• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.118-125
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• 2005

A leisure culture in the modern society is the measure of a value in one's life and has a symbolic meaning which reflects the aspect of a society where an individual belongs to. Therefore, the leisure is not a simple pleasure but has an critical meaning of expressing the culture of a country. In particular, the theme park leads the public amusement in the modern society using the cutting-edge equipments on a large scale in the postmodernism society being lead by the public. Nonetheless, Korea imports the theme parks of the same type as the Disney land of the Western Europe so that Korea depends on the foreign country in the leisure field. Therefore, in this study, the basic property of the theme park is investigated and the issues of Korean theme park will be revealed through the comparison of Korean theme park to foreign theme parks. In order to solve these issues, it points out that the concept of Korean traditional leisure space has inclusive and upgraded characteristics with many meanings, compared with the concept of the leisure space of foreign countries. . Based on this, the new concept of Korean theme park's space will be proposed. Specially, it is empathized that Korean own originality and credit should be preserved and Korean traditions should be succeeded.

• Korean Institute of Interior Design Journal
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• v.14 no.6 s.53
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• pp.193-201
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• 2005

In this study we analyzed and interpreted the phenomenologlcal characteristics and meanings of water space in religious architecture through field studies and phenomenologlcal approaches, focusing on the religious architecture Introducing water space in contemporary architecture. The phenomenological experience elements of the research ate light, time, place and context. As the results of this study, first, light as a phenomenological element not only induces a contrast and change between light and the shadow in architectural space and various changes of light in inner space, but also operates as an element which expresses building features outward with time. Second, time as a phenomenological perception experience makes us feel changes of the environment and physical properties and experience space visually and physically. The continuity of time shows the change of a day, night and daytime and seasons. Third, water space makes the sense of place more remarkable, connected closely with surrounding nature In outer space, and creates a new space. Fourth, water space is a contextual element which harmonizes with surrounding environment by connecting surrounding natural environment with architectural space. Fifth, water space in religious architecture is a symbolic and central element, and emphasizes the atmosphere of architectural space. In addition, it makes the people who experience water space perceive the place by triggering sensitive response.

• Acta Via Serica
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• v.1 no.1
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• pp.69-93
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• 2016

This article compares two Iranian towers (burj) of the Saljuq period (c.1037-1194) with two Chinese Pagodas (t'a) of the Song dynasty (c.960-1279) in order to identify common cultural trends in medieval Iranian and Chinese architecture. To this end, the Iranian towers of Tuqrul in Rayy and Chihil Dukhtar in Damghan are compared with their Chinese counterparts of the Iron Pagoda in Kaifeng and the Pizhi Pagoda in Changqing. The two Iranian towers have much simpler architectural decorations compared to the splendid Song pagodas, which are decorated with statues and colorful paintings. The similarities in form, however, suggest common functions provided by the architecture. Both the Saljuq and Song towers had astronomical and military functions, position identification for travelers, and symbolic meanings, as well as their main functions as tombs. By applying comparative studies on the forms and functions of the Tuqrul and Chihil Dukhtar towers on the one hand, and the Iron and Pizhi Pagodas, on the other hand, this article aims to contribute new insights regarding common social trends shared by the medieval Iranian and Chinese and illustrated by their architecture. Extensive and distinguished publications on the general subject of art and architecture during the reign of the two dynasties under discussion already exist, as fully referenced below, but the specific comparative themes regarding the individual sites discussed here are the first in any study of this kind.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.101-110
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• 2009

Danchung(丹靑) is the traditional Korean patterns that are decorated with various colorful patterned paintings upon each sections of wooden architecture. Although Danchung consists of variety patterns with the meaningful signs and symbols, as an accomplishment of Korean traditional images, there is a few fashion merchandise by Danchung patterns. Therefore, the purpose of this study is about to design Jacquard fabrics, and to develop bags of Jacquard fabric by Danchung patterns, as a differentiated cultural Fashion Merchandise. The theoretical background was researched for the geometric image of Danchung patterns on the basis of the basic elements, compositions and symbolic meanings of Danchung. The geometric image of Danchung patterns, which had the shape of circle, triangle, square and hexagon, was designed to the surface design by Jacquard CAD system(i.e., EAT Designscope by Germany) and woven into Jacquard fabrics by Stabuli electronic Jacquard system. Danchung patterns for fabric design in this study was mainly focused on 'ChipJaGum', 'SamJiChangGum', 'ShouSulGum', Moro patterns of lotus flower(蓮花), Rok-Wha(綠花) and so on. To development bags of jacquard fabric, those woven jacquard fabrics were manufactured to bags by applying the selected of twelve bag-designs among the current bag styles. These manufactured bags of jacquard fabrics in geometric Danchung patterns were appeared a contemporary yet ethnic feeling so that they can be used for the unique korean cultural products to further commercialization.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.176-191
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• 2014

This article focuses on the late 19th to early 20th century gat, the Korean top hat for men, to understand the diverse meanings behind the hat. During the late 19th to early 20th century, the Joseon Dynasty (1392~1910) was plunged into confusion and turmoil as it was nearing its end. It was a period of drastic changes in regards to philosophy and ideology. To that end, the hats of society mirrored such changing times, as well as the differences in the awareness of Joseon's internal subject entities and external observers. Based on the analyses of the relevant documents, this study takes a multi-faceted approach to the process in which traditional Korean hats, which were once a symbol of the Joseon civilization, became reduced to an outdated object, as well as observing the awareness and attitudes of the entities involved in such a pivotal process.

• International Journal of Costume and Fashion
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• v.7 no.1
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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.

• Journal of the Korean Society of Costume
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• v.44
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• pp.57-75
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• 1999

The purpose of this study is to infer the shape and change as auspicious symbolic meaning and figures of a peony pattern. For this study. I analyzed the example of a peony pattern, which is traditional Chinese pattern appeared on a ceramic and textile. The results of this study are as following. First, a peony has particular title, such as 'the king of flowers' and 'the most beautiful woman in country and the smell in heaven' originated in a verse of a poet at Dang's Dynasty. It is reputed to be the best of all flowers, representing beauty, and a beauty. Second, the basic meaning of a peony pattern used as auspicious pattern is prosperity and it has various meanings of it's similar kind through several auspicious objects and combination. Also, it was used for the purpose of adequating the desire of man's blessing mentality. Third, four kinds of characteristics of a peony pattern are as following. 1) A peony pattern has similar shape with 'Bosanghwamoon', which was used as a pattern at formerly period of peony flowers. It was used as realistic shape gave vividness to the characteristic of peony on the shape of 'Bosanghwamoon'. 2) 8-petaled, unique leaves and veins were described in detail by vivid sketching shape of real peony flower. 3) Laying stress on the characteristics of peony flower, which is large and magnificent, several folds petals were described abundantly by exaggerated shape or a shape of big honeycomb. And unique leaves were described realistically on these. 4) It was also expressed peculiar characteristic of peony flower composed of several pieces by weakened design shape.

• Journal of the Korean Society of Costume
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• v.49
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• pp.137-154
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• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.53-65
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• 2001

The major purpose of this study is to obtain the evident and visual structure of costume of priest with symbol through the Old Testament. Based on corroborative the Old Testament, this thesis analyzes the costume of priest. This compares Aaron with his sons. This compares the two onyx stones on the shoulder pieces with four rows of precious stones on the breastpiece. This compares the robe with the woven tunic. This era falls on about from the 15th century before Christ. The crafts men whom God have endowed with skill make the vestments. Due to the christian religion, the body was entirely concealed. The costume of priest were not only used as dignity but also grandeur. According to the Old Testament the colour of the costume has signified not only the colour sense but also important symbolic meanings. The priest wore, over undergarments, a woven tunic, and he wore over the tunic, a robe, an ephod, a breastpiece, a sash, using a turban as head covering. Gold, and blue, purple and scarlet yarn, and fine linen are used. Aaron and his sons must wear them whenever they enter the Tent of Meeting or approach the altar to minister in the Holy Place, so that they will not incur guilt and die.

• Journal of Families and Better Life
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• v.32 no.5
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• pp.63-86
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• 2014

The present study aims to phenomenologically investigate the adaptation experiences of Vietnamese immigrant women, with in the sociocultural context of their native country. In-depth interviews with a total of seven Vietnamese immigrant women were analyzed by the phenomenological method of A. Giorgi(1997). A total of 127 meaning units and 7 themes with 17 sub-themes, which rendered central meanings that indicated situational structures, were derived. The statements of situational structures were re-categorized in accordance with the sociocultural context of their native country. As the socioeconomic aspect, "aspiration for new opportunities and a new world" and "disappointment and frustration" were derived. The aspect of familial value and culture involved "conflicts over the unilateral acceptance of differences" and "building social relationships". The aspect of female status was associated with "conflicts due to patriarchal hierarchy". The aspect of child caring involved "education as a symbolic value" and the "double-sidedness of mother identity strategy". The gist of Vietnamese immigrant women's adaptation experiences is "to grow into a subjective mother despite conflicts due to the disappointment and frustration behind aspirations".