• 한국실내디자인학회논문집
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• 제14권6호
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• pp.3-11
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• 2005

With development of digital technology and build-up of global network in the 21st century, Korea has recklessly accepted Western information and culture in recent years, thus causing damages to out identity. In the situation, restoration and development of traditions in a modern way will contribute to the creation of contemporary interiors. This study has analyzed and assessed the process through which traditional decorative elements have applied to contemporary interior decorations over the past ten years with a view to identify the trend of expressing traditional elements in comtemporary interiors. Designs that have applied traditional elements in a transfigure expression method amounted to 77 pieces, accounting for $43\%$ of the total investigated 178 designs, which was followed by 48 designs ($27\%$) of metaphor expression method and 39 designs ($22\%$) of symbol expression method, which express the tradition as interpreted by the designer. Designs that have adopted direct expression method amounted to no more than 14 pieces, accounting only for $8\%$ of the total designs. This result suggests that transformative, metaphoric and symbolic expressions that simplify or transform the original forms we more frequently used In the applications of traditional elements to modern interiors rather than directive expression that reproduces the original form as it was.

• 복식
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• 제31권
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• pp.203-214
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• 1997

The neck is the human body is closely con-nected with the life and properties of keeping warm as one of the opening part in clothes. In ancient times it was put on necklace for the protection of neck and in Rome it was worn muffler called focale for the protection of neck throat. in addition cravat directly originated in necktie today was primarily worn for the protection of soldier's neck and has been turned into decorative purpose until today. As the ornament is developed to vari-ous kinds of form the neck decoration is changed and grown again and again. Therefore this thesis studies history of the neckwear and various the symbolic factor. The first factor is the social. The neckwear shows the social position class and status and does social mutual interaction as conversation starters. The second factor is the mental It express individuality fondness attitude and is felt to be indignity by being forced to be worn. The third factor is the political. it shows political tendency by indicating the royal sign or part's sign in necktie like the French royal-ist's green muffler The forth factor is the man's sexual. I expresses wearing stock being brave symbol-izing independence. The sixth factor is the traditional. It is worn with appearing traditionand custom and one of cultural movements. The seventh factor is the ideological. It symbolizes the freedom of suffragettes and emancipation of woman. The social factor is the most extensive among them. The neckwear is various in the way of expression like its kinds and is generalized, It functions as a independent part of clothes.

• International Journal of Costume and Fashion
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• 제7권1호
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• pp.62-71
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• 2007

The color is one of the important key words in Fashion arena today. In fashion, the image and concept changes by use of color or color combinations. The purpose of this research is to pursue the characteristics of color and color combinations through analyzing the colors utilized in oriental fashion design. It is necessary to define the oriental fashion design to build a criteria for collecting law materials for analysis of the research. As a conclusion, traditional oriental colors already used in various traditional artifacts were popular in use by many fashion designers with volatile attitudes towards its original symbolic meanings or philosophy. For example, yellow and red stands for gorgeous or sexy images through fashion design instead of express its original symbols of power and prosperity. The Complimentary Color Combination in hue, value and intensity of colors were also found in fashion design impling oriental images. While Contemporary Fashion Trend Color were also used in expressing Oriental images with oriental details considering fashion market. In using Oriental colors The characteristics of oriental colors and its combinations used in fashion designs are significant and their influences are meaningful not only in fashion design but also adjacent design areas.

• 복식문화연구
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• 제14권2호
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• pp.220-233
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• 2006

The purpose of this study is to reviews the Chinesm expressed in the modern fashion world after the year 2000, and underlines the characteristics of Chinesm, as the Chinese fashion market is getting bigger and becomes the cynosure of the world. The method of this study is by research on precedence as well as related researches in Korean and foreign books. The results were as follows. First, the Chinesm recreates the historic motive which is the traditional costume, ornaments, or make-up etc. to maintain the harmony between the modernity and the past, preventing from following or mimicking. Second, the Chinesm expresses the combinational and harmonious manner with the combined image on the Chinese original symbolic factors mixing with the foreign spatial-temporal elements, the various styles of wear and decoration, and the different images to have the natural or equivocal relationship with one another. Third, The Chinesm magnifies the feminine atmosphere to express the sensual image by using effectively the traditional design factors, which is tight silhouette, coverture, and exposure. Fourth, the Chinesm professes the pro-naturalism embracing the human without conflicting with the human nature. It seems possible on the new value mixed with colors, materials, or patterns, etc.

• 한국의류학회지
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• 제27권11호
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• pp.1208-1218
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• 2003

The purpose of this study is to examine the expressional characteristics and effects of Diabolism image that appeared in fashion illustration. The concept of evil from ancient times is arranged with more basic pain, unhappiness, breakdown, fear, ignorance, sadness, imperfection, death, disease, and ugliness than it can be understandable in modern society. However, as the concept of evil is included in sacred ground of art and is begun to understand by the ugliness of broad sense, the evil and ugliness were recognized as subordinate concepts which fertilizing beauty. Also, image characteristics of Diabolism in pop culture are taking charge roles that remove visual discordance to decadent and mysterious beauty and trying to find new beauty by presentation of bad-tasted style. The aesthetic and expressional characteristics of Diabolism in modem visual media have something in common which is classified into five shapes: Negative image, Symbolic line and color, Transformation, Devilish shape, and Fantastic image. The Diabolism expressions in fashion illustration since 1980 show the possibility of image expression as a new technical field because they differ from existing expression methods and viewpoints of beauty. Therefore, the practical use of devilish image to express excessive aesthetic sense can expand the extent of image expression.

• 복식
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• 제54권4호
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• pp.85-95
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• 2004

The Purpose of this study was to find a phase of clothing in Korean proverb. The results of the analysis of this research was as follows： In the case of headgear, was expose that symbolize handsomeness, conduct of life, personality that display charm and position which is not usage as only head protection. Upper wear was expressing aspect and person's similarity, and was symbolizing conduct of life by meaning of dress and its ornaments according to a person that dress displays that change. Trousers(bottom wear) was expose that it means aspect or conduct of life(a 4 case, 40％) through site. Overcoat showed that overcoat that is clothes that is symbolizing wearer's situation, aspect and wear most on face because is involved with behavior that is not right in clothes usage is used by standard that foretell personality. Underwear can know that expressed being involved with right behavior, nature by the basic clothes. I was able to know that I express an attitude of a life or a form through shoe, and the accessories won an minor order but that I have a large influence on a character or the appearance of a person. Silk fabrics expresses Position, and hemp cloth expressed by symbol that display ability. Also, silk fabrics had meaning that hint person's background. Dress and its ornaments that is used in proverb by these result can know that have function as symbolic symbol that display Person's nature or situation, aspect that is wearing clothes that is not function as only simple clothes.

• Journal of the Korean Society for Industrial and Applied Mathematics
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• 제11권2호
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• pp.31-40
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• 2007

What is the "new paradigm"? It is impossible express it in one or two words, but if one had to; the closest might be the "holistic approach". The expression can be justified by the fact that the conclusions above lead to a greater intermixing of mathematics with engineering and natural sciences subjects, typically expressed in the form of examples of simplified real problems. They also lead to a greater intermixing of subjects within mathematics so that the courses should have less separation e.g. between symbolic and numerical mathematics. The conclusions also lead to the spreading the mathematics courses throughout all study years, not just the first two years. Of course, this should be done with great care in order to guarantee studies that are logically linked together. The new paradigm also means that the needs arising from industrial mathematics must be taken into account in the contents of engineering mathematics courses. Such topics are e.g. multivariate methods, statistics and use of mathematical software. What are we expected to gain from the paradigm shift? The primary benefit should be in obtaining more productive engineers equipped with a better degree of mathematical preparedness for engineering problems. But in addition, it should also promote more intensive use of applied mathematics and easier communication with professional mathematicians, often needed in complicated industrial problems.?Finally, it can be noted that the new paradigm is in harmony with the basic ideas of the CDIO (Conceive - Design - Implement - Operate) initiative for producing the next generation of engineers [1]. New ideas for engineering education can be found also in the homepage of SEFI (European Society for Engineering Education) [2].

• 복식
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• 제5권
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• pp.141-152
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• 1981

Various ceremonial flags were of great importance to the rulers who wished to have the absolute authorities for governing the people. Perhaps nothing indicated the ideas, thoughts and symbols of a certain period and people than the ceremonial flags. The ceremonial flags used in the old China and Korea took the shapes of the heaven and the earth, representing the social backgrounds and thoughts. This study was limited only to the discussion of the heaven-shaped patterns of the ceremonial flags. The 28 constellations of the heaven, in the Oriental way of thinking, were considered to express the immortal powers of Providence and the political domination of the earth. Hence the Polaris, the center of the heaven, symbolized the whole family of king, prince, child born of a concubine and royal harem. Among the constellation pictures were those of Han period, wall painting of old tombs in Koguryeo kingdom and old Japanese kingdom. Referring to the Emperor's ceremonial flags in Daemyeongjibyei, symbolic meanings changed historically and the complete systems of the ceremonial flags were established in Song period when the divine person was drawn on the flags. Animals concerned properly with the particular star and the shapes of the star were both drawn on the flags in Won period and only the shapes of the particular star in Myeong period. In the Imperial enthronement of Kojong the ceremonial flags might be made by the examples of those of Myeong period and remains are now found at Changdeok Palace, which need a further study because the references in detail are not available.

• 비교문화연구
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• 제29권
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• pp.233-256
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• 2012

This paper aims to look into various symbolic meanings of the body shown in the film, Avatar (2009, James Cameron), and to ponder over a variety of media strategies carried by the pursuit of the corporality shown in this film. In a nutshell, the body in Avatar is a symbol of primitiveness rather than civilization, and the body language is a fundamental and effective means of communication much better than verbal language. A variety of physical contacts that appeared in many scenes of the movie emphasizes the role of the body as a means of real communication. Also, in the composition of the film dominated by the confrontation of civilization, numerous creatures in the planet Pandora with a variety of colors as well as a number of agencies and large body sizes express primitive richness. The narrative of the film telling the story of a 'moving' body ultimately emphasizes the superiority of the body with respect to consciousness, unlike the narrative of conventional movies dealing with the problems of the body. In addition, the corporality pursued by this film implies several important media strategies. It may reveal a self-reflection of the material civilization and the imperialism, or, on the contrary, an attempt to conceal or dilute them. It may also represent a self-reflection of the overdeveloped media technology, or simply the dilution of it. Finally, it may be an attempt to recover the feeling of "presence", not fully supported by the 3D technology, by the identification of the spectator's body and the character's body.

• 한국조경학회지
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• 제27권4호
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• pp.101-107
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• 1999

In 1994, Songbuk-gu Office of Seoul held a design competition for Miarigogae-Park, Miarigogae has a special sense of place. It was a place where bararians had crossed the boundary to this country during the Manchu war of 1636. It was a public cemetery where only Koreans had been buried under the rule of Japanese imperialism. It was a place where national patriots had been kidnapped to the North during the Korean War. It's sorrows have been sung in the name of song-'Danjangeui-Miarigogae'(one of the most popular song in Korea). It's sense of place has been kept in every Korean people's mind in the form on 'non-physical image'. Even though, the site itself was a small space - only 1000㎡, the meaning of park-making was very significant. It meant that it would create a physical 'setting' to express the sense of place which has been existed only in our mind as a form of 'non-physical image'. In the winning scheme proposed by the author, the sense of place of Miarigogae was expressed in the form of 'castle walls' which could be easily come into everyone's mind as an image of war. The scope of work also included a crossing bridge and symbolic features. It was meaningful that a landscape architect won the competition including on those items which were not usually handled in pure landscape architectural offices. The purpose of this paper was to articulate the concept of the winning entry in detail and to describe how the concept actualized in reality.