• 한국전통조경학회지
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• 제32권1호
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• pp.63-73
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• 2014

본 연구는 조선시대의 대표적 별서정원인 소쇄원을 사례로 전통 공간에서 나타나는 기호 및 기표로서의 상징적 색채발현 분석 및 그 의미 해석을 통해 작정 의도와 색채와의 관련성 분석을 목적으로 수행하였다. 전통 색채 및 소쇄원의 작정배경 등에 대해서는 관련 문헌연구를 통해 수행하였으며, 실증적 분석 대상으로서의 내용은 소쇄원도와 소쇄원 48영 시문에서 나타나는 경관 및 공간 요소 그리고 음양오행사상(陰陽五行思想)에 근거한 오정색과 관련한 작시의 내용을 대상으로 하였다. 특히, 소쇄원에서 나타나는 공간적 요소를 크게 시각적, 공감각적, 상징 인식적 공간 요소로 구분하여 시각적 공간으로 공간 및 경물의 위치와 방위, 공감각적 공간으로 계절과 시간 및 오관, 상징 인식적 공간으로 칠정과 사단 등으로 구분하고 각각의 공간요소에 대해 오정색 체계 분석을 통해 작정 의도와 공간 의미의 상관성 여부를 분석하는 방법을 통해 연구를 진행하였다. 소쇄원의 3개 공간 구성을 기준으로 색채를 분석한 결과, 모두 74개의 오정색 항목이 도출되었다. 첫째, 시각적 공간 구성요소에서는 청색 2회, 적색 1회, 황색 6회, 백색 4회, 흑색 5회 등 모두 18회의 오정색 요소가 나타났다. 이 분석 결과에서 자연과 생명을 상징하는 청색과 적색보다도 만물의 근본을 상징하는 황색과 깨끗함과 순결을 상징하는 백색이 상대적으로 높게 나타난 것은 양산보의 소쇄원 작정 의도가 자연을 즐기는 데 우선을 두기보다는 오히려 정의롭지 못한 세상에 대한 작정자의 순결한 의지를 상징하기 위한 의미와 연결되어 있는 것으로 해석될 수 있었다. 둘째, 소쇄원 48영에서 주로 추출된 공감각적 공간 구성 요소에서는 청색 11회, 적색 8회, 황색 4회, 백색 5회, 흑색 10회 등 38회의 오정색 요소가 나타났다. 여기서는 자연과 생명을 상징하는 청색과 적색이 세상의 근본과 순결 그리고 지식을 상징하는 황색과 흑색보다 높게 나타남으로써 비록 작정자의 세상에 대한 순결성을 지키고자한 의지로 공간을 작정하였지만, 별서정원에서 자연 즐김과 지식 탐구에 대한 감정을 누리려는 별서 고유의 기본적 기능에 충실하고 있음을 의미하고 있는 것으로 해석되었다. 마지막으로 역시 48영에서 주로 추출된 상징 인식적 공간 요소에 대한 오정색은 청색 4회, 적색 5회, 백색 9회 등 18회가 나타나는 것으로 분석되었다. 이 색채 분석 결과에서는 정치적 순결을 상징하는 백색이 자연과 생명을 상징하는 청색과 적색과 같은 빈도로 출현하고 있음으로써 소쇄원의 작정 의도가 시를 통해 정치적 순결성 강조와 자연 즐김을 동일한 비중으로 감정적으로 드러내고 있는 것으로 해석되었다. 특히, 이 3종류의 분석에서 공감각적 공간 구성요소에 대한 오정색의 빈도가 38회로 약 51%로 가장 높게 나타나고, 시각적 공간 구성 요소와 인지 상징적 공간 구성 요소가 각각 18회로 각 24.5%의 빈도 분포를 보이고 있다. 이러한 현상은 양산보의 소쇄원 작정 의도는 전체적으로 보면, 정의롭지 못한 세상에 대한 작정자의 순결성을 지키고자 함과 함께 별서정원의 기본인 자연과 자연의 생명력을 즐기려는 의도가 같은 비중으로 숨어있음을 상징하고 있다고 해석을 될 수 있었다. 본 연구는 소쇄원 작정의 상징적 의미와 공간 구성 요소와의 상관성을 음양오행설(陰陽五行說)에 근거한 오정색을 기준으로 분석함으로써 전통 별서정원에서 숨어있는 전통 색채를 밝히고자 하였지만, 이러한 이론이 다른 별서정원에서도 일반적으로 적용될 수 있을 것인지를 탐색하는 것은 소쇄원과는 다른, 순수한 자연 즐기기나 강학, 기능 등 뚜렷한 작정 의도가 숨어 있는 다른 사례의 별서정원에 대한 연구를 통해 밝혀질 수 있을 것으로 사료된다.

• 복식
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• 제59권5호
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• pp.115-134
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• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• 복식문화연구
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• 제25권2호
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• pp.130-144
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• 2017

The purpose of this study is to apply iconology to discover the symbolic system of imaginary animals focused on four representative auspicious animals in Korean folk paintings. Study methods included literature review of folk paintings, iconological analytics books, and articles. A total of 16 folk paintings of four auspicious animals in the Joseon Dynasty were analyzed using Panofsky's iconology. The four auspicious animals were Yong(dragon), Bonghwang(the eastern version of the phoenix), Shingoo (divine turtle), and Kirin(one-horned combination of a dragon and horse). According to iconological analysis, Yong is a typical symbol of royal authority, a deity of water as an object of respect with a remarkable talent of transformation, and in iconographical interpretation, represents reverence for transcendent power. Bonhwang is the symbol of a king, sun worship, the emblem of nobility and integrity, and in iconographical interpretation, the psychic bing in the sky. Shingoo is fortune prophecy, longevity and immortality, an envoy of deity, and according to iconographical interpretation, the organic view of the world. Kirin is a divine benign creature, a symbol of talent and honor, mediator between sky and earth, and in iconographical interpretation, an expression of Confucian ideology. This study produced three results. First, the four auspicious animals projected the human hope to overcome human limitations through divine creatures with mythical abilities. Second, they reflected everyday common hopes and values of pursuing fortunes and happiness. Third, the four auspicious animals' iconology was not independent of each other; it seemed to be common to and combined with each other.

• International Journal of Advanced Culture Technology
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• 제6권2호
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• pp.65-71
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• 2018

In the digital era, news consumption is not confined in geological boundaries. Technological advances bring the instant dissemination of news into life and allow news audience to consume events that occur far away almost in real time. The transmission has blurred the boundary between traditional media and new media, and the one between physical and virtual world. That is, what if a journalist applies news framing to the news translation process? This paper aims to investigate the gap between the ST and the TT created when the source news texts undergo a translation process. To achieve this aim, the appraisal theory developed by White (2003) is employed to identify a difference between the ST and the TT. Furthermore, we have attempted to identify differences between soft news stories and hard news stories while the STs from both news stories are translated into the TTs. Two time-sensitive events, Hugh Grant's marriage and a U.S. and North Korea summit, were selected. The former (a soft news story) is extracted from the Telegraph and the latter (a hard news story) is from the Washington post. As a result, it was found that such strategies as attitude, engagement, and judgment were used when the source news texts from the hard news story are translated into the target news texts. Under the appraisal theory, the strategies involve evaluative language which refers to positive or negative language that judges the worth of entities. In general, it is said that a journalist frames the SS (especially from the hard news story) to convey his ideology to news consumers. Hypothetically, we assume that a similar framing process takes place in deriving the TT from the SS of the hard news story. Thus, we could conclude that the TT from the hard news story differs from the TT from the soft news story and that the difference can be explained within the framework of White's appraisal theory.

• 복식
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• 제65권1호
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• pp.30-45
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• 2015

This study summarizes the dissemination aspects of liturgical vestments in Korea, and organizes the value and meanings of these disseminations as it appeared in the history of costumes by carrying out an empirical analysis on the relics of liturgical vestments since the modern times. It also examines its design characteristics as well. Liturgical vestments have symbolic meaning for the purpose and solar term of ceremonial occasions and it also functions as a way to differentiate the position and duty of the clergy. Liturgical vestments developed on the basis of ancient Greek-Roman costumes and transformed each situation and social trend of the age. Korean liturgical vestments started with their traditional costumes, in 1887, it were changed into French(western) style with freedom of religious. After the secondary Vatican Council held in 1962, various regulations were changed to spread the Catholic doctrines and ideology. This study conducted an empirical analysis and design consideration on the 28 relics of modern liturgical vestments on the basis of the foregoing standard and concept. As a result of analysis, relics were investigated as research materials worn by Bishops after 1960s. And design elements are that the relics used materials and ornament of Hanbok with flower patterns and decoration such as letter patterns including 壽(life) 福(luck) 喜(pleasure) as well as Chrysanthemum and Mancaowen design. These transition reflected by amend regulation of Vatican Council II. Accordingly, this data has been confirmed to be important for the history of costumes as it informs what process of changes liturgical vestments spread in Korea went through before they are worn as current appearance.

• 한국실내디자인학회논문집
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• 제11호
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• pp.11-19
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• 1997

This stduy aimed to suggest a possible way for a new setting of interior design education through analyzing educational situations of domestic interior design societies. The study showed that interior design education should not follow expressive methods made from practical work which had been popular in the past and it should establish fundamental formation to make interior design education useful in industrial fields through active educationalindustrial complex. Interior design education is not possible without interrelationship with other professional fields and cooperative attitudes among them. The rapid development in the modern industrial world and the ever-growing information processing world regardless of ideology and regiional boundaries indicate that the future of interior design education will be no longer effective with traditional education systems. The idea suggested in this study may be understood as a bridge between the educational reality and its ideal in interior design teaching. The main points of the study are follows. First, the projects of advanced interior design should be focused on increasing the ability for problem solving rather than accumulating basic knowledge. Second, motivation is important for the maximization of the efficiency of educatiov. Therefore a few suggestions in establishing design conditions, as strategies of inducing 'attention', 'self-confidence', 'satisfaction', and 'relevance' are closely examined to propose practical application methods. Third, educational methods should be developed towards creativity in order to increase abilities of thinking and expressiov. Finally, it is necessary to explore various device which help internship participants to get experiences with a sense of practical situations in industrial fields. This could be possibly done by enforcing academic grades for the work done as an internship participation; by employing workmen in industrial fields as faculty members; and by bringing faculty members into actual industrial situations and providing workmen with lectures. A new approach for a better design education seems to be desirable for the future.

• 디자인학연구
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• 제20권
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• pp.173-182
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• 1997

이 시대에 국경 없는 글로벌 시장(Global Market)의 무한경쟁시대 직면해 있음을 인식한 국내의 유수한 기업들이 과거 내수시장을 탈피하여 국제화를 지향하기 위한 글로벌 경영을 선언하고 초일류 제품디자인 개발을 시도하고 있다. 이 같은 현상은 글로벌 화된 제품디자인을 통해 마켓쉐어(Market Share)를 상승시키는데 그 중요성에 대한 인식이 커지고 있음을 반영한 것이다. 따라서 본 연구는 글로벌 제품디자인 개발의 접근을 인류문화의 기호론(嗜好論)과 디자인 측면에서 재해석하고, 또 인류 모두가 좋아하는 공통적 기호(嗜好)를 유추 또는 수용하여 접근할 수 있는 방법을 제시하는데 목표를 두었다. 글로벌 제품디자인 접근의 구성요소인 디자인과 커뮤니케이션 관계에서 기호론 적 표현컨셉트와 아이디어를 전개하는 방법을 합리적으로 체계화 하고자 하였다. 이를 위해 기호론 적 문헌 연구를 토대로 디자인 접근방법을 디자인 프로세스에서 적용시키면서 사용자와 디자인, 기업 이념과 기호론 적 표현에서 의사전달(Communication) 접근방식을 제시하였다. 그리고 우리의 전통문화에서 형태적 아이디어를 발췌하여 접근하는 가운데 화장품 용기디자인을 사례로 하였다.

• 복식
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• 제38권
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• pp.213-231
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• 1998

The purpose of this study is to find a root from naturalism to contribute the identity of Korean fashion design in the world which has universality and particularity. The beauty of nature has accumulated in our unconscious-ness, influenced to our unconsciousness, and contributed to make the formative sense. Our consciousness influenced by climate, for example, the sense of softness from soft curve which can feel from the sight of Korean mountain, land the sense of comfort and security from round rock formed by weathering, the sense of thick-ness from cotton to endure cold winter etc. has a tendency to thick and act by nature's law. This tendency made naturalism by Korean climate and linked to the sense of natural-istic beauty and became a important part forming the Korean fashion design. In this study, the researcher found Korean climate is a important factor acting in our consciousness, and influenced the formative sense. The concept of climate which is made our formative sense include topography, climate, soil, plant and so on. This influenced a lot to set up a foundation of Korean fashion design. And the naturalism by Korean climate newly created and developed shape, color, material and design. It is our duty to develope design based on naturalism to secure the competitive power against the world in this period of information and this design is getting important as a high value added method put into Korean culture. Therefore, developing Korean design which shapes the beauty of Korean nature and traditional culture will have a important competitive power in the world. Moreover, it will make a new tradition of Korean fashion culture stagnated by internationally universalized western fashion after the modernization. Also, it will be needed to develop a common design which can be agreed not only us but all the world for the request of these days of international. Therefore, this study contributed to find definite ours and found centripetal point to find the direction of Korean's philosophy and ideology. But this approach, we could secure the competitive power in this period of international and information and determine and develope the Korean fashion as a culture base, leading the world.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.162-172
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• 2004

Architects and designers of the 20th Century made various efforts to establish new design languages reflecting the changes of society, the times, and environment. They used furniture, especially chairs, as controversial items of aesthetic value, society and ideology. Le Corbusier and Alvar Aalto are furniture designers as well as architects, who adopted this ‘spirit of the times’ actively and have greatly contributed to modernism. This study will help us to understand the diversity of design since modernism, by comparing these two designers' furniture design. It also covers the common factors In modern furniture design, and analyses their individuality and likeness In design. The following is a comparison of furniture design by Le Corbusier and Alvar Aalto. Le Courbusier linked International design and Aalto linked Rational design and Organic concept design to their furniture, just as they did in their architecture. They were able to establish the base of modern furniture design by adapting new concepts and pursuing humanism. In structure, Le Corbusier's furniture Is simple and proportional. It demonstrates a sophisticated geometric composition, mechanical beauty. On the other hand, Aalto rationally linked nature with human requirements and his furniture is organic and in harmony with geometric structure. In function, Le Corbusier's furniture is standardized and prefabricated. He designed for the user so they could choose to use the furniture efficiently to suit their needs. In comparison with Le Corbusier, Aalto Invented the ‘Stacking Chair’ which allows a more effective use of space and reflected the structure of the human body to improve the user's comfort. In materials and techniques, Le Corbusier used new materials like metal or leather, and attempted new ways such as welding, prefabrication, and standardization for production. On the contrary, Alto mainly used birch, which is the traditional material in Finland, and tried new bent wood techniques and joining methods.

• 대한가정학회지
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• 제37권1호
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• pp.15-28
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• 1999

Living culture, which is a pattern of peoples' everyday living, is influenced by the socio-economic conditions as well as ideology of the society. South and North Korean societies have been segregated during the past 50 years with different socio-economic conditions and idelolgies, resulting different living cultures, even though those two societies share the same traditional culture. This project was developed to identify the differences in living cultures between South and North Korean concentrated on finding out the current living culture of North Korean families. Based on indepth interview with ten people who escaped from North Korea after 1990, empirical survey with 158 subjects was conducted. The subjects with various demographic backgrounds were asked about lifestyles concerning clothing, food, housing that they experienced when they were in North Korea. This study revealed differences in many aspects of living cultures of South and North Korea, and relationships were suggested in three lifestyles. The study was intended to provide ground for more information to the following study that will explore the cue of integration between South and North Korean societies in living culture.