• 제목/요약/키워드: Symbolic Language

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중국 고대예술의 도상서사와 시각문화 연구 -회화의 이시동도법과 만화의 칸의 상호 해석- (Textuality and Vision : Visual Narrative of Ancient Chinese Literature Art Focused on Narratology's Viewpoint)

  • 조정래;황국례
    • 한국콘텐츠학회논문지
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    • 제16권9호
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    • pp.779-790
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    • 2016
  • 본 연구는 중국 고대예술의 이미지 서사와 시각문화에 관한 연구로, 문학과 회화형식이 결합된 복합적인 텍스트와 시각성을 연구대상으로 하였다. 특히 고대예술의 시각적 사유방식과 이시동도(異時同圖)적 표현, 고대의 도상 서사방식과 만화예술의 칸의 상호 해석을 통한 매체적 합일성 그리고 도상서사의 만화적 연원과 현대적 수용방식이다. 중국 고대의 시각에 대한 인식은 전통적인 양식적 형상과 의미적 상징을 포괄한다. 예술의 서사적 이미지로서 도상의 형상적 사유와 시각적 표상은 예술 창작활동 가운데 중요한 의의를 가지며, 예술적 사유 또한 시각적 표상과 분리되어 질 수 없다. 시각적 이미지를 매개로 하는 도상적 서사방식은 일종의 이성적 사고를 지닌 창의적 언어표현이다. 고대예술의 이미지 사유방식과 이시동도적 시공간표현 특징은 일종의 예술적 공간의 시간화로 현대 만화예술의 사유공간으로서 또 다른 조형적 수용방식이다. 이러한 이미지의 서사방식은 새로운 조형미와 매체형식 그리고 문화가치가 결합된 현대인의 대중적 미적욕구와 소통을 필요로 한다.

경극(京劇) $\ll$독목관(獨木關)$\gg$의 연개소문(淵蓋蘇文) 무대의상(舞台衣裳) 디자인 연구(硏究) - 무대의상(舞台衣裳)의 상징적(象徵的) 의미(意味)를 중심(中心)으로 - (A Study on Stage Costume of Yean-GaeSoMoon(Korean) in the Peking Opera <> - Focusing on Symbolic Meaning of Stage Costume -)

  • 신경섭;조규화
    • 패션비즈니스
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    • 제2권3호
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    • pp.121-136
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    • 1998
  • The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

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기능적인 가족의 커뮤니케이션에 관한 이론적 접근 (A Study on the Communication of the Functional Family)

  • 조윤경
    • 가정과삶의질연구
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    • 제2권1호
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    • pp.131-150
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    • 1984
  • The purpose of this study is to explore the family as an interaction system, concentrating on the mutual influences between communication and family development; (1) how Communication patterns affect family relationships, and (2) how relationships among family members affect communication. In order to do this Galvin, Brommel used the following frame work; family is a system in which communication regulates cohesion and adaptability by a flow of message patterns through a defined network of evolving interdependent relationships. A family system consists of members, the relationships among them, the family attributes, the members attributes and an environment in which family functions. Within the framework of common cultural communication patterns, each family has the capacity to develop its own communication code based on the experiences of individual members and the collective family experience. Most of us develop our communication skills within the family context learning both the general cultural language and the specific familial communication code. Communication may be viewed as a symbolic, transactional process as the process of creating and sharing meanings. To say that communication is a process implies a continuous interaction of an indefinite large numbers of variables with a concomitant,. continuous change in the values taken by these variables. Finally the process implies change, Family functions include the primary functions of cohesion and adaptability, and supporting functions of family images, themes, boundaries, and biosocial issues. The primary functions reveal concepts integrated family interaction and supporting function, along with those of cohesion and adaptability, give shape to family life. the characteristics of developed relationships of richness, uniqueness efficiency, substitutability, pacing , openness spontaneity, and evaluation are reflected in the verbal and nonverbal behaviors with which family members negotiated a set of common meanings and develop thier own unique message system. The message system is the major element of communication process and influences both the form and the content of thier relationship and in create and share meanings. Family systems need to provide order and predictability for thier members, specifically focusing on communication rules and the networks by which messages are transmitted. Most rules emerge as a result of multiful interactions. There are basic rules and rules about rules, or metarules. Perceiving the rules of family system is very difficult because often family members don't think about the basic rules, much less the metarules. Breaking the rule may result in the creation of a new set because the system may recalibrate itself to accept more variety of behavior. Families develop communication networks to deal with the general issue. Family adaptability may be seen through the degree of flexibility in forming and reforming networks and networks become a vital part of the decision- making process and relate to the power dynamics operating within the family. Networks also play an integral part in maintaining the roles and rules operating with the family system. Thus networks and rules have mutual influence. The family -of -origin issues influence all aspects of family communication and account for many of the communication patterns, rules and networks and the role of the family -of-origin influences as a primary force for communication on behavior of newly forming systems. Each family system develops its own communication meanings. There is not one right way to communicate within a family but may be indefinitly large change of family life and communication behavior. Study on functional family communication helps to gain a better understanding of dynamics of family communication and ability of a new insight into the family.

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임진택의 공동체 지향 연출론: 공동체적 세계관과 미학의 발현 -1970년대와 80년대 대학 공동체 마당굿 퍼포먼스 연출 시기에 초점을 맞추어- (Director Yim Jin-Taek's Grounded Aesthetics of Community-based Theatre)

  • 이강임
    • 한국연극학
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    • 제48호
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    • pp.289-332
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    • 2012
  • In this paper, based on the theory of performance studies and community-based theatre, I venture to explicate the socio-political significance of director Yim Jin-Taek's community-based performance called 'madanggut', which is heavily based on elements of indigenous culture. Yim's madanggut utilizes elements of indigenous cultures and searches for 'the Korean ethnic (arche)type' as 'the ideal Korean type' or 'genuine Korean-ness' for the reconstruction of 'the Korean ethnic community.' This paper interrogates the major task of Yim Jin-Taek's madanggut, which ideologically promulgates the idea of ethnocentric patriarchy supported by the traditional (mainly Confucianist) notion of 'community' - inquiring if this type of theatre can provide useful and practical prospects for imagining a more democratic and plural civilian society in Korea today, when the interaction of globalization, nationalism, regionalism, and localism simultaneously impact our everyday life and cultural identification. Regarding the recent global phenomenon of the resurgence of nationalism, I looked at madanggut's use of symbolic resources from the past for imaginative communal bonding as a nation. But, the claimed homogeneity of the national past by means of 'nation conflation' of different social groups is an illusionary conceptualization, and the national historiography silences memories of the marginalized groups and denies their histories. It is certain that in Korea nationalism has historically performed an important function during the colonization and democratization period. Nevertheless, as Yim's Nokdukkot realized, it cannot be overlooked that as a representative of 'the Korean ethnic community,' 'the protecting man/the sacrificial woman' is contradictory to the plural and lateral thinking of participatory democracy in community-building. It is time to think about a new political language that relates individuals to the community and nation. 'The ethnic type' cannot represent the whole nation and the members of the nation should be the examples of the community they belong to for a more democratic society. I have selected Yim's several community-based works mainly from the 1970s to the 1980s since the works provide grounding images, symbols, metaphors, and allegories pertinent to discussing how 'the Korean ethnic community' has been narrativized through the performances of madanggut during the turbulent epoch of globalization. I hope that this paper presents Yim's grounded aesthetics of community-based theatre with fully contoured critical views and ideas.

영화 <5일의 마중>으로 본 현대 중국 비극 영화의 특성 연구 (A Study on the Characteristics in Chinese Contemporary Tragic Films - Focused on the film -)

  • 우잉저
    • 한국엔터테인먼트산업학회논문지
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    • 제15권3호
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    • pp.65-73
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    • 2021
  • 본 연구는 영화 <5일의 마중>의 줄거리와 결말 설정에서의 구체적인 표현을 분석하며, 정치적 환경에 직면하여 감독의 문화적 화합의 비극적인 서사 전략을 분석하여 현대 중국 비극 영화의 비극 특성을 살펴보도록 한다. 이를 통하여 중국 전통 윤리 사상을 중심으로 하는 중국식 비극 특성을 소개하는데 목적이 있다. 영화 <5일의 마중>은 문화대혁명 배경으로 한 현대 비극 영화이다. 영화에서는 남자 주인공이 시대에 대한 타협과 사랑에 대한 남다른 수호를 통하여 중국식 비극 특성을 표현하였다. 이 영화는 현대 중국 비극 영화의 대표작이다. 영화의 줄거리는 숙명론, 낙천지명(樂天知命) 등 중국 전통 윤리사상을 묘사하며, 또한 남자 주인공의 사상 변화 묘사를 통하여 중국의 전통 윤리 사상 중의 고유한 비극 특성을 해석하였다. 결말 설정 측면에서는 영화가 중국의 전통적인 비극 중의 해피엔딩의 패턴을 돌파하며, 끝까지 슬퍼하는 열린 결말을 선택하여 현대 중국 비극 영화의 시대적 특징을 더욱 살렸다. <5일의 마중>은 비극 영화로 하여 독특한 완곡함과 온정이 드러났다. 이는 중국 강권 정치 문화와의 타협 때문만이 아니라 중국식 비극의 미학에 대한 감독의 이해와 관련이 된다. 동양의 감정 표현 구조와전통 유가의 윤리적 표현에서 비롯된 이러한 이성은 영화의 서사 구조에서 지대한 장력을 형성하였다. 영화 언어의 상징 기호를 사용함으로써 비극적 미적 감각에 영화 서사의 함축적 특징을 형성하였는데, 이러한 함축성 또한 현대 중국 비극 영화만 고유한 것이다. 또한 장이머우 감독은 이 영화를 통해 자신의 비극적 의식을 표현하고, 문화적 화해를 통해 비극적 서사 전략을 구사하며 정치적 탄압 속에서 예술적 돌파를 추구하는 자신의 창작 지혜를 보여주었다.

자유의 문화적 지평 (Cultural Horizon of Freedom)

  • 권수현
    • 윤리연구
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    • 제76호
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    • pp.305-329
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    • 2010
  • 자유의 문제는 인간 삶과 불가분의 관계에 놓여 있다. 이는 자유의 문제를 윤리학적 전문 영역에 한정된 문제로 간주할 수 없도록 만든다. 오히려 사회의 제반문제, 정치와 경제의 문제 그리고 법의 기본정신의 문제를 둘러 싼 사회 및 문화, 과학의 지향점과 그 규범적 이념을 논의하는 철학적 기초 작업에 속하는 것임을 시사한다. 이러한 관점에서 자유의 문제가 인문학 전반의 지향적 이념과 관련된 근본적인 문제임을 해명하고 그에 대한 해결점을 찾고자 할 때, 철학사적인 접근만으로는 문제를 규명하고 대안을 제시하기는 어렵다. 자유의 문제가 역사성과 더불어 현재성을 가지기 때문이다. 자유의 문제를 구체적 현실에 자리하는 당면문제로 인식할 때 우리는 이를 근대 이후의 철학적 성찰과정을 통해 발전되고 변화된 방법론적 틀 속에서 보다 의미 있게 논의할 수 있을 것이다. 무엇보다 해석학적 통찰과 실용주의적 맥락을 방법론적으로 재해석하는 문화주의적 접근은 역사성과 현재성을 고려하기 때문에 문제의 규명과 해결을 모색하기 위한 이론적 작업의 단초를 제공할 수 있을 것이다. 이를 위해 본 논문은 진리에 대한 상호주관적 분석과 자유에 대한 비판적 이해를 시도하고 이를 바탕으로 언어와 행위 공동체 내에서 구성되는 자기의식과 상징적 해석을 자유의 문화적 지평으로 재구성하고자 한다.

만취정(晩翠亭)의 장소 전승과 원형경관향유 양상 (A study on the Meaning Contact of ManChwi Pavilion's Place Transmission and Sense of Prototype Landscape)

  • 이승연;신상섭;강병선
    • 한국전통조경학회지
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    • 제34권3호
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    • pp.38-49
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    • 2016
  • 본 연구는 기문과 시문이 장소성의 함의와 원형경관의 유추 및 향유양상을 탐색할 수 있는 근거가 될 수 있다는 전제로 임실 만취정의 원래 위치 및 이건된 위치에서 입지 및 원형경관을 탐색하고 그 의미를 추론하였다. 임실 만취정의 이건 전 후의 장소적 가치와 원형경관 보존을 위해 시도된 연구 결과는 다음과 같다. 첫째, 정자의 당호 만취(晩翠)는 작정자 김위가 자신의 호로 삼았으며, 소나무를 마주보게 심고 만취라 편액하였는데, 시문에 근거하면 푸른 소나무와 같은 꿋꿋한 기개를 상징하고 있다. 특히 정자에 내재된 의미와 도입된 상징식물 등을 살펴보았을 때 당호는 절개, 가문의 장생, 생명력 등을 반영한 것으로 해석된다. 둘째, 만취정은 풍수적으로 강 건너 제비형국과 마주한 사두형에 자리잡아 팽팽한 균형을 갖고 있어 절개와 가문 번영을 염원하는 장소성을 지니고 있다. 한편, 이건된 만취정은 풍수적 복치형(伏雉形) 형국으로 해석되는데, 학문과 가문 번영에 대한 계승노력이 전승되고 있음을 유추할 수 있다. 셋째, 만취정은 1572년에서 1582년 사이에 건립되었으며, 이건은 1880년대 말에 이루어졌을 것으로 추정하였다. 넷째, 만취정은 변치 않는 절개와 가문번영의 염원을 장소적 언어로 대입시켰으나 후손들에 의해 만취 김위의 묘 옆으로 이건 됨으로서 조상 추모, 후손 학문번영이라고 하는 가치이동 양상이 추적된다. 다섯째, 이건된 만취정은 온돌방에 비중을 둔 사계절 활용, 공간 확장성을 고려한 툇마루, 주련의 내용 등으로 볼 때 강학공간으로서의 의미를 공유, 전승한 것으로 추론된다. 여섯째, 제영시에 나타난 소나무, 연못, 식물, 계곡, 시냇물 등을 통해 절개, 지조, 깨긋한 심성, 유유자적한 삶, 자아성찰, 인생무상 등의 의미가 투영되는 경관향유 양상이 드러나고 있다. 마지막으로 십영의 제영 언어는 원운과 차별성이 인정되지만 의미나 감흥을 통해 원운십영이 지닌 원형경관 향유양상은 전승되고 있는바 관련 시문분석에 따른 경관탐색은 원형경관 보존 및 활용을 위한 근거가 될 수 있음을 보여준다.

영문 브랜드네임의 중문 브랜드네임 전환 방식에 대한 중화권 소비자들의 브랜드 평가에 관한 연구 -브랜드컨셉의 조절효과를 중심으로- (Evaluations of Chinese Brand Name by Different Translation Types: Focusing on The Moderating Role of Brand Concept)

  • 이지은;전주언
    • Asia Marketing Journal
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    • 제12권4호
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    • pp.1-25
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    • 2011
  • 중화권 시장의 지속적인 성장으로 글로벌 브랜드들은 중화권 시장에 성공적으로 진입하기 위해서 다양한 노력을 기울이고 있다. 중화권 시장에 속한 국가들은 중국어를 공통적으로 사용하기 때문에 이 시장에 진출하려는 기업들은 영문 브랜드네임을 중문 브랜드 네임으로 전환해야 한다. 중문 브랜드네임에 대한 기존 연구들을 살펴보면, 중화권 시장에 진출한 글로벌 브랜드네임에 대한 사례분석에 초점이 맞추어져 있을 뿐 브랜드가 제공하는 편익과 중문 브랜드네임 전환방식과의 관계를 실증적으로 검증한 연구는 부족한 실정이다. 따라서 본 연구는 영문 브랜드네임이 중문 브랜드네임으로 전환되는 방식에 대해 살펴보았으며, 브랜드컨셉에 따라 중문 브랜드네임 전환방식에 대해 중화권 소비자들은 다른 평가를 내릴 것이라 예측하고 이에 대해 실증적으로 검증하였다. 연구결과 중화권 소비자들은 기능적 브랜드 컨셉제품의 경우 음운과 의미가 반영된 음운어의론식 전환방식에 대해서 가장 호의적으로 평가하였으며, 다음으로 의미가 반영된 의차식 전환이 호의적인 평가를 받았다. 반면에 상징적 브랜드 컨셉제품의 경우는 음운어의론식 전환방식을 가장 호의적으로 평가하였으며, 다음으로 음운이 반영된 음차식 전환에 대해 호의적으로 평가하는 것으로 나타났다. 실증결과를 토대로 글로벌 브랜드를 담당하는 브랜드 매니저들에게 자사 브랜드가 중화권 소비자들에게 제공하는 목표 편익에 따라서 중문 브랜드네임 전환방식이 달라져야 함을 제안하였다.

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Relationship between Brand Personality and the Personality of Consumers, and its Application to Corporate Branding Strategy

  • Kim, Young-Ei;Lee, Jung-Wan;Lee, Yong-Ki
    • 마케팅과학연구
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    • 제18권3호
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    • pp.27-57
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    • 2008
  • Many consumers enjoy the challenge of purchasing a brand that matches well with their own values and personalities (for example, Ko et al., 2008; Ko et al., 2006). Therefore, the personalities of consumers can impact on the final selection of a brand and its brand personality in two ways: first, the consumers may incline to purchase a brand or a product that reflects their own personalities; second, consumers tend to choose a company that has similar brand personalities to those brands that are being promoted. Therefore, the objectives of this study are following: 1. Is there any empirical relationship between a consumer's personality and the personality of a brand that he or she chooses? 2. Can a corporate brand be differentiated by the brand personality? In short, consumers are more likely to hold favorable attitudes towards those brands that match their own personality and will most probably purchase those brands matching well with their personality. For example, Matzler et al. (2006) found that extraversion and openness were positively related to hedonic product value; and that the personality traits directly (openness) and indirectly (extraversion, via hedonic value) influenced brand effects, which in turn droved attitudinal and purchase loyalty. Based on the above discussion, the following hypotheses are proposed: Hypothesis 1: the personality of a consumer is related to the brand personality of a product/corporate that he/she purchases. Kuksov (2007) and Wernerfelt (1990) argued that brands as a symbolic language allowed consumers to communicate their types to each other and postulated that consumers had a certain value of communicating their types to each other. Therefore, how brand meanings are established, and how a firm communicate with consumers about the meanings of the brand are interesting topics for research (for example, Escalas and Bettman, 2005; McCracken, 1989; Moon, 2007). Hence, the following hypothesis is proposed: Hypothesis 2: A corporate brand identity is differentiated by the brand personality. And there are significant differences among companies. A questionnaire was developed for collecting empirical measures of the Big-Five personality traits and brand personality variables. A survey was conducted to the online access panel members through the Internet during December 2007 in Korea. In total, 500 respondents completed the questionnaire, and considered as useable. Personality constructs were measured using the Five-factor Inventory (NEO-FFI) scale and a total of 30 items were actually utilized. Brand personality was measured using the five-dimension scale developed by Aaker (1997). A total of 17 items were actually utilized. The seven-point Likert-type scale was the format of responses, for example, from 1 indicating strongly disagreed to 7 for strongly agreed. The Analysis of Moment Structures (AMOS) was used for an empirical testing of the model, and the Maximum Likelihood Estimation (MLE) was applied to estimate numerical values for the components in the model. To diagnose the presence of distribution problems in the data and to gauge their effects on the parameter estimates, bootstapping method was used. The results of the hypothesis-1 test empirically show that there exit certain causality relationship between a consumer's personality and the brand personality of the consumer's choice. Thus, the consumer's personality has an impact on consumer's final selection of a brand that has a brand personality matches well with their own personalities. In other words, the consumers are inclined to purchase a brand that reflects their own personalities and tend to choose a company that has similar brand personalities to those of the brand being promoted. The results of this study further suggest that certain dimensions of the brand personality cause consumers to have preference to certain (corporate) brands. For example, the conscientiousness, neuroticism, and extraversion of the consumer personality have positively related to a selection of "ruggedness" characteristics of the brand personality. Consumers who possess that personality dimension seek for matching with certain brand personality dimensions. Results of the hypothesis-2 test show that the average "ruggedness" attributes of the brand personality differ significantly among Korean automobile manufacturers. However, the result of ANOVA also indicates that there are no significant differences in the mean values among manufacturers for the "sophistication," "excitement," "competence" and "sincerity" attributes of the corporate brand personality. The tight link between what a firm is and its corporate brand means that there is far less room for marketing communications than there is with products and brands. Consequently, successful corporate brand strategies must position the organization within the boundaries of what is acceptable, while at the same time differentiating the organization from its competitors.

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20세기 후기회화에 있어서 유기 이미지의 문제 (A Study on the Problem of Organic Image in the 20th Post-paintings)

  • 박지숙
    • 조형예술학연구
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    • 제3권
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    • pp.145-177
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    • 2001
  • The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

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