able to be considered as well. The results are summarized into two traits. The first is grotesque images, which have strange cuts, dissolved and deformed bodies. Those are expressions to subvert the stereotype of women. The second is amusement, which is expressed with uncanny and ridiculous appearances. These fun images are challenges to depict human instinct and also symbolic plays.

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.

The purposeof this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.