• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.29-40
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• 2012

Using the official marker of the Korea's national symbol to inform the world of the country's existence to the global community in the $21^{st}$century enhances the autonomy and the competitiveness of Korea. It is thought that selecting a motif for promoting the national identity through cultural products or costumes can prepare an opportunity for gaining competitiveness internationally. The purpose of this study is to enhance understanding on the use of a traditional Korean symbol, Mugunghwa, and how it increases the cultural value of Korea, and develops the modern Korean image. The specific contents of this study are as follow. First, searching for the scope of usage of the national flower Mugunghwa from various angles for enhancing the Korean image. Second, developing a national symbol image of modern sense that reflects trend by using Mugunghwa. Third, clarifying the application scope and role of the national symbol image using Mugunghwa, and present a specific usage plan for creating more value. As for the study method, the study is conducted through theoretical and empirical research and six pieces of work of modern Mugunghwa image are presented as the result. Based on the development of the image of Mugunghwa as a national symbol, this study proposed a role of a cultural ambassador by applying Mugunghwa to fashion products or costumes. As for the expected effect, it can provide an opportunity for developing another national symbol and a new perspective on national symbol will appear. It is thought that the cultural value of a national symbol can be understood through this study and it can provide an opportunity for developing various national symbols for enhancing the national image.

• Journal of the Korean Society of Costume
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• v.34
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• pp.121-134
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• 1997

The purpose of this study is to research of cultural symbol on Safavid lampas in Persia. The results are as follows. A significant feature of continuous pat-terns in lampas is the use of the human figure and a signature of designer's name in the Islamic world. Motifs can be identi-fied as Safavid lampas by the style of motifs such as birds leaves trees flowers on a gold or silver namely metal back-groud. the result shows that cultural symbol on Safavid lampas is connected with islamic culture.

• Archives of design research
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• v.19 no.3 s.65
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• pp.71-92
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• 2006

People have their own cultural backgrounds and experiences in terms of visual perceptional thinking so that they could misunderstand the cultural symbols, trademarks, Brand Identities, and trade characters, especially, animal trademarks. Sometimes Easterners and Westerners seem to not comprehend the different meanings of the cultural symbols. The signs of twelve Chinese zodiac animals are the typical symbol of the Asian mythology. What I wanted to focus on emphasizing the different views and perspective of an animal trademark is according to the Chinese Zodiac between Eastern and Western cultures. Generally, multiple symbolisms are difficult to comprehend, because they are created by individual ideas and incorporate several mythologies and histories. How do Westerners interpret the implied meaning of Eastern animals in general? How are they going to understand the Eastern animal logos or marks accurately? How can we solve the problem to make people understand their different meanings? There were some confusing pictorial images in the area of the design field when a designer creates an animal mark for globalization and localization. Creating of hybrid symbol is the best way to break the communication barriers with people all around the world.

• The Journal of the Korea Contents Association
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• v.17 no.2
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• pp.612-622
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• 2017

This paper is about on the most representative ethnic of China Mongolian as the research object, through the questionnaire survey to establish the understanding of national cultural symbol and the system of national identity, and lay a theoretical foundation for the application of Mongolian communication and design in the future. In order to achieve the objectivity of the data, so a questionnaire survey was conducted on 300 populations of Mongolian and other nationalities. The result is that the majority of the Mongolians believe that as the Mongolian people have a sense of pride, and the Mongolian nationality is a representative of china. Mongolian is a kind of aesthetic, creative, reliable, aggressive and like the decoration of the nation. The cultural symbols for design elements are cyan, Gen Gi Khan graphics, agate, and peaceful meaning and so on. The cultural symbols are used for celebration, as well as clothing accessories. The symbol of culture has played a positive role in the establishment of Inner Mongolia identity and the propaganda of the nation. The construction of Mongolian cultural symbol system plays an important role in the establishment of Mongolian national identity. To combine the meaning of nation and the mission of culture with national cultural resources. It is not only to help the development of minority culture, but also to promote the sense of pride of ethnic minorities.

• Cross-Cultural Studies
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• v.43
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• pp.139-170
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• 2016

Through the process, it is possible to understand the meanings of specific numerical symbols that are present in our daily lives, rather than regarding them as abstract symbols. The symbols can be efficiently utilized for cultural communication between Korean teachers and foreign learners, and between learners with different cultural backgrounds. A symbol that intensively shows Korean culture can be applied efficiently to cultural education. This is because Korean identity can be understood by means of symbols that represent Korean thoughts and emotions. Therefore, this study intends to examine the contents of symbol education applicable to Korean culture education, centering on numerical symbols amid far-reaching symbol systems. For this purpose, this study analyzed how the application of numerical symbols is presented in Korean textbooks, with the intent to organize the symbols into 4 categories of myth, folklore, taboo, and idiomatic expressions, which might be actually helpful for understanding Korean culture.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.37-45
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• 2006

The purpose of this study is to stand assembly the meaning and function of entry space with analysing their social and cultural characteristic. The entry space is the linkable place between inner space and out space, and that is the transition place to be experienced two opposing characteristic. Till now the entry space has not taken effect as symbol needed to the resident and observer, and that has been a tendency to shrink as the minimal sign of entrance. So thus, it is in need of studying the entry space's specific and characterizing structurally as expanded function. For the purpose, this study define newly the meaning, function and composition of entry space in an apartment building, and try to find how to reinforce a resident identity. This study propose justification that the entry space isn't boxing space minimally but enforcing symbol presented clearness of composition and vital character.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.8
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• pp.1100-1111
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• 2004

The purpose of this study is to investigate the hair in aspects of gender and cultural/political ideology, and to confirm the meanings of hair style in modem fashion. There are three zones of social significance such as head hair, facial hair, and body hair, and each of theses zones has both gender and ideological significance. In aspects of gender, opposite sexes have opposite hair norms. And, in sociocultural standpoint, hair is a political symbol of the main protest movements in culture. The contemporary hair styles in fashion design mean that the ＇paying＇ with gender identity, the reflection of changing sexuality, the non-politicism, the fragmentation of style, and the naturalness.

• Journal of the Korean Geographical Society
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• v.51 no.4
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• pp.559-576
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• 2016

The concept of 'cultural diversity' has emerged as a key concept and the buzzword of the 21st century's international community in education, science and culture sectors since UNESCO's "World Declaration on Cultural Diversity"(2001). However, the appropriate and correct implementation in educational level and in a subject scale can not be pursued without special understanding of multilateral implications of UNESCO's 'cultural diversity' because the concept of cultural diversity has been distributed to various applications according to individual scholars and institutions before the "World Declaration on Cultural Diversity" was released. The ultimate orientation of 'cultural diversity', the concept presented in "World Declaration on Cultural Diversity" is 'world peace' and 'the coexistence of various cultures of mankind'. In this regard, 'cultural diversity' has special 'educational' meaning to the next generation as well as the current one. Also, it is meaningful to take educational practices on cultural diversity in case of the "World Geography" subject in view of that international society of geographical education came up with "International Declaration of Geographical Education for Cultural Diversity" in the IGU(International Geographical Union) 2000. From this point of view, the author proposes that the 'cultural diversity' concept implies four folds of meanings as an ideology, as a symbol, as a vision, and as a epistemological turn based on the analysis of literatures on 'cultural diversity' of UNESCO, then presents an educational practice centering around the examples and its usage of teaching materials of cultural diversity.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.143-153
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• 2009

The purpose of this study is to provide color information in order to planning and merchandising in china fashion through the color of Beijing opera. In objective study, we collect total 302 Beijing opera images. The collecting method of source data is to extract digital color data by color picker. We transform RGB color data to H V/C, CIE L*a*b and analyze the attributes of color and tone, three-dimensional analysis. The results of this study are as follows : 1. The color distrbution of Beijing opera is R(26.9%)>YR(18.2%)>PB(11.6%)>Y(9.6%). Traditional preference color, red is most popular color as 26.7%:, the practice of vivid tone red is numerous. 2. The tone distribution of Beijing opera costume is P(16%)>It(13.9%)>d(11%)>5(9.6%)>4kg (8.2%)>b(7.1%:). The value o# Beijing opera costume distribute medium and medium-high and the chroma of those distributes low. 3. High chroma yellow is restrictive color as the symbol of emperor in china but medium-low chroma yellow is very frequently used. 4. Blue is often used in china costume. Especially in Beijing opera costume blue is symbol of bravery, dignity, cruel character 5. White in Beijing opera costume is much used for symbol of righteous loyalist. Black is less used than white in Beijing opera costume and black is authority color for symbol of the prime minister.

• Acta Via Serica
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• v.2 no.1
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• pp.31-47
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• 2017

The corridors to the north and south of the $Takl{\bar{a}}m{\bar{a}}k{\bar{a}}n$ (塔克拉瑪干 Ta-ke-la-ma-gan) Desert are the most important regions for cultural confluence on the Silk Road, where caravans made it to the Chinese capital or the Korean Peninsula by the northern road, through the city of Turfan, or the southern path of Khutan. Being an important part of the Silk Road in the course of history, this region was heavily influenced by the cultures of various nations and ethnic communities whose merchants utilized the road to advance their business. The region's language, writing system and literary structure were also affected, so much so that in the course of its tumultuous history, many words, phrases and terms belonging to neighboring cultures found their way into the region, leaving their mark on its linguistic structure. Of the cultural exchanges that took place between the peoples of the region, conspicuous traces can be seen in the architecture, music, literature, texts, and inscriptions. Located in the Turfan region, the minaret of Su Gong (蘇公 Su Gong ) is host to an inscription which bears many signs of such exchanges. As so far no independent research has been conducted to identify the cultural, literary and structural features conveyed in this inscription, the present paper is an attempt to study the inscription in terms of the script, language and syntax in order to unravel the effects of cultures prevalent on the Silk Road on this particular inscription. This study mainly aims to investigate the linguistic structure of the inscription and the impact of the Persian language on Silk Road culture. In fact, we approach the inscription as a symbol of cultural exchange on the Silk Road and will focus on the tradition of Persian inscription-making which affected the Turfan inscription.