It was during the 1920s that the study of the Korean aesthetic found intraditional art began. This research has continued to the present day,and the discovery of Korean aesthetic characteristics identified from thisstudy contributes to understanding the identity of Korean culture. Classic beauty in architecture and sculpture is defined by Eckardtas having symmetrical structure, balance, and impartiality, and asense of serenity, while revealing a distinct artless naivet accompaniedby moderation without excessive decoration. Yanagi Muneyoshis con-cept of the aesthetics of sorrow and folk art has been positivelyevaluated, and Ko Yu-seops planless planning illustrated by the useof natural timber can be called a pursuit of naturalness. Choe Sun-uargues that the Korean aesthetic is marked by plain colors and clothingand restrained expression. Cho Yo-han emphasizes the shamanic fea-tures represented by nonghyeonseong (freely vibrating without adher-ence to formality). Humor in Korean art as an aesthetic category hasalso gained wide recognition from many scholars.It would be unfair to say that one alone among these defines theKorean aesthetic. The Korean aesthetic is characterized by the classicalconcept of unification in diversity, as found in the works of Lee Ufan,Kim Hwan-gi, and Kim Chang-ryeol. In contemporary craft and industri-al production, traditional Korean colors can easily be applied to modernclothing, works of art, daily necessities, and household electronics.
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