• Title/Summary/Keyword: Religious-Design

Search Result 227, Processing Time 0.024 seconds

Relations between the meanings of Tongdosa temple and Darma talk on Vulture peak (통도사 대웅전과 영산회상의 상관관계에 대한 고찰)

  • 김개천
    • Korean Institute of Interior Design Journal
    • /
    • no.32
    • /
    • pp.21-27
    • /
    • 2002
  • Tongdo temple is one of the representative temples that the Buddhistic outlook on the universe and the world is well expressed. This article will discuss the expressive and symbolic meaning that Darma talk on vulture peak signifies by contemplating the road leading from Ilju gate to Buddha's hall in terms of Karam arrangement of the temple and the unique plane delineation of Bulee gate. It seems that Darma talk on vulture peak is related to the reason why there is no Buddha statue in Buddha's hall and why the name of the mountain has been changed considering the resemblance of its shape to India's Youngchook mountain. The present study will take this relation into account and will show the religious faith and architectural meaning with respect to this relationship.

The Images of Fashion Design transmitted by Achromatic Colors (무채색에 의해 전달되는 패션디자인의 이미지)

  • Yune Ji-Yoon;Kim Young-In
    • Journal of the Korean Society of Costume
    • /
    • v.55 no.3 s.93
    • /
    • pp.122-135
    • /
    • 2005
  • The purpose of this study is to classify achromatic color images adopted by contemporary fashion design in order to analyze the links between achromatic color images and fashion images. To this end, the study on the images of achromatic colors of White, grey, and black was conducted by reviewing related documents. In order to analyze the image factors affecting contemporary fashion design, the documents related to fashion history were consulted and in the case of fashion design factors and images, fashion looks using achromatic color as a main theme were referred. The results of this study are as follows : 1. An achromatic color is cold, calm and plain as well as modern. At the same time, it is abstinent and solemn so the color has been mainly used as religious garment. 2. An achromatic color used in apparels has been influenced by the developments of culture, art, society, ideology, politics, economy, science and technology. Black dress was introduced by Art Deco colors, little black dress by feminism, white by the popularity of sports, black becomes more popular by nihilistic beat and punk generations, moon look and cyber punk look were introduced for the advancement of science. Other apparel looks using the color are modern look, feminine look, futuristic look, mannish look, sportive look, and avant-garde look.

Study on Japanese Traditional Aesthetic Sense in Modern Fashion (현대패션에 표현된 일본 전통 미의식에 관한 연구)

  • Lee, Sun-Hee
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.10 no.3
    • /
    • pp.15-25
    • /
    • 2008
  • Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

  • PDF

The Design Characteristics of Spatial Organization Elements Observed in Malaysian Hotel Lobbies (말레이시아 호텔 로비에 나타난 공간구성요소의 디자인 특성)

  • Oh, Hye-Kyung
    • Korean Institute of Interior Design Journal
    • /
    • v.20 no.5
    • /
    • pp.188-196
    • /
    • 2011
  • The objective of this study was to identify the design characteristics of space components observed in Malaysian hotel lobbies. For this study, we conducted a case study on the facades and indoor space components of 15 hotel lobbies in Langkawi and Penang, and drew conclusions as follows. First, designs found in the facades and indoor space components of Malaysian hotel lobbies reflected all of traditional and colonial styles, religious styles including Islamic, and contemporary styles. Second, traditional designs showed rather the modernization of traditions than the preservation of traditions. Particularly in ceilings, walls and windows/doors, conservative or progressive modemization was observed frequently. Third, contemporary designs were mostly formative modernization, and materials and colors still adhered to traditions and nature. Fourth, in applied furniture, traditional wood sculptures were mixed or traditional material rattarn(stems of climbing palms) was utilized actively. Fourth, a large number of designs symbolized the Malaysian first religion Islam. Summing up these results, the common point of designs observed in the facades and indoor space components of Malaysian hotel lobbies was that they were transformed into Malaysian style regardless of whether they were traditional or colonial.

A Study on the Culture of Incense in the Period of T'ang (당대 향문화 연구)

  • Chun Hea-Sook;Lee Ae-Ryun
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.7 no.3
    • /
    • pp.113-127
    • /
    • 2005
  • From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

  • PDF

A Study on the Indonesian Ikat Textile Design (인도네시아 이캇 직물 디자인에 관한 연구)

  • 문미영
    • Journal of the Korean Society of Clothing and Textiles
    • /
    • v.19 no.6
    • /
    • pp.866-886
    • /
    • 1995
  • The purpose of this study is to analyze the pattern and the meaning of textiles, and decorative techniques of ikat weaving and dyeing in Indonesia. The textile design also analyzes by examining the method of ikat techniques such as warp ikat, weft ikat and double ikat, and by classifying the style of regions. The most common motifs are geometric designs of spirals, meanders, straight lines, triangles, and circles which are influenced by outside world. Although these motifs or symbols have been evident since prehistoric times, their design and meaning have been continually reinterpreted as changes in the ceremonies and rituals. While motifs such as reptiles, birds, and human figures, depicted in spiral, hooked and rhomb configurations, have been identified among the most resilient features of Indonesian textile design, new meanings have been added to these ancient forms, and designs have been transformed and reinterpreted to suit local conceptions. Since textiles are a visual expression of Indcufsian life, textiles place the individual symbolically within social milieu, identifying rank, family, locality and religious affiliations. Textiles represent a link between the human and the spiritual realm, and a vehicle for the display of sacred and secular potency Ikat textiles play to embody special transforming powers and sacred mediating qualities, providing protection and evoking life-enriching forces for individuals or social group.

  • PDF

Comparison between the Persian textile design and the Byzantine textile design in their patterns (페르시아 직물문양과 비잔틴 직물문양의 조형성 비교)

  • Kim Young Oak
    • Journal of the Korean Society of Clothing and Textiles
    • /
    • v.11 no.3 s.25
    • /
    • pp.1-14
    • /
    • 1987
  • The purpose of this study was to compare with the Persian texile design having an out-standing skill in fertile designs with the Byzantine textile dosing being influenced a lot by Christinity and many Oriental factors including Hellenism. These two textile design have some similarities and differences in their patterns. The results of the study were as follows: Similarities ; 1. The Persian traditional animals, hunting scenes and cavaliers are used as the major subject in both patterns. 2. Decorative designs enclosed circular are used in both patterns. Differences ; 1. The Persian textile designs are based on Zoroasterianism, and their animal designs have the Zoroasterian religious meanings. While the Byzantine designs are affected by the Christianity. In the Byantine textile designs, the mythical subjects from ancient Rome and Greece, and the circus scenes are dominent. 3. The Persian textile designs are combative, momentary, dignifed, and realistic pattern, while the Byzantin textile designs are playful, sketchy, humouristic, and evasive pattern. 4. Vivid color effect was found in the Persian textile patterns: however, more refined and gorgeous color was used by the Byzantine textile patterns. Thus, the Persian and the Byzantine textile patterns have interrelations with each other. In general, the Persian textile patterns have affected a great deal on the Byzantine textine textile patterns. They are essentially corelated with each other, but each of them has its own characteristics.

  • PDF

A Study on the Characteristics of Numinose appearing in Jeongjeon of Jongmyo (종묘 정전에 나타나는 누미노제(Numinose) 특성 연구)

  • Cho, Eun-Whan;Lee, Chan
    • Korean Institute of Interior Design Journal
    • /
    • v.25 no.5
    • /
    • pp.3-15
    • /
    • 2016
  • Between various ideological experiences, such as spatial, artistic and religious experiences, a consistent and transcendental sense exists, which is difficult to systemize or establish, in all the senses human beings experience. It shows that the depth of essence may be much deeper than that of religion or science in limits of humans' thinking and experiences. On the premise that we need to rationally understand and systemize such a sublime experience, it is thought that we will be able to expand the system of our senses through a new approach breaking away from the previous concepts used to interpret a spatial experience. Rudolf Otto, a German philosopher and comparative religion scholar, explains such an essential sense through Numinose Theory. As his theoretical analysis and approach are used to explore the mechanism of such a transcendental emotion, which is impossible to express with such words as 'sanctity', 'sublimity' and 'reverence', from various perspectives, but intend to exclude dogmatic logic. Therefore, they seem to become new and useful tools in aesthetically understanding space design and objects of arts. Thus, this study aims to examine what value Numinose Theory has in the aspect of understanding space design, based on which this study intends to use the Numinose concept as a concept of interpreting 'Jongmyo Jeongjeon'.

A Study on the Expression Style of the Sci-Fi Movie Set Design (SF 영화 세트 디자인의 표현 유형에 관한 연구)

  • 김태은;김주연
    • Korean Institute of Interior Design Journal
    • /
    • no.33
    • /
    • pp.122-128
    • /
    • 2002
  • In the Sci-Fi movie, with future scene in its setting, how images are shown in the film is very important. Sci-Fi movie is supposed to be expressed In different way of its set design. This study suggests various types of expression in Sci-Fi movies. Sci-Fi movies construct the narrative upon the binary opposition of nature vs. culture, human vs. nonhuman. Sci-Fi movie is a contested terrain where conservative, liberal and radical ideologies are competing. While liberal Sci-Fi movies consider the opposition compatible, conservative texts show the paranoid towards science and nonhumans. And, Sci-Fi movies are expressed as utopian and dystopian. Utopian and dystopian elements are found in the history of architecture. Utopian element is often found in the religious architecture, and those buildings are geometric, orderly, and gorgeous. Dystopian element is often found in modern architecture, and those are asymmetric, distorted, and incompleted. Conservative movie, which developing of science is expressed negatively, retains both utopian and dystopian elements evenly. Liberal movie, such as Space Opera which science is expressed positively, is changed from futurist and mechanical type into more simple, geometric and orderly shrine type. Radical movie, which the boundary of human and science is expressed darkly, retains dark, complex, and incomplete dystopian expression elements.

A Study on the Characteristics of Rainbow Colors and Rainbow Fashion Images (무지개 색의 특성과 복식으로 전달되는 이미지)

  • 김지언;김영인
    • Journal of the Korean Society of Costume
    • /
    • v.54 no.6
    • /
    • pp.25-40
    • /
    • 2004
  • The rainbow has been considered as a perfect representative of color harmony in nature. In this study rainbow's colors include seven spectral colors and changeable colors according to observational angle. This study performed a bibliographical inquiry into rainbow colors and the survey research for classification of rainbow color images in fashion design. First, a bibliographical inquiry includes the definition of rainbow colors, physical formation principles of the rainbow, and its aesthetical attributes and symbolism. Second, this survey classifies rainbow color images in fashion design. The results of this study are as follows: 1. The rainbow was the religious and symbolic object before 17th century, and after that period, the rainbow became an aesthetical object. The main symbolic meanings are similar in eastern and western culture: temporary bridge between two world, divine nature, hope/beauty/richness, war/ death/flood/drought. 2. This survey shows that 6 main factors of rainbow color images in fashion design are 'vigorous', 'colorful'. 'fairy', 'fresh', 'mysterious', 'brilliant'. Rainbow color image in fashion design shows past and futuristic image at the same time. The purpose of this study is to systematized the images theoretical bases which are applied to color expression and of rainbow colors and to find out the development about rainbow theme by designers.