• 복식문화연구
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• 제20권5호
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• pp.709-724
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• 2012

This study examined the characteristics of costumes worn at Halloween parties, a form of cultural entertainment commonly seen in the U.S. The Halloween party culture involves children and adolescents wearing costumes, decorating their bodies, and mimicking famous characters. Furthermore, the types and motifs of Halloween costumes have become a means of expressing individuality. This study conducted empirical research on how such motifs were reflected in modern Halloween party-wear in order to provide basic data regarding the development and design of Halloween costumes and the formation of the related entertainment culture. This study researched the shape of costumes and the type of traditional motif presented in these costumes, as well as analyzed the symbolic meaning of each motif. The research process was as follows. First, this study investigated the origin and evolution of Halloween by researching precedent studies, books, and internet data. Second, this study extracted the types of traditional Halloween motifs by analyzing the characteristics and symbols of Halloween costumes commonly presented in such materials. After collecting 547 Halloween-related images from U.S. and Korean Internet websites, this study sorted and analyzed images that could represent traditional Halloween motifs. According to the results, representative traditional Halloween motifs included black cats, white rabbits, tridents, scarecrows, skull and bones, ghosts, witches, vampires, bats, werewolves, and jack-o-lanterns(pumpkins, etc.). The sentiments for such traditional Halloween motifs changed according to era and race. The symbolic meaning would continuously change - from positive to negative and vice versa - to reflect various socio-cultural phenomena. The results of this study are expected to be used as basic data for developing Halloween costume designs and the related entertainment culture.

• 대순사상논총
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• 제22권
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• pp.539-565
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• 2014

This paper provides the meaning of sacred places and pilgrimages in Daesoonjinrihoe, the most representative of the new religions in Korea. Daesoonjinrihoe stipulates Dojang(道場, it means temple complex) as the sacred places, which presently functions as the center of their religious faith. Also, The Daesoonjinrihoe devotees worship 15 deities at a sacred place, Yeongdae(靈臺). By seeing meanings of sacred places and pilgrimage in Daesoonjinrihoe, This article focuses on the process of the sacrificial rite of Daesoonjinrihoe related to the importance of religious ritual or place of faith and sacred places as pilgrimage sites. At this time, I explain the properties of sacrificial rite of it. The sacrificial rite of Daesoonjinrihoe, one of its major rites, is performed at both regular and irregular intervals. It is performed by either an individual or a group at a fixed time and place. The study of sacred places should focus not only artificial structures such as buildings but also the meanings given to them and the mechanism that created these meanings. Pilgrimage is journey undertaken by person who consider their destination sacred. By seeing meaning of pilgrimage, this paper focus on Daesoonjinrihoe' role in making a place pilgrimage sites and pilgrimage functions. The reason I focus on sacred places and pilgrimage in Daesoonjinrihoe is that these sacred places reflect people's attempt to invent religious memory and identity. Thus, I elucidate the role that Daesoonjinrihoe's sacred places and pilgrimage plays in remembering religious memory. I examine the messages that Daesoonjinrihoe's sacred places intend to convey to the followers through the created sacred places and pilgrimage. Sacred places are significant because it reflect important symbolic features of religion. Sacred places and pilgrimage are vehicles for remembering the religious memory and reinforcing various memories. Finally, Handing down of our valuable Daesoonjinrihoe's cultural heritage is our duty. So it is necessary to make an effort to conserve Daesoonjinrihoe's cultural heritage such as sacred places and concentration upon our interest continuously.

• 복식
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• 제52권6호
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• pp.139-164
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• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.

• 한국실내디자인학회논문집
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• 제24권3호
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• pp.79-86
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• 2015

Myths and architectural spaces are cultural products symbolizing ideologies and objects respectively. Myth has the structure and the contents of a unique view of the world that reflects thoughts and representations of the nationalities. This study is about 'the spaces of the memory' adapted by the mythic tradition among many aspects of the Japanese tradition. The process of this study is illustrated as follows: At first, it mentions the concept of Gilbert Durand's mythic imaginaries and prototype with the method on how the myth is applied to the architectural spaces in the cultural context. Secondly, It clarifies basic meaning arrangement of the Japanese traditional spaces related to the myth. It shows sourceful 'prototipical system' that lies in the relation between thoughts and representations, regarding the shinto's spaces in terms of mythical imaginaries and Japanness. Thirdly, it ascertains mythical structure represented in the traditional space designs on terms with 'prototype' from symbolic system of the myth. It selects the cases among Japanese contemporary architects's works designed after 1960's, and analyses the meanings. In conclusion, it clarifies that this way can be a suggestion as the space design method combining the human's imaginary property with the time-stratigraphic region, and offering creative ideas for the strategy of the space design brand image that embraces a wide range of culture, ecology, and sensibility.

• 한국의류산업학회지
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• 제16권1호
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• pp.35-42
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• 2014

The purpose of this study is to comprehensively re-interpret the garments that emphasize a phallus such as codpiece throughout history. Perspective to understand the codpiece is extremely limited in most studies, thus it could be refocused in historical perspectives, formative point of views, and from a psychological point of view from various angles. A literature study of research methods and case studies were combined in order to investigate the emphasis of phallus' appearing in costumes. The following results were obtained. First of all, in length, the form of emphasizing a phallus tended to be distorted as it was protruding. Secondly, in area and volume, the forms of the phallus were mostly exaggerated or expanded. For the last, it drew strong attention with particular detail to the phallus, such as ribbons and swordbelts. The symbolic meaning of various garments with which emphasized a phallus has changed in social context through history. Doubtlessly, it represents patriarchal ideology. Also, it expresses dramatic eroticism due to the theory of immodesty. However, the meaning of it becomes more decentralized through reinterpretation of ideal male suits for modern society and turns into a representational tool of sub-culture. In addition, it could broaden out the new way of fashion expression.

• 한국의상디자인학회지
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• 제22권2호
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• pp.151-165
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• 2020

In this study, the pattern of texture was developed by applying the pattern shown in the Amita Yeoraebul and the Avalokitesvara with symbolism suitable for children's clothing. In addition, the design and the manufacturing of a children's wearable Hanbok were attempted, and the results are as follows: Amitha Yeoraebul is a Buddha who oversees paradise in Buddhism, and Avalokitesvara controls both paradise and the real world and provides mercy. Applying the various patterns in the Buddhist paintings, four daily hanboks for children were produced using patterns featuring symbolic the meanings of large round original patterns chrysanthemums, turtles, and lotus patterns. The lotus symbol represents love, nobility, and wealth, while the turtle symbol represents longevity, the chrysanthemum pattern symbolizes auspiciousness, and the large round original pattern means a constant continuation. To maintain the traditional hanbok form but allow convenient wear it in daily life, it is made in the jeogori + shorts, vest + long pants, and one-piece + jacket style. Currently, the daily dress of Hanbok and the modernization of traditional Korean clothes are being promoted. At this point, the study developed Hanbok fashion products that contain symbolic stories suitable for children are trying to maintain the image of traditional culture as much as possible.

• 복식
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• 제62권3호
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• pp.29-38
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• 2012

The earliest of the Cultural forms have utilized different methods of artistic expression and aesthetic senses such as the Tattoo that symbolized the adornment of the human body. when viewing from the perspective of postmodern art and design, these cultural forms were redefined as a regression and intertextuality, a modern interpretation of Henna that had a subversive significance. Specifically, Henna design quickly emerged as a new style in fashion art which represented a postmodern phenomenon. It was introduced as a fashion style in korea about 10years ago. since then, the henna fashion trends is growing rapidly in the domestic market. However, It is growing without our unique identity due to indiscriminate and excessive industrialization. This study of Henna design, (similar to the art of Tattooing) sees from a cultural and regional perspective of orgin. This study interprets henna as a fashion style and analyzes symbolic meaning and aesthetic senses today with a clear definition of henna Design. from now on It's purpose is to establish the Korean Henna culture and the possibility of it being the fashion style that contains a unique atmosphere.

• 복식문화연구
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• 제9권2호
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• pp.259-276
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• 2001

Hitchcock, "a master of the thriller" "leading figure of thriller", was famous for his work style. He never starts filming until completing a perfect conception in his mind before shooting. He started filming after getting a perfect filming plan adding a picture even one detailed shot picture. Also the movie costumes was not an exception in his movie. He put more main object to express a symbolic meanings by recreating movie costumes which were fit to drama′s subject than function which spoke for contemporary popularity also he guides actors to put on the movie costumes examined previously to shape a definite visual character in that works. This research intends not only to look into symbolic and expressive means of dresses through the movie costumes on thriller appeared in Hitchcock′s movie, but also the comprehension width by grasping importance of the movie-costume and dress image in the movie. Hitchock made about 55 movies, mostly thriller movies, from Number 13(1922) n unfinished work to family plot(1976) ones posthumous work. This research examined his the second half of term works(after 1950) such s Rear Window(1954), Vertigo(1958), Psycho(1960), Torn Curtain(19660, Topaz(1969) and Frenzy(1972) which are generally familiar to the public. In conclusion, we can find that the thriller movie costumes as well s the other movie and appeared a character of the film′s characters, social rank, economic level, personality. But expecially, a costume of Hitchcock′s thriller movie can be contained a characteristic factor of a kind of five.

• 복식
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• 제65권4호
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• pp.19-30
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• 2015

In recent years, various studies about 'Biomorphic design' have been conducted and accelerated among many recent design concepts and methodology. Therefore, this study classifies the types of biomorphic fashion design based on literature review, and select biomorphic fashion designs in the latest fashion designer's collection. This study aimed to determine the types and characteristics of the biomorphic design in fashion design, and analyze the characteristics and the interpreted intrinsic meanings through Greimas Semiotic rectangle model based on the Binary-Opposition of meaning and Isotophy. As the result of analysis, biomorphic designs in fashion are classified as three types: 'representational imitation of form', 'technical imitation of functional features', and 'imitation of symbolic attribute'. 'Representational imitation of form' was derived from an organic design through atypical forms, repetition and extension of figurative forms of nature, and 'the functionalities of the nature' are interpreted as the feature to maintain the condition of the life itself and to attempt to regulate the status of self-autonomy. Lastly, 'the imitation of symbolic attributes' is designing the process of creation, growth, expansion and destruction from circulation of nature.

• Architectural research
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• 제16권2호
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• pp.45-56
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• 2014

The objective of this article, positively recognizing existing researches, is to revisit some aspects regarding the Vāstupuruṣamaṇḍala with a square grid work which is a fundamental planning guideline to control the construction of a Hindu temple and a mathematical doctrine to lead ritual programs. Hence, this paper suggests some reservations as to certain details such as temple constructions. In order to lay hold on its meaning, this paper touches upon the specific matters about the Vāstupuruṣamaṇḍala in the building construction of Hindu temples, which set out to shed light on four concerns; first, it explores the formation process of the Vāstupuruṣamaṇḍala in concert with the evolution of Hindu temples over time; second, it considers differences and similarities in comparison with other texts intimately articulated with the construction of temples, and then understands the relationship between their local languages and applications to the Vāstupuruṣamaṇḍala; third, it examines the symbolic and sanctified process of the temple's construction on the Vāstupuruṣamaṇḍala grids with two- or three-dimensional computer graphics (by means of the Auto Cad and Rhino tools), invisibly situating the divinities within it and illuminating the roles of ornamentation in the structural terms of temples; fourth, it presents that there are another rules on the building construction based upon architect-priest's craftsmanship skilled as a stonemason or a carpenter in the manual processes of the temples' construction for proper measurements and truncations of stone and wood closely linked together structural stability of completed temples. In conclusion, proceeding from what has been said above, this thesis shows that the Vāstupuruṣamaṇḍala grid includes both practical and spiritual meanings to construct a Hindu temple.