• Asian review of World Histories
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• 제2권2호
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• pp.169-195
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• 2014

This paper presents an investigation into cross-cultural transfiguration of Buddhist faith in Goryeo Dynasty, with a focus on $\acute{S}\bar{u}$raṃgama-s$\bar{u}$tra that used to be in vogue in East Asia. There are three major types of $\acute{S}\bar{u}$raṃgama-s$\bar{u}$tra faith in Goryeo: the first one was concerned about the scripture itself including its citation and publication and the compilation of its annotation books; the second one involved establishing Buddhist rituals related to the scripture; and the final one was to create Dh$\bar{a}$ran$\bar{i}$ stone poles with Dafoding Dh$\bar{a}$ran$\bar{i}$ in Volume 7 of the scripture engraved in stone. While it was the common practice to engrave Zunsheng Dh$\bar{a}$ran$\bar{i}$ in China, the number of stone poles on which Dafoding Dh$\bar{a}$ran$\bar{i}$ was engraved was overwhelmingly large. There are a couple of reasons behind the difference: first, there was a tendency of Zunsheng Dh$\bar{a}$ran$\bar{i}$ being worshiped at the national level in Goryeo, which probably explains why the percentage of Zunsheng Dh$\bar{a}$ran$\bar{i}$ stone poles designed to pray for a personal mass for the dead by engraving Dh$\bar{a}$ran$\bar{i}$ on a stone pole was considerably low. In addition, there were esoteric sects in Goryeo, and it is estimated that they must have got involved in the establishment of Dafoding Dh$\bar{a}$ran$\bar{i}$ stone poles in the former half of Goryeo. Furthermore, the Zen sects had a deep non-Zen understanding of Esoteric Buddhism and tended to practice Dh$\bar{a}$ran$\bar{i}$ in Goryeo. It is estimated that Dafoding Dh$\bar{a}$ran$\bar{i}$ stone poles were set up in large numbers in Goryeo as the prevalence of $\acute{S}\bar{u}$raṃgama-s$\bar{u}$tra faith that continued on since the former half of Goryeo was combined with the Zen sects' active position about Dh$\bar{a}$ran$\bar{i}$.

• 한국의류학회지
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• 제37권4호
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• pp.577-589
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• 2013

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.

• 한국의상디자인학회지
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• 제12권1호
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• pp.103-116
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• 2010

In view of our contemporary fashion, it is found that crossover between clothing and other items leads to creation of a new design and crossover of various cultural codes, ultimately creating a multicultural clothing design or any external outline of emerging costume designs by attempting mutual combination with other fields. Starting from a viewpoint that mutual combination style has significant effects on our contemporary fashion designs, this study intends to characterize external aspects of fashion design that changes through mutual combination style. This study focused upon analyzing costumes released by contemporary fashion designers after 2000, and addressed a variety of mutual combination styles. It gives various examples on mutual combination in fashion, seeking first to look into typical examples of mutual combination styling between fashion and art, between fashion and space and between fashion and technology. Based on those examples, this study classified crossover styles into 6 major categories such as attachment, suspension, modification, fusion, association and embedment. As a result, this study comes to a conclusion that external changes by mutual combination are characterized largely by overlap, simultaneity and deconstruction.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.43-51
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• 2004

1"his Study is to make research a Image and Symbol in the Gothic Architecture. Firstly, the concept of the symbol and the image effect are essentially based on the meaning that the activity of consciousness take on the constitution of the symbol. Therefore the image represent the deepest content of human nature has been imagination and reality. Secondly, the symbol concept showed in Gothic Architecture was associated with the passion of the order of middle ages. The world, the cosmos and the history had been revealed in Gothic architecture. In Gothic Image, Emile Male maintained the symbol of the Catholic Church as above mentioned. The Catholic Church was mirror of the natural, the institution, the moral and history, then this passion of the order was a christian order. Especially, E. Panofsky said that the scholastic method was shown in Gothic architecture. He assert that it was especially dialectic method used in theology. That is, he explained the transfiguration of Gothic Architecture with the process of thesis, anti-thesis, synthesis. These symbolize light, magnitude, clearness. Finally, symbolic image is important in Post-Modem architecture at present. Post-Modern architecture is associated with the public and the Pluralism. Post-Modern architecture attempt to communicate as symbolic language among the assumption for diverse aspect of culture.

• 한국콘텐츠학회논문지
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• 제7권10호
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• pp.250-261
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• 2007

본 연구는 최근 왕릉의 활용논의가 가장 활발히 전개되는 있는 서삼릉을 대상으로 그의 사회적 변용과 이용 및 공간적 특성을 통해 왕릉의 관광자원화 방향을 검토한 것이다. 연구결과, 왕릉의 관광레크레이션적 가치는 왕릉이라는 문화적 요인 못지않게 주변지역의 특성적인 환경 요인이 중요한 것으로 밝혀졌다. 또한 왕릉의 개발수요는 기본적으로 관광개발에 앞서 시민휴식공간으로서의 개발이 요구되고 있는바, 시민휴식공간과 관광레크레이션을 어떻게 양립시켜 나갈 것인가가 공간개발의 중요한 문제가 되는 것으로 확인된다. 그리고 왕릉의 특성은 문화적 요인, 환경적 요인과 더불어, 왕릉을 구성하는 인물적 특성과 왕릉을 둘러싼 식생 또는 경관학적 특성에도 관련이 깊은 것으로 나타나고 있어, 이러한 공간, 식생, 인물 구성에 대한 스토리 연구가 반드시 필요할 것으로 판단된다.

• 한국컴퓨터산업학회논문지
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• 제5권1호
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• pp.109-122
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• 2004

현대디자인의 변모에 가장 커다란 변화를 예고하고 전개하는 것이 바로 정보혁명에 기초한 멀티미디어의 등장이라 할 수 있다. 본 논문에서는 현금(現今)의 뉴미디어로서 디지털의 개념과 특성을 구체적으로 살펴보기 위해 변화된 환경에서 새로운 디자인 모델의 창출방법을 비교 분석하고 정보양식에 근거한 커뮤니케이션의 변화를 조망하고자 하였으며 디지털과 아날로그 속성의 비교분석과 디지털 개념과 특성을 구체화하기 위하여 디지털 미디어의 가장 커다란 특성이길 할 수 있는 ‘가상성(virtual reality)’과 ‘상호작용성(interaction)’에 대한 이론적 근거를 도출하였다. 따라서 본 논문에서는 위에서 언급된 문제점을 바탕으로 디지털디자인에서 나타나는 시공간구조의 새로운 해석방법으로 본 연구의 타당성을 입증하고자 하였다.

• 가정과삶의질연구
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• 제31권1호
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• pp.29-37
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• 2013

The purposes of the study were to try configuring categorization of floor plans of elderly centers located in apartment complexes and to find out the spatial transfigurations regarding floor plan types. The data for the analysis of the study were collected from 56 elderly centers of apartment complexes in Ulsan by observations and interviews from July 3 through 13, 2012. The results are as follows. Firstly, the floor plans of the elderly centers were categorized into six types, which were 2R+L+K, 2R+LK, 1R+L+K/1R+LK, 1RL+K, 1RLK, and 2R+K/1R+K(no living room). Secondly, there were no salient differences among the plan types for the characteristics of physical environment of the centers. The types of 2R+L+K were relatively big in size and two thirds of the centers had gender-segregated rooms. Lastly, spatial transfigurations was found in sixty-percent of the centers, which included change of spatial arrangement, functional change, and functional addition. Interestingly, the more the spaces were segregated, the more the spatial transfigurations were performed in the way for the integration of functions of the rooms.

• 한국언론정보학보
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• 제80권
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• pp.193-223
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• 2016

본 연구는 1960년대 전반기 한국 유선라디오 방송사업의 운영과 변모과정을 1963년 12월에 출범한 전국유선방송협회의 활동을 중심으로 살펴보고자 한다. 본고는 유선방송의 기술적 재정적 운영뿐만 아니라 재송신되는 방송프로그램의 편성과 운영에 대한 구체적인 해명, 그리고 국가와 관계 속에서 시장 내 행위자로서 유선방송사업자가 가진 자율성에 대한 검토가 필요하다는 문제의식으로부터, 1960년대 전반기 유선라디오 방송의 기술적 재정적 운영 및 프로그램 편성, 그리고 유선방송업자들의 협동체적 조직으로 출범했던 전국유선방송협회의 초기 사업구상 등을 살펴보았다.

• 한국실내디자인학회논문집
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• 제19권2호
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• pp.107-116
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• 2010

In Europe, traditionally the low-rised buildings for public art museum have been constructed since the 18th century like any other buildings and these are because of the technical issue for construction difficulty. Even if the low-rised art museum buildings are still continued for it's construction, gradually the high-rised art museum buildings begin to be build due to the development of contemporary technology in high-dense modern urban space. This tendency of high-rised art museum building in recent years is expected to affect on the interior space of it and most of all the spatial change in conjunction with circulation system variation is remarkable. Because the circulation system in art museum means tourist's spatial experience and it normally controls the experience of knowledge in art museum. This study is to understand how the multi-floored art museums in Europe affect to the spatial structure and how this is related to the circulation system. And also the study raised an issue on what it's social meaning is. Through these analysis the study can provide the meaning of multi-floored art museum and basic indication in art museum planning. To understand this, the study calculated the number of stories, number of vertical circulation and number of ring-structure space. Also the study tired to use space syntax tools, which are connectivity, integration value, integration value in major space, integration value in vertical circulation and intelligibility value. those tools alculated topological transfiguration of the whole space.Throughout the study, it was concluded that the influence of high-rised art museum in Europe changed the spatial structure and circulation system. The topological center of art museum that has been the grand space since 18th century changed to the vertical circulation due to the it's roll of distributing visitors to each floor. It became a starting point of spatial deployment and experience in art museum.

• 한국실내디자인학회논문집
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• 제25권6호
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.