• Journal of architectural history
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• v.15 no.3
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• pp.7-25
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• 2006

This research examines symbolic meanings of architectural style of Japanese ruling era of Korea through analysis of Expo buildings. Expo buidings of Joseon Product Evaluation Expo(1915), Joseon Expo(1929), and Joseon Grand Expo(1940) are chosen as subjects of this research. Expos held in Korea since 1945 were creatures of colonial reign and their objectives are advertising the advancement of Japan. New and latest architectural styles of Western countries were used as a symbol of advancement in non-western countries. Renaissance style and Secession style in Joseon Product Evaluation Expo and Modernism style in Joseon Expo were introduced as architectural styles that symbolize advancement. On the contrary, the traditional architectural style of Joseon Dynasty was distorted as symbol of backwardness. Latest Western Architectural Styles were used elaborately and Intentionally to symbolize advancement and industrialization by Japanese ruling power and companies. Specially, Modernism style operating as 'symbol of advancement' is characteristic of non-western society in attempt to proceed Modernization through Westernization. Also, it can be suggested that architectures in Modernism style are used in ways to symbolize the advancement of the colonial reign authorities within the colonial society.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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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.

• Journal of Fashion Business
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• v.9 no.6
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• pp.56-70
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• 2005

This study investigates historically difference by age of wig banishments that symbolize social-economic status from West Egypt era baroque age as qualitative study that use secondary bibliographic data, there is purpose. Conclusion of this study is as following. Because wig putting on that symbolize among several usages of wig putting on, socio-economic status until 17th century baroque age from ancient Egypt is been in fashion through privilege class lower classes as well as upper class wig putting on attain. Ancient wig putting on became measure that divide class because differ material of wig or one dimension, shape (style) and length became linear measure that it can aim wealth's emblem that putting on of long wave wig and whole wig that differ lust has many wig though was in fashion though whole wig and were in fashion arriving to Renaissance. That it becomes France clean fingernails' necessaries as Louis the 14th that ready crux of absolute authority establishment of France Court put wig from depilation to count 17 was clear socio-economic status etc. symbol measure inclination. Go without question status or position, wealth and churchman puts wig so that can know special sex of weapon of where the soldiers are belonged as well as put wig and wig putting on was parted according to job and lower classes participated in fashion of wig putting on. Wig putting on that become measure that symbolize job or status in this baroque age, position, wealth etc. gave absolute influence in wig fashion in 18th century.

• The Research Journal of the Costume Culture
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• v.14 no.2
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• pp.177-191
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• 2006

The purpose of this study was to analyze the signification system between logo and brand concept systematically in sportswear brands. For this purpose, 37 apparel brands focused on sportswear brand were selected and the results of the study were following : First, the sportswear brands that symbolize a specific sports used a related supplies such as a golf ball or tennis ball, etc to express sports or concept that pursuit each brand. Second, the sportswear brands used the brand logo that represent or symbolize a specific animal, plant and natural world to express a strong spirit of sports and active energy. Third, the sportswear brands used the word mark or symbol that design a brand name in dynamic or speedy typeface to represent a speed and progressive spirit of sports. Fourth, the sportswear brands used the symbols that represent a concrete object, person such as a mast, shield, etc to emphasize the brand concept. Fifth, the sportswear brands used the symbols of a graphic or geometric style to represent the special quality of brand in type.

• Journal of the Korean Society of Costume
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• v.32
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• pp.213-224
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• 1997

This paper is the result of research what im-ply the shaman's costume in Korea "Kut" The implications can be summarized as follows: 1) Shaman's costumes in "Kut" are divided into two parts. Namely the one is the position as a priest and the other is the one as God it-self 2) Also shaman's costume were used to ex-press God's character in the ritual "Jae-Cha" These were based on the costume system by one's social position in the times of the Cho-Sun. 3) The reasons why shaman worn the tra-ditional costume are discussed variously. Among those reasons firstly shaman stands for the symbolic significance of each "Kut" as the agent of God. And secondly shaman wore to symbolize the miraculous virtue of God. symbolize the miraculous virtue of God.

• Journal of Fashion Business
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• v.13 no.2
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• pp.1-16
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• 2009

The purpose of this study was to analyze the signification system between logo and brand image systematically in imported fashion luxury brands through semiotic approach. For this purpose, 29 luxury brands were selected from 3 department stores. According to the visual characters of logo, the types of logo used in the imported fashion luxury brands were classified into three types and the results of this study were following : First, the luxury brands used the brand logo in common that represent the name of founder or fashion designer to deliver the character of company's own brand and to emphasize the spirit of a craftsman. Second, the luxury brands also used the brand logo that design the brand initial in symmetry of the right and left or top and bottom to emphasize a unique spirit of the brand. Third, the luxury brands used the brand logo that represent or symbolize a specific animal or object to express the special quality of the brand in descriptive type. Forth, the luxury brands used the most frequently black color in brand logo that symbolize a perfection, immortality and solemnity, etc.

• Journal of the Korean Society of Food Culture
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• v.5 no.1
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• pp.43-58
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• 1990

To analyze wedding feast dishes of royal prince (1651, 1696) of Choson Dynasty, studied Gare Dogam Euigwae. Historic book 'Gare Dogam Euigwae' discribed wedding feast dishes of king‘s Choson Dynasty. The results obtained from this study are as follows. Dishes were arranged in four kinds of table, the first one called the main table, the second the right side table, the third the left side table, the fourth the confronting side table. Dishes of main table were oil and honey pastry, and fruits (pine nuts, orange, dried persimmon, torreya nuts, dried chestnut, jujube). Dishes of the second table and the third table were oil and honey pastry, and small cake made of honey and rice with patterns pressed in it. Dishes of the fourth table were cooked vegetable (wild ginseng, platy-codon, radish, white gourd melon, ginger), dried slices of meat seasoned with spices (abalone, octopus, shark, pheasant), cooked meat (wild goose, fowl, egg, pheasant, abalone), and fried fish (roe deer, fish, duck, pigeon, sparrow). The main table (同牢大宴床) and the second table (右挾床) stand as a symbol for integrity. The third table (左挾床) symbolize longerity. The fourth table (面挾床) symbolize bearing many young and connubial felicity.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.44-63
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• 2010

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

• Journal of Fashion Business
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• v.11 no.3
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• pp.106-123
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• 2007

The purpose of this research is to study if the images that make-up advertisement tries to symbolize can be altered with changes only in the colors of make-up and without any changes in other factors and if colors can be tools of communication in image. Also, we studied the interaction between the partial changes of eyes and lips. The results are as follows. First, we studied if the images that make-up advertisement tries to symbolize can be altered with changes only in the colors of make-up and without any changes in other factors. The study revealed more or less differences, however, when we applied colors of each image on photos, people had higher recognition on that image more than other images. Therefore, we can conclude that the image can be changed merely with the change from colors of make-up. Second, we changed the make-up colors of lips and eyes separately and studied the interaction of the two. When natural colors and elegant color were applied, there was no interaction of color application between eyes and lips within 0.1 significance level. In the case of romantic colors, there was interaction of applying colors between lips and eyes within 0.1 significance level. When we applied gorgeous colors and modern colors, there was interaction of applying colors between lips and eyes within 0.1 significance level. Therefore, from the interaction of the two, it was recognized to be most gorgeous or most modern when gorgeous colors or modern colors were applied in both lips and eyes.

• Journal of agriculture & life science
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• v.46 no.2
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• pp.75-82
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• 2012

This is a study on the flower pattern artwork of the west wall of the Jagyeongjeon in Gyeongbokgung to find out the type of plants and flowers represented and their symbolism. The research was conducted from July 2010 to March 2011 and the artwork classified on the basis of its horticultural traits. A number was assigned to each pattern for analysis: No. 1 is Prunus mume, No. 2 is Prunus persica, No. 3 is Paeonia suffruticosa, No. 4 is Punica granatum, No. 5 and 6 is Dendranthema grandiflora, No. 7 is Rhododendron mucronu and No. 8 is Phyllostachys bambusoides. These 8 flower patterns symbolize longevity and fecundity and their presense around the Jagyeongjeon helped to bestow good fortune on the royal family so that they might live long lives and bear many children. 4 artworks symbolize longevity, 2 artworks symbolize integrity and 1 artwork symbolizes wealth and happiness. There is also symbolism of the need to have constancy in a royal household even during secular change. Out of the 8 artworks, the imagery of a bird and a moon is represented only once, but the image of a butterfly is represented five times in the surrounding elements. The bird and butterfly symbolise freedom and happiness from free love. Women in the palace are like a butterfly wanted to be like love as a freedom and have a free and open relationship like a butterfly. But a harmonious relationship between the royal family wanted to have a symbolic meaning that could be seen of the symbolistic. Based on the "Yangwhasorok"only plants with the highest values, from the 1st and 2nd grades, were used in the artwork of the west wall of the Jagyeongjeon.