• Smart Media Journal
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• v.12 no.1
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• pp.102-111
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• 2023

As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image research and break through the problem that the Iconology analysis of film image stays in narrative analysis (iconographical analysis). It can be seen from the results of this study that the second frame has different visual presentation according to the requirements of narrative. In the narrative of the film, it symbolizes the depressed tone of the film and the stressful relationship between different characters. What director Campion wants to show through the second frame is that in the film industry where the problem of women is getting better, the motif of feminist film creation has changed from the expression of female appeals in binary opposition to the expression of the appeals of diverse groups in "decentralization."

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.379-386
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• 2024

The purpose of this study was to pay attention to the increase in the frequency of expression of butterflies and insects, whose decrease in the number of individuals is symbolized as a measure of environmental pollution, among the various motifs of nature as we go through the COVID-19, when we realized the importance of nature. The scope of this study was limited to fashion collection fashion show photos and interview articles of online for fashion collections from 2019 to 2023. As a result of the study, 185 butterfly motivation fashion design appeared, and digital printing techniques were the most used as a type of plane expression method. Along with this, techniques such as quilting, embroidery, and beading have appeared a lot as techniques to express the planar motif of butterflies. As for the three-dimensional expression types, 3D printing, laser cutting, corsage techniques, and draping techniques showed similar proportion. It can be seen that the expressed butterfly motif had more realistic description the shape of the butterfly as it was than abstract expressions. In conclusion, it can be seen that the butterfly motif fashion design over the past five years contains a stronger message about the environment than the butterfly motif fashion in the past. It was confirmed that it is a motif with a great symbolic meaning that can convey an eco-friendly message beyond just the morphological beauty and colorful design elements of the butterfly.

• Journal of Science of Art and Design
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• v.3
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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.

• Cartoon and Animation Studies
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• s.50
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• pp.327-347
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• 2018

From the end of the 18th century to the end of the 19th century, the late 19th century was a genre of a new art that was in contrast to the distribution between social class and low class, and it was also a popular culture that attempted to transform the late Joseon Dynasty's social class. It is no exaggeration to say that it is the origin of the Korean folk art, started as popular art concepts, use colorful techniques and decorations which doesn't yield to ordinary iconography. But, because of the attempt of this technique was used by lower class, the meaning of the idea was lowered from iconography to secular picture. Ethics character picture, passed on to the present from going through the upheaval cultural time, was started from secular picture and transformed into hyukpil time illustration, and it represented popular arts until now. This thesis aims to reflect the meaning, various visual expressions and the lifestyle of Ethics Character Picture of filial piety and brotherly love, which is a unique genre of popular arts. Also, propose to suggest about the kinetic typography using video media, and how the traditional ethics character picture, which are combined with video technology, effects to the advertisements. These kind of attempts will show the world about the korea's traditional contents, and through the various media information it can be recreated as national symbolic key words. Furthermore, its meaningful to pass down the noble and cultural Ethics Character Picture of filial piety and brotherly love to younger generations. And by realigning to modern expression, it is predicted that it will be significantly meaningful to pass down and make the younger generations to understand to spirit of the ancestors. This will allow various attempts to reconstruct various items of contents from Korea's traditional contents to new media content that merged with video media.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.48-57
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• 2018

In this study, we conducted an analysis on the actual field materials and the ancient text of January 2017. First, Yuyin ShanFang is one of the famous garden in the Lingnan Region, and its total area is $1598m^2$. Wobin called the name 'Yuyin(餘蔭)' meaning the virtues of his ancestors. Second, if we analyze the poem written by Wobin, we can classify it as a phrase expressing the world beyond the future, a poem expressing the ideas of family and romantic ideas. Third, the space spread to the south around the shrine building in the middle of the site was largely a residential space, according to the analysis of the site's layout and spatial composition. Fourth, the spatial component of the hydronic acid is analyzed. The pavilion area is the Hanchwi-Pavilion, which is designated in the Wongrim, and Gyesang-Pavilion, which is a unique range that describes the peak of the garden. Fifth, Yuyin ShanFang has five ponds that are very diverse in shape. It is characteristic of us to stand on a technical boundary. Sixth, Seokgasan was referred to as Gyeongbansan, which was named after The builder Wobin and his descendants who passed it. Seventh, Hwachang is characterized by a wooden bull window and a compound glass. Eighth, the alumni style is not as diverse as the alumni style of the Suzhou traditional garden, but it features various forms and colorful pictures on the front of the alumni. Ninth, the one-piece sculptures of the interior of a building are expressed themes such as Gilsang, Sukjeong, Daoism, Palseom, and others. Finally, Trees planted in Yuyin ShanFang are mostly tropical plants, and some of them have symbolic meaning. Because the weather here is good for growing fruit, so planted a lot of fruit trees.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.32-41
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• 2009

Places such as famous urban sights and foreign settlements have recently been created in Korea, which reflects the increase in social and cultural exchanges and the number of place-making and landscape-planning projects. Understanding place identity is required in environmental design and planning. This paper examined the components of the identity of place through comparison of perceptions of "placeness" between residents and visitors of Seo-Rae Village, Seoul, Korea. More than 40% of French nationals in Korea reside in the village, which many Koreans visit as an urban sightseeing place. Twenty-five French inhabitants and forty-one Korean visitors were surveyed. Insideness of Seo-Rae Village was formed by limited activities and needs of the residents, primarily children's education and food purchases. Residents mentioned that the physical environment, especially buildings, lacked theauthenticity of French style. The symbolic meaning of the French village influenced the visitors' activities. The authenticity of French style, however, did not affect the perception of visitors and outsideness of the place. Visitors' activities and cognitive meanings of the place were formed mainly by the commercial environment established by Korean investments. Commercialization of the place and related activities played an important role in establishing insideness of the place. The village shows the phenomenon of the reversal of insideness and outsideness. The "placeness" of Seo-Rae village has been shaped by visitors' tastes rather than the true experience of insideness. Mass identity formed by mass media using French characteristics influenced this phenomenon. Insideness formed by inhabitants appeared to be a pseudo-place, which was created by the French tastes of visitors and lacked French authenticity. Seo-Rae Villagerepresents a superficial cloak.

• Korean Security Journal
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• no.36
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• pp.417-442
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• 2013

This study considers the characteristics of the separation of public and private security service during Koryo dynasty, and compares it with the modern security service. Modern day security service's definition of private and public security service was used to distinguish them. Given the different historical settings, it's difficult to argue that the distinction between public and private service during Koryo dynasty was clear, but it can be said that public security service was centered around palace guard and concerns the activities of protest, and military made for the relationship, and private security service was centered around power of DoBang and includes the activities of malingering, and Byolchogun. During the early days of Koryo, protest, district military and soldiers who stay in the palace were all parts of a palace revolt and this institutional improvement of soldiers who stay in the palace was accomplished during King Seongjong's rule. The tradition of a palace revolt can find its roots in the middle military, and after the unification, a palace revolt was reformed into the king's palace revolt of second and the 6th along the course of establishing the nation's system. All of the changes stem from the reformation for consolidating the royal authority. Gyung Dae Seoung wanted to protect himself and he slept with his army night and days and because of that, group of soldiers was created and it was called DOBANG. Some members were from dobang gyeonryong, The forced were powerful because it was gathered with a warriors with extraordinaire martial arts and competent management. Most of the soldiers followed gyeong dae seung because they believed that he has a strong leadership and loves his people, and had a strong faith in him. However, the general gyeong jang had a belief that politics must be reverted to the previous so the relationships between jungbang wasn't smooth. Because of the economic operational problems, due to fraud committed by the mens under his command failed to maintain integrity and was criticised.The misconception also fed up with the emperor and the deepening relationships between the soldiers, his dobang was dismantled. After he took over the dobang, for his personal safety and to strengthen his position he compensated gyeon dae seong's dobang and developed the organization. In the process of extending the dobang Choi chung heon recruited many talented people to strengthen the military base, and also accepted the advice and expanded the power of Dobang. Choi Chung Heon thus consolidated his political gains by weakening the power of the king's army and adjusting the myth, which could've threatened his regime, and this was called Dobang number 6th. Dobang number six got even more powerful by his son named Choi woo, and after ruling, he expanded into a room, and a substantial reorganization of Dobang was developed. And then the creation of yabyeolcho also showed the effect to prevent the crisis. Although the palace guards who were public security service of Koryo Dynasty was still maintained during the military rule era when the royal authority was incapacitated, it was only maintained to have a symbolic meaning as the actual authority including military power was with Choi, the master of Dobang, private security service group. Likewise, during the rule of Choi, private securty service could reign over public security service, and the noteworthy characteristic of Dobang is that it assisted the private soldier groups to seize the military power by reorganizing and modifying military system. Although both differences and similarities can be found when comparing the guards of Koryo Dynasty with those of contemporary society, they have a similarity in terms of the essence of guards that they guarantee the safety of their clients. As for differences, the royalty of Koryo Dynasty and the pursuit of profit of contemporary society are in contrast, and contemporary guards can be seen as the fulfillment of responsibility and duty by free will, whereas guards of Koryo Dynasty were ruled with military coercion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.