• 한국콘텐츠학회논문지
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• 제18권3호
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• pp.330-341
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• 2018

최근 중국에서 중국풍(中國風)이라는 예술 형식을 적용한 창작이 늘어나고 있다. 중국풍이란 중국적 요소를 현대적 감각으로 표현하는 하나의 예술 양식으로 이해할 수 있다. 본 논문은 중국의 전통요소를 패션사진에 효과적으로 구현하는 방식을 탐구하기 위해서 중국의 대표적인 패션사진가 첸만을 중점적으로 분석했다. 연구 결과 첸만은 중국적 요소들의 전형적인 이미지를 반복적으로 활용하는 방식을 지양하고 전통요소들이 갖는 상징적인 의미를 현대적인 이미지로 시각화했다. 이러한 작업으로 첸만은 패션사진 속 상품 및 브랜드의 이미지를 효과적으로 전달할 수 있었으며 더 나아가 중국 패션의 정체성을 알려 상업적, 예술적 가능성을 인정받을 수 있었다. 본 연구는 중국풍 패선사진가들이 전통을 답습하지 않고 중국 전통요소를 현대적으로 재해석하는데 새로운 방향을 제시한다.

• 한국의류산업학회지
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• 제21권5호
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• 미술이론과 현장
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• 제16호
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• 한국콘텐츠학회논문지
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• 제19권10호
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• pp.548-559
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• 2019

K-pop은 1990년대 중국으로 유입된 후에 부침을 거듭하며 30년에 접어들었다. '한류' 현상을 일으킨 도화선으로서의 K-pop은 한국 대중문화를 대표하는 한 장의 명함이 되었고, '서양풍', '일본풍', '홍콩 대만 풍(港台 風)'에 이어 중국에서 열풍을 일으킨 하나의 대중문화로서 자리매김 하였다. 해외문화가 중국에 영향을 미친 영역이 넓고, 긴 시간 지속된 것은 지극히 드물어서 현대의 문화 간 커뮤니케이션의 전형적 사례라고 할 수 있다. 본 논문은 1988-2018년의 기간 동안 K-pop이 중국에 전파된 본말을 상세히 정리한 것을 이론적 기반으로, K-pop의 중국 내 전파 현황 전반에 대해 객관적인 평가를 하였다. 또한 설문조사를 통해 현재 K-pop 문화가 중국 대학생 집단에 미치는 영향을 살펴보고, 중국인들의 시각에서 발전 가능한 방안을 제시하였다. 이것으로 중국 내 K-pop의 문화 간 커뮤니케이션 연구에 이론적 기초와 시사점을 제공하려고 한다.

• 복식
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• 제58권6호
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• pp.145-157
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• 2008

Vivienne Tam was born in mainland China and educated in Hong Kong and has worked mainly in New York. Within multi-cultural background, she has shown unique fashion designs where western styles and China esprit were harmonized.. This study analyzed the ethnic look featured on Vivienne Tam's design to identify how she has expressed her ethnic identity into fashion. Photos featuring ethnic appeal among her New York collection from 1996 S/S to 2005 F/W were analyzed in terms of shape/silhouette, color, fabric, motifs, detail and accessaries. She utilized frequently chinese motifs and patterns such as bamboo, panda, budha, flowers, letters, and masks. Secondly she modified the shapes of Chinese traditional costume like Quipao to render ethnic appeal. Color, fabric and detail like frog and embroidery also contributed to enhance China mood. Comparatively, she used western clothing items including shirts, blouses, skirts, pants, dresses, and coats and maintained the silhouette tight and fit so that most her designs look wearable and westernized.

• 한국게임학회 논문지
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• 제22권1호
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• pp.119-128
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• 2022

본 논문은 귀신문화에 기반을 둔 일본풍 캐릭터 디자인을 게슈탈트 시지각 법칙을 사용하여 분석한 연구이다. 중국에서 성공한 일본풍 모바일 게임 <음양사>의 식신(Shikigami) 캐릭터의 디자인 요소를 정리하고 분석하였다. 형태는 부분이 아니라 전체적인 체계화를 통해 지각되며 작은 디자인적 요소가 전체 스토리에 영향을 미치는 방식을 확인하였다. 캐릭터의 디자인적 요소가 시각화 되는지를 분석하고 스토리에 관련성이 있다는 것을 확인 하였다. 디자인적 요소가 이야기에 영향을 미친다는 결과를 통해 새로운 캐릭터 디자인을 제안하고 이를 실증 분석하였다.

• 한국의류산업학회지
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• 제23권5호
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• pp.545-558
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• 2021

This research analyzed the Chinese style design embodied in the collections of the new generation of fashion designers shown during the Shanghai Fashion Week to improve the understanding of Chinese style and the modernization of Chinese design. The research questions were 1) studying the development of the Chinese fashion industry chronologically and investing young designers' current situation, 2) investigating young designers' awareness of Chinese style and analyzing Chinese style design in collections. A literature and case study were conducted as the research method. The literature study focused on the books about the Chinese fashion industry and history, newspaper, articles, and so on. The case study was conducted among 63 Chinese style collections in 2016-2020 SFW by investigating fashion magazine reviews, articles, and so on. The findings are as follows: 1) Young Chinese fashion designers' awareness of Chinese style has three characteristics; the nonmaterial tendency from decreasing stereotyped images, combination of traditional culture and local youth culture, and commercialization with trends. 2) Chinese elements, including natural, character, and cultural elements were predominantly used in the concept, pattern, and shape. Nonmaterial characteristics were identified in concept, cultural combination characteristics in concept, shape, color, material, and pattern, and trend commercialization in shape, color, and pattern. In conclusion, Chinese young fashion designers had strong national consciousness and new awareness of Chinese style fashion in decreasing the stereotyped images of China. Thus, they used more varied expressions. Meanwhile, they faced difficulties in expressing nonmaterial Chinese elements by balancing them with Chinese style and globalization.

• 한국의상디자인학회지
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• 제13권2호
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• pp.175-183
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• 2011

Based on an investigation of Miao ethnic group costumes, this research focuses on redesigning and reinterpreting of the Miao costume. The results are summarized as follows. According to the constitution of the clothes, the decorative parts and the way people wear them, women's clothing can be divided into five categories: Sangseohyeong, Geomjungnamhyeong A, Geomjungnamhyeong B, Cheongeomjeonhyeong, Haenamhyeong. Miao consists of straight lines with creases for both skirts and trousers. With the excess part of the belt or apron, X-shape and H-shape are formed. There are three basic decorative patterns: geometric patterns, animal patterns and plant patterns. In addition, there are three color values: warm, cool and dark. Silver Jewelry plays such an important role in the Miao Costume that the process of the production is also very special for the Chinese national dress. According to the features of the five types of Miao, then redesign and re-interpreted of them.

• 한국의상디자인학회지
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• 제18권3호
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• 한국지구과학회지
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• 제35권2호
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• pp.104-114
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• 2014

주풍에 따른 강수의 산성도, 전기전도도, 이온 성분의 변화를 알아보기 위하여 2009년 부산지역 강수를 분석하였다. 부산지역에서는 남서풍과 북동풍이 우세하게 나타났다. 주풍이 서풍인 경우, 강수의 산성도는 약 pH 7로 중성으로 나타났으나 전기전도도는 약 200 ${\mu}scm^{-1}$로 다른 풍향에 비해 월등히 높게 나타나 강수에 이온성분이 많이 함유된 것을 알 수 있었다. 양이온 $K^+$와 음이온 $Cl^-$가 다른 이온에 비해 높게 나타났으며, 북풍과 남서풍이 불 때 다른 풍향에 비해 전체적으로 높은 농도로 나타났다. 산성비의 주 원인물질인 $NO{_3}^-/SO{_4}^{2-}$의 구성비는 북풍에서 3 이상으로 월등히 높은 값이 나타났다. 다른 풍향에 비해 북동풍, 동풍, 남서풍, 서풍에서의 $K^+$의 중화기여도는 전체적으로 1 이상으로 높은 값을 나타내었는데, 이는 산성이온을 중화시키는데 있어서 알카리성 이온인 $K^+$의 중화기여도가 크게 작용하였음을 알 수 있다. 또한 해염입자는 북풍, 북동풍, 남서풍에서 800 ${\mu}sm^{-3}$ 이상으로 다른 풍향에 비해 상대적으로 많은 양을 나타내었다. 역궤적 분석 결과, 북풍, 서풍, 북서풍계열에서는 봄, 가을, 겨울철에 만주, 내몽골 고원, 중국, 러시아 지역으로부터 공기덩어리의 이동을 볼 수 있었다. 반면, 동풍, 북동풍, 남서풍계열에서는 여름철에 해양으로부터 공기덩어리의 이동을 볼 수 있었다. 따라서 부산지역의 강수중 산성도, 전기전도도, 이온 성분 농도는 내륙과 연안해역의 특성을 가진 주풍에 의한 변동 특성을 잘 나타내고 있음을 알 수 있었다.