• 한국생활과학회지
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• 제12권3호
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• pp.377-389
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• 2003

The purpose of this study is to obtain the symbolic meaning of the priestly costume through the Bible. Based on corroborative the Bible, this thesis analyzes the costume of priest. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This era falls on about from the 15th century before Christ. It was found that the breastpiece was a piece of the same multicolored linen as in the ephod, a span square when folded double. It symbolizes righteousness. It hung on the high priest's chest, supported by two golden chains attached to the shoulder clasps. It symbolizes love. On the breastpiece were twelve beautiful jewels, arranged in four rows of three jewels, each jewel symbolizing one of the tribes of Israel. The variety of jewels on the breastpiece suggests the variety of people. Urim is the Hebrew word for 'lights' and therefore would logically be associated with bright or white stones. Thummim is the Hebrew word for 'perfection'. The high priest's ephod was made of gold, and of blue, purple, and scarlet yam, and of finely twisted linen. The golden yam symbolizes faith. The robe of the ephod was made entirely of blue cloth. The blue color symbolizes an obligation and life. The robe of the ephod symbolizes calling and dignity. The woven tunic symbolizes holy duty.

• 복식
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• 제64권2호
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• pp.98-112
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• 2014

Since 2010, Goth styles have risen rapidly in prominence as one of the major trends of fashion. This study intends to understand the Goth style shown from the modern fashion by examining its historically formative characteristics and internal meanings of the Goth style. With mystic attitude toward the medieval Gothic culture, Goth style refers to its reproduction over the cultural circles including music, literature and arts. From the result of the historical review, the formative characteristics of the Goth style may be divided into darkness, distortion, memento mori and bricolage. The historical review of the Goth style contains symbolic meaning of mystery, terror, escape and theatricality. After 2000, Goth style, in combination with factors such as postmodernism and human desire, has been established as the main trend of modern fashion, going with the popular culture. The formativeness of modern Goth fashion is the same as that of Goth style examined from the historic review. However, in modern Goth fashion, the symbolic meaning has the processes of the new: unconsciousness, kitsch, overthrow and popularity.

• 한국의류학회지
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• 제33권1호
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• pp.127-138
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• 2009

This study is about the analysis on symbolic meaning and kunstwollen of Issey Miyake's art works which is influenced by various external factors such as social and cultural background, nationality and philosophy. Especially, this research focused on 'Pleats Please Issey Miyake' and 'A Piece of Cloth' which are the core of his works. The most important concept of Issey Miyake's works is the relationship of human body and a piece of cloth. Miyake's clothes has provided the time and the space where inspires the vitality into wearer. He accomplishes the most perfect beauty through incomplete beauty of cloth. Miyake wants to express the emotion of the human being through his clothes and tries to make special code between creator, wearer and viewer. Fashion is accomplished in connection with human body, not exists just as 'clothes'. Fashion has valued as an art which expresses the ideology and the sentiment of human being most directly. Issey Miyake who has tried to express human life and emotion has promoted fashion as an important part of art. Miyake is accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• 패션비즈니스
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• 제12권1호
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• pp.16-29
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• 2008

The purpose of this essay is to know the expressed form and color and also to examine the inner symbolic meaning of the movie "Sympathy for Lady Vengeance" by producer Chan-Wook Park. In the movie, the main character Geumja has double personality, having both images of a wicked woman and a woman saint, and she showed the clothing of both good and evil. For example, while she was in prison, her prisoner uniform while she was taking care of her inmates, her pajama which is the symbol of innocence when she was atoning and praying, Geumja's appearance wasn't fabulous when she was wearing baker's cloth that symbolize pure inside. But in contrast, Geumja who was released from prison planned and execute vengeance, dress colorful dress and primary color make-ups. Blue color coat with gloomy mood, black leather coat with the image of female warrior, and the slip with intensive image and etc express Geumja's will of revenge. Like this, depend on the psychology of main character Geumja, it's easy to recognize the change of clothing and color, and it's possible to understand the symbolic meaning in it.

• 복식문화연구
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• 제22권1호
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• pp.167-182
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• 2014

This study researched the symbolic meaning of the costume colors in the independent film . The purpose of the study is to shed light on the relation between a film and the clothing color by exploring the symbolic meaning of costume colors as based on place images and as reflected in characters' internal psychological states and situations. The conclusions of this study are as follows. First, the colors primarily presented were neutral shades of black and white or dark, almost-black tones, representing the negative narrative structure and depicting the image of a human being. Second, a series of bright blue shades were presented to reflect the positive narrative structure of a human being returning successfully to reality. Third, the application of color, involving both the psychological aspect as well as the symbolism of color, was effectively delivered to the audience. Fourth, the emphasis on color in the smallest details of costumes was analyzed, and it was found that symbolic color effectively communicated the whole image of transformation as the story progressed, clearly delivered delicate emotional messages, and contained symbolism relating to particular places and situations.

• 한국의류학회지
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• 제35권12호
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• pp.1409-1417
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• 2011

This study examines King Louis XVI costumes and his portraits according to symbolic meanings. This study analysis of costumes comes from portraits related various domestic and overseas literature, preliminary study papers, and web sites. Omnipotence, activity, nobility, openness and benevolence were distinguished in the symbolic meaning expressed in the portraits of King Louis XVI. Louis XVI in a portrait was drawn with god or expressed as a martyr and symbolically showed the omnipotence of god. Louis XVI was symbolized as almighty god by maximizing the authority and dignity of the king through the hands of justice that were used as a background or portrait accessory and a costume with the symbol of House of Bourbon. Kings of many generations were expressed as authoritative through portraits. However, Louis XVI showed a proletarian aspect in ordering portraits to reflect the daily working image of communicating with citizens. Active images such as the king riding a horse or administering the state affairs were emphasized in a political and military perspective; in addition, the benevolence of the king was symbolically presented through a family portrait. This symbolically signified that the king is a warm-hearted person who passionately takes care of state affairs and loves the people through a noble element coming from pastel colors and attributes of red colors. Historically, the political incompetence and indifference of kings was fragmentally emphasized; however, these portraits considered the king as one who tried to fulfill duties as the true king with a great interest in politics and the people.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2002년도 춘계학술발표대회 논문집
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• pp.141-145
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• 2002

The purpose of this study is to express display space according to a way of symbols' meanings, to apply and study the way that systemizes, specifies and objectifies the approaches to designs when the space is expressed. The study will present applicable characteristics in expressing the display space by analyzing visitors' symbolic nature prior to the specification of space expression. The study way is to analyze the definition, structure, system, characteristic and meaning-applied ways of the symbols through symbolic theoretical considerations, to show communication's accessibility applying the symbol-produced ways to the relationship between the conception and the components in expressing the exhibition space and finally to present the way to express the exhibition space through the symbols' meaning-produced ways.

• 한국실내디자인학회논문집
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• 제9호
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• pp.30-37
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• 1996

The Modern architecture, generally represented as Functionalism, had brought the important problems of the absence of cultural meaning and of the public alienation. Robert Venturi is one of the major architects who suggested the new theory of Architecture. Postmodernism, for solving these problems . Therefore the purpose of this study is to analyze his design ideas and works especially for four residential projects : Vanna Venturi House, Guild House, Brant Johnson House and Brant House, His design ideas are Complexity and Contradition, Symbolism. Ornamentalism and Pluralithy of meaning . The various historical and traditional elements are refereed as symbolic and ornamental elements. The symbolic and cultural meaning of architecture through their images, memories, and associations concerning historical motifs help communicate with the public . Robert Venturi tries to pursuit Populism in architecture through historical allusion and pop art.

• 한국전통조경학회지
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• 제38권2호
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• pp.77-94
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• 2020

구곡시가는 구곡원림을 연구하는 중요한 소재이다. 특히 시가에서 출현하는 경물은 그 장소성과 원림의식을 표출하는 중요한 소재이다. 그러나 자연에 대한 인식 태도나 미적 형상화 과정을 탐구할 수 있는 식물 소재에 대하여 다수학문들은 소극적이다. 따라서 본 연구는 구곡원림문화의 연구 소재를 확장하기 위해 구곡시가에 출현한 식물에 관한 다양한 상징적 의미를 발굴하고 그 맥락을 밝히고자 한다. 연구의 목적을 수행하기 위해 나는 총 18구곡처 25개의 관련 시가를 수집하였고 총 20종의 식물을 발견하였다. 본 연구는 구곡 시가와 그 해설문을 R-program을 사용하여 수목의 의미를 도출하였고 상호텍스트성에 의한 수목의 의미를 고찰하였다. 연구결과, 20종의 식물은 신선계, 청빈, 향수, 군자의 품격, 진락, 절개, 강학, 태평성대의 상징적 의미를 내포하였다. 다수의 종은 '신선계'에 상징성을 집중하였고 다음으로 '군자의 품격'에 대한 싱징 빈도가 높았다. 복사나무, 느티나무, 떡갈나무 등을 제외한 다수의 수종이 다중적 의미를 갖추고 있었다. 그 중 소나무와 연꽃이 상징적 의미의 폭이 넓었고 주변 경관의 특성에 따라 의미도 달랐다. 일반적으로 구곡문화는 자연경관을 대상으로 하지만 용산, 퇴계, 덕산, 주산구곡은 인위적인 배식 및 정원 행위를 통해 상징적 의미를 강화 또는 재생산하는 특징을 보여주었다. 우리 구곡시가는 무릉도원을 상징하는 복사나무의 한계를 극복하기 위해 단풍나무와 갈대를 대체 수종으로 활용하였다. 이상의 맥락에 따라, 구곡시가에 출현하는 수목은 전통적인 의미를 고집하기보다는 해당 구곡의 경물, 행위 그리고 의도에 따라 그 상징적 의미를 다르게 표출하였다.

• 한국주거학회논문집
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• 제12권1호
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• pp.67-75
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• 2001

There were the rites and customs in building of the traditional houses. The purpose of this study is to search the meaning of the building rites, and to search the spatial structure and meaning of the traditional houses through the rites as establishing the true dwelling. The traditional houses show the oppositional structure of the sacred and profane through the rites and customs of the building as the communication with the gods and men. The traditional houses are the center of which the gods of four sides defined and have the cardinal points and vertical axis which has the mythical and symbolic meaning.