• 한국의상디자인학회지
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• 제5권2호
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• pp.17-29
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• 2003

This survey paper examines general characteristics of "yellow" color, the oldest color in the history of art. Also the research aims to find meanings of the color and historical development embedded in clothing and textile both in orient and in occident where different philosophy and history developed. It is found here that the yellow symbolized both positive and negative meaning in the history of costume throughout the world. The color, however, was used to symbolize mostly positive meaning in the orient whereas not in the occident. "Yellow" color in orient used to symbolize the supremacy of the emperor, excellence and authority. The meaning of "yellow" color in the occident is two fold: from the positive viewpoint it represent god, king, wisdom, wealth and holy light, and from the negative viewpoint it represent image of betrayal and distrust, image of immorality, image of death and disease and image of jealousy and hatred. The concept of "yellow" was generalized in orient by the "Eum-Yang-O-Haeng Theory", while in occident by the Christianism. And the concepts came to hold concrete meanings and thereafter the symbol of yellow appeared.ings and thereafter the symbol of yellow appeared.

• 대한가정학회지
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• 제50권3호
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• pp.83-93
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• 2012

In Tongyeong Ogwangdae, the characters use many ornaments and these ornaments represent different meanings. The following results were observed from the analysis that was carried out, to find the symbolic meanings of ornaments and props, and they- were used in Tongyeong Ogwangdae. The ornaments and props used in the traditional mask play are used to effectively represent the roles, characters, situations, and certain parts of body. They put each character in a psychological mood that enables him or her to perform his or her role more realistically. This in turn moves the audience. The ornaments and the props that were used in Tongyeong Ogwangdae help the audience to understand the characters and the hidden meaning of the play. These ornaments and props can be classified into three categories namely, one representing the character's social status, one representing the role of the character, and one indicating the flow of the play.

• 대한가정학회지
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• 제49권4호
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• pp.93-104
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• 2011

The basic framework of traditional Korean clothing construction consists of circle, square and triangle. This composition principle has been presumed to be associated with the Cheonbu concept of the Dangun era wherein nature and human being are considered united. The Cheonbu concept is represented by circle, square and triangle which constitute Cheonbuin, the images and meanings of heaven. It contains profound philosophy wherein a circle symbolizes heaven and represents number one, a square symbolizes earth and represents the number two, and a triangle symbolizes human beings and represents the number three. Circles, squares and triangles have been used as various symbolic meanings both in the east and west and constitute the framework of Hanbok construction while connoting the Cheonbu concept and symbolism of the Cosmo-tree. From this point of view, the unity of human beings and heaven in Cheonbugyeong is symbolically inherent in Hanbok. Therefore, Hanbok with the basic framework of circles, squares and triangles can be considered a positive creation that created a composition principle of body-nature-clothing.

• 복식
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• 제61권10호
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• pp.32-41
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• 2011

The purpose of this study is to prove an importance of systemic analysis paradigm to interpret fashion make-up. This research employed 'paradigm for interpretation of fashion make-up signs' theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) recognition of form, (2) analysis of connotation meanings, and (3) analysis of symbolic meanings and communication. The results of this study were as follows. Jean Paul Gaultier's eye make-up uses a square pattern that mostly consists of the color black. He presents a Glam Rock image by using rimmed make-up that portrays an avant-garde and a nonmainstream culture. Jean Paul Gaultier's make-up was showing black color and square eye pattern and was presenting Glam Rock image and was a rimmed make-up meaning a nonmainstream culture and Avant-garde symbolically. Chanel's make-up emphasizes the eyehole with the rimmed technique by applying the make-up of Marchesa Casati and including non-popularity, Limited Marketing symbolically. Christian Dior's make-up applies the representative make-up of Joan of Arc and Siouxsie sioux and also uses rimmed make-up to portray the meaning of religion persecution, the dark-ages militarism and including Humanism symbolically.

• The International Journal of Costume Culture
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• 제5권3호
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• pp.173-183
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• 2002

The main focus of this study is to understand realities of postmodern consumer culture by deconstructing fashion advertisements, Calvin Klein's ck One and cK be. The metaphysics of critical theory, visual and textual analysis are used to deconstructing the ads applying one of the postmodern cultural critics, Baudrillard' s notion of hyperreality. Through deconstructing the ads five postmodern characteristics representing hyperreality were found. First, there is no message regarding functional characteristics of the product offered in the ad, which is far from the modernist's utilitarian Point of view. Hyperreality in Postmodern consumer culture is consumption centered and focuses on the product's symbolic meanings. Second, especially for cK be, the ad uses atypicai, irrelevant models and images, which are introduced as a concept of ‘real people’ rather than the ideal person or body type. Third, there are transformations of the meanings from cK one to cK be such as the notions of globalization and gender which clearly represent ongoing reality in the Postmodern culture. Fourth, there are hidden meaning of hedonism and relativism, which are prevalent in postmodern ideology. Finally, models' bodies are used to convey messages as well as form the ground and figure in the ad that is a significant characteristic of postmodern consumer culture. In conclusion, the study of Calvin Klein's fashion ads supports the notion that advertising mirrors reality in postmodern consumer culture, which is hyperreality.

• 한국조경학회지
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• 제26권3호
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• pp.178-188
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• 1998

In this paper, I tried to interpretate the matter and form of Chumsungdae, which has been mainly assumed as an facility for astronomical observaton of ancient Shilla dynasty, located on Kyongju, Korea. Basically, I took the thoughts of the place and the theory of cognition on landscape as a research tool, and the research was undertaken through the surveying the physical surroundings of chumsungdae and studying the references related to a myth, thoughts, and a tale of shilla era. This research was anticipated to find out the various symbolic meanings and functions of Chumsungdae and its place, which is somewhat different from the view of scientific uses of it. The matter and form of the Chumsungdae realizes the archetypal form of the well and meanings of petition for agricultural abundance, leading to a wishing for political stability of the nation, especially an authority of a reign of the queen, named Sun-duk who is the first one in Shilla Dynasty. The chumsungdae was located on the very sacred place surrounded by the tumulous and Kyerim forest which was birth and death place of the founder and king of a family of Kim. It does mean that the Chumsungdae was very scared work, and made place with combination of meaning above mentioned and natural environment. Finally, this paper suggested the neighboring area of the Chumsungdae be restored with the forest as an archetypeof old picture and environment of Kyerim.

• 한국응용과학기술학회지
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• 제40권2호
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• pp.355-362
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• 2023

영상매체에 등장하는 캐릭터는 성향이나 역할에 따라 상징적인 의미가 다르다. 『산해경』은 B.C. 3~4세기경에 지어진 판타지 소설로 중국의 고대 소설에 등장하는 캐릭터는 유형에 따라 재해를 비롯한 재물, 질환 등 다양한 의미와 상징성을 가지고 있다. 중국인이 생각하는 동물의 상징성과 판타지 소설에 등장하는 캐릭터의 상징성, 그리고 형태적인 분석은 중국의 캐릭터 개발 및 영화 산업에 필요하다. 본 연구는 중국 고전 판타지 소설 『산해경』,『산해경도상전체』, 『산해경도』와 청나라시대의 『산해경존』, 『산해경도록』을 중심으로 캐릭터 이미지를 분석한 결과 첫째, 삽화 이미지에서 캐릭터의 형태가 조금씩 차이를 보이고 있다. 둘째, 산해경의 453개의 캐릭터 중 수해와 관련된 캐릭터는 8개로 '장우', '합유', '화사', '영령', '부제', '승우', '만만', '나어'로 출현만으로도 홍수 및 장마와 같은 수해를 일으키는 캐릭터로 묘사되어 있다. 셋째, 현실 동물과 산해경 캐릭터에 등장하는 캐릭터의상징적인 의미와는 별도로 사물과 동식물이 결합된 창작 캐릭터임을 알 수 있다. 산해경의 지속적인 캐릭터 분석은 영화산업에 광범위하게 활용될 수 있다고 사료된다.

• 건축역사연구
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• 제26권1호
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• pp.7-16
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• 2017

One of the essential characteristics of Lewis Mumford's architectural criticism is the coherent emphasis on symbolism. Such emphasis stems from his understanding of city and humanity in the context of civilization: first, that the architecture symbolizes institutions of urban civilization; second, that the technical aspect of human nature should be balanced with its artistic aspects. Mumford believed that each architectural type requires an appropriate symbolic expression corresponding to its purpose and that a new symbolic expression, in a new cultural context, should replace the conventional expression. He took symbolism for an intuitional expression, and read multi-layered meanings of architecture: 'practical function' by way of rational reason and 'symbolic function' by way of intuition. He pursued a balance between practicality and beauty to rectify the situation of modern civilization, in which symbolism, the expression of its intuitional aspect, is in crisis. Ultimately, for Mumford, the essential task of architectural critic is of the interpretation of symbolism, aiming at the correspondence and communication between the architect(artist)'s intuition and critic(interpreter)'s via the media of symbol. The critic can play some privileged role of interpreting even symbols unintended by the architect. The ideal architectural critic, after all, would be the one who is able to understand the city, technology and human beings in the perspective of civilization and to interpret the architect's artistic expression in its highest form through intuition. Mumford established himself as such a critic and evaluated the status of aesthetic accomplishment of his contemporary architecture and technological civilization, giving emphasis on the artistic practice in architecture as a solution.

• 건축역사연구
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• 제32권4호
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• pp.19-33
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• 2023

This study investigated the architectural expression of Taekpungdang(澤風堂, The Pond and Wind House) built by the Neo-Confucianist Taekdang Lee Sik(澤堂 李植, 1584~1647) from the perspective of the symbolic system of the Zhōuyì(『周易』, Classic of Changes). This study examined the historical context, personal history, and construction process of Taekpungdang at the time of its creation through his collection of writings, the Taekdanggip(澤堂集). The study also estimated the original form of Taekpungdang through field surveys and historical evidence. In addition, the architectural principles and architectural expressions inherent in the Taekpungdang were derived based on the symbolic system of "taekpungdaegwa"(澤風大過) which is Lee Sik's divination and one of the 64 trigrams in the Zhōuyì. Lee Sik, who was knowledgeable in the Zhōuyì, used divination to cope with the chaotic political situation and his own misfortunes. Accordingly, He determined the direction of his life and planned the surrounding environment, architectural structure, and form of Taekpungdang based on the rules and meanings of his divination system. He embodied the architectural space of Taekpungdang with the concept of time and space inherent in the divination of "daegwa",(大過, great exceeding). In addition, he expressed the principle of the generation of palgue,(八卦, the eight trigrams for divination) and the principle of the co-prosperity of ohaeng(五行, the five elements) through the composition of walls and windows of the house. The images of Taekpungdaegwae, which are dongyo(棟撓 wood submerged in the pond) and taekmyeolmok(澤滅木, shaking pillars), were manifested in the form of buildings. Therefore, Taekpungdang can be considered a remarkable example of a building designed through the thorough utilization of the Zhōuyì divination system.

• 복식
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• 제56권7호
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.