• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.5
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• pp.1-15
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• 2007

본 연구는 커뮤니티 시설 상세 설계의 대상물에 대한 질적 특성을 파악하기 위하여 그 대상물의 이미지를 상징화하는 단계적 발전 과정을 거쳐 그 시설의 상세 설계적 언어를 형상화하는 방법을 제시하였다. 사례로 역사적, 문화적, 전이적 특성을 지닌 세 커뮤니티를 조사하여 디자인 언어와 상징화되는 이미지를 구명해 보면서 디자인 언어의 구성과 설계요소와의 관계 커뮤니티의 목표 등과 연관시켜 커뮤니티의 본질성을 추구하는 수단을 평가 분석하는 방법을 강구하고 커뮤니티 시설의 상세 설계 언어의 형상을 검토하는 방법을 통섭적으로 제시하였다. 설계 언어의 형상 분석의 수단을 구체화 하는 데는 시각적 형태, 설계 주제의 상황, 설계요소의 관계성, 설계요소의 위치와 구성 등과 연관된 문제이다. 본 연구는 상세설계 언어의 형상을 개발하는 시도로 네 가지 기본 전제를 세우고 그를 설명해 보았다. 본 연구는 커뮤니티 시설 특성의 상징화를 위한 설계언어연구 대상의 사례로 미국의 전통성이 강한 메사츄세츠주에서 역사적, 문화적, 전이적 특성을 각기 다르게 지니고 있는 콩코드(Concord), 렉싱톤(Lexington), 알링톤(Arlington) 등의 세 커뮤니티를 택하였다. 사례 커뮤니티 시설 특성의 상세 설계 언어의 형상을 도출하는 과정을 설명하고 시각적 노트와 디자인 의미와 그 상징성을 바탕으로 상징과 시각적 언어를 찾으면서 상세 요소의 디자인 언어를 비교하였다. 그를 바탕으로 디자인 언어와 의미 및 그에 대한 평가를 위하여 편익을 기초로 사회, 건강, 환경, 경제 등 네 가지로 세부 분류된 커뮤니티 시설을 검토하였다. 커뮤니티 시설 특성을 파악하는 기법 발굴 과정에서 시작된 시각적 형상으로부터 상징과 그 의미 등을 구명하면서 그를 정성화하기 위한 기준으로서 설계 언어, 상징적 언어, 커뮤니티, 자연적 심미성 등의 네 가지로 대표되는 평가 요소에 의하여 분석 평가 검토에 이르기까지 일련의 과정이 그 상세설계언어의 형상에 관하여 통섭적 접근이 이루어 졌다.

• Journal of the Daesoon Academy of Sciences
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• v.43
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• pp.103-137
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• 2022

In religious symbology, an emblem is a symbolic mark, which differentiates a religion from other groups. In addition, it holds a symbolic or conceptual character that enables viewers to recognize a certain religion. Daesoon Jinrihoe, a representative order among Korean religious traditions, also has a symbolic mark; however, it has not been designated with an official name as symbol despite its usage dating back to May 11, 1978. At the time, that mark has served as an emblem. Afterwards, the emblem was printed and has been officially used as a flag (unofficially known as the Dao Flag, the Fellowship Flag, etc.) since October 20th of that same year. The emblem of Daesoon Jinrihoe which is not only printed in the flag but has been utilized as a symbolic mark representing the order. Nevertheless, it is hard to find research related to this symbol. Consequently, this study aims to apprehend the existing materials about the flag's emblem and its meaning, as well as attempt to interpret its various implications. Indeed, this work will suggest another point of view about the emblem given that it embraces ambiguity. This research suggests that the emblem symbolically depicts the Daesoon (Great Itineration), Samwon (三圓, Three Circles), Sadae (四大, Four Dae), and the Center, and that, all together, this can imply more profound meanings than were expressed in previously posited explanations. As such, this study draws further significance from Daesoon Thought and find: first, the circle in the center of the emblem signifies the pivot of Daesoon; not just the earthly circle (地圓) or the human circle (人圓). This opens up the possibility that the circle symbolizes Mugeuk (Limitlessness) and Taegeuk (Great Ultimate), which include the pivot of Heaven, Earth, and Humanity. Secondly, the symbol of soil (土) in the center is separated from the human circle and reveals the symbol of harmony and creation as the rod shape of Four Dae. Thirdly, the protuberances in the circle point to specific directions and this allows for additional layers of meaning.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.291-298
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• 2023

The purpose of this study is to appreciate abstract art works in a deeper and richer way by analyzing and examining the blue symbols used in Hwanki's work "Universe". Research problems to realize the research purpose are as follows. First, what meaning and symbol does Whanki's work "Universe" contain, and second, what meaning and symbol does "blue" that embraces the universe contain. The method of this study is picture analysis through literature research. As a result of this study, Whanki's work "Universe" contains a cosmos that shows constant movement, circulation, and repetition as an introverted and performance expression of the universe, and the main symbol of "Blue" is a blue microcosm that repeatedly circulates heaven and the underworld.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.145-153
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• 2006

'Regardless of our consciousness, Color is the energy that we are affected by positively or negatively.' said Johannes Itten. When we see the color in nature, the color acts to our emotion most preferentially and most strongly. These experiences of color become symbol or icon to us and express states of his mind as allegory. The color of animation is the visual element of image media, the image which act as important meaning, the attribute of light, and visual-perceptional factor. With molding factor form, light and shade, the color function importantly as media which express a person and a person's circumstance. In animation, the color is used symbolically to suggest not only mental change of character but also the condition. The transmission of mental meaning express symbolism of the color iconically. Accordingly, the color for image express of animation take on universality. This study focus on how the symbolical meaning of the color is reflected in a work.

• Journal of agriculture & life science
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• v.46 no.2
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• pp.75-82
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• 2012

This is a study on the flower pattern artwork of the west wall of the Jagyeongjeon in Gyeongbokgung to find out the type of plants and flowers represented and their symbolism. The research was conducted from July 2010 to March 2011 and the artwork classified on the basis of its horticultural traits. A number was assigned to each pattern for analysis: No. 1 is Prunus mume, No. 2 is Prunus persica, No. 3 is Paeonia suffruticosa, No. 4 is Punica granatum, No. 5 and 6 is Dendranthema grandiflora, No. 7 is Rhododendron mucronu and No. 8 is Phyllostachys bambusoides. These 8 flower patterns symbolize longevity and fecundity and their presense around the Jagyeongjeon helped to bestow good fortune on the royal family so that they might live long lives and bear many children. 4 artworks symbolize longevity, 2 artworks symbolize integrity and 1 artwork symbolizes wealth and happiness. There is also symbolism of the need to have constancy in a royal household even during secular change. Out of the 8 artworks, the imagery of a bird and a moon is represented only once, but the image of a butterfly is represented five times in the surrounding elements. The bird and butterfly symbolise freedom and happiness from free love. Women in the palace are like a butterfly wanted to be like love as a freedom and have a free and open relationship like a butterfly. But a harmonious relationship between the royal family wanted to have a symbolic meaning that could be seen of the symbolistic. Based on the "Yangwhasorok"only plants with the highest values, from the 1st and 2nd grades, were used in the artwork of the west wall of the Jagyeongjeon.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.586-597
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• 2014

In this paper, we describe a symbolization analysis of a Diamond World Mandala animation. The mandala means the basic idea of the esoteric Buddhism. The Diamond World Mandala has a very high value as cultural archetype due to have better specific meaning and aesthetic quality than other mandalas. Most researches of Buddhist cultural contents have focused on cultural assets restoration and abstract discussion on contents industrialization until now. However researches on contents directly delivering Buddhism scriptures' meanings are insufficient. Therefore, in this paper, we analyze concept of mandala and symbolical meaning of appeared elements in mandala rather than theoretical development appropriateness of mandalas' contents, then implement a prototype of a mandala animation. The animation is made of intangible culture such as an intellectual legacy of mankind, and its applications are as follows; education service for Buddhist doctrines, and cultural services through easy accessibility of Buddhist culture, etc.

• The Journal of the Korea Contents Association
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• v.7 no.9
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• pp.18-25
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• 2007

A symbol is one of the images that represents individual elements, and it has the power of metaphoric delivery to its audiences. Symbols, in animation, allows the audience to perceive various descriptions as symbols, leading to variety of interpretation. And by providing psychologically deeper meaning to the audience, it enhances the symbolic value of the images. However, detailed study regarding symbol analysis leaves much to be desired. This paper is an semiological approach to the Czechoslovakia animator, Jiri Barta, and his symbolic images, with particular focus on the darkness symbols that appear in the Czech cultural characteristics.