• Cartoon and Animation Studies
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• s.17
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• pp.133-146
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• 2009

In modern days, the iconic symbolicity of animal characters functions as a sign by the social promise after being made with voluntary intentions. Representing a public organization or corporation, an animal character is put to active use as a symbol. Today illusionary animal characters serve as important icons, and product developers incessantly put out animal contents. This study set out to examine the applications of animal characters in modern times according to media development by integrating animal characters into animation, which was the beginning of animal characters, based on the theoretical background of "symbolicity" in the aesthetics history. It also analyzed the symbolicity of "Haechi," which is Seoul's animal character and one of the good examples of utilization of a promotional animal character by a corporation or public organization.

• 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.

• Journal of Korea Game Society
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• v.8 no.1
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• pp.41-48
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• 2008

If an association for a color develops and comes to form any kind of common idea, a symbolic meaning is given to the color. It is called' symbolism of color' that color builds up an abstract general idea, an emblem, feeling except things concrete. The color of game is the visual element that one can be immersed in the game, the image which act as important meaning, the attribute of light, and visual perceptional factor. With form, motion, light and shade, the color function importantly as media which express a person and person's circumstance. In game, the color is used symbolically to suggest not only mental change of character but also the situation, mood, attribute and strength of energy. These transmission of meaning express symbolism of the color iconically. So, the color for image express of game take on universality. This study research that focus on how the symbolical meaning of the color is reflected in game.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.145-153
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• 2006

'Regardless of our consciousness, Color is the energy that we are affected by positively or negatively.' said Johannes Itten. When we see the color in nature, the color acts to our emotion most preferentially and most strongly. These experiences of color become symbol or icon to us and express states of his mind as allegory. The color of animation is the visual element of image media, the image which act as important meaning, the attribute of light, and visual-perceptional factor. With molding factor form, light and shade, the color function importantly as media which express a person and a person's circumstance. In animation, the color is used symbolically to suggest not only mental change of character but also the condition. The transmission of mental meaning express symbolism of the color iconically. Accordingly, the color for image express of animation take on universality. This study focus on how the symbolical meaning of the color is reflected in a work.

• Journal of Korean Philosophical Society
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• v.152
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• pp.59-79
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• 2019

The main purpose of this paper is to critically examine the intractable problems of Peirce's notion of 'symbol' as a higher and perfect mode of sign, and present a more appropriate account of the higher status of symbol from an experientialist perspective. Peirce distinguished between icon, index, and symbol, and suggested symbol to be a higher mode of sign, in that it additionally requires "interpretation." Within Peirce's picture, the matter of interpretation is to be explained in terms of "interpretant," while icon or index are not. However, Peirce's conception of "interpretant" itself remains fraught with intractable opacities, thereby leaving the nature of symbol in a misty conundrum. Drawing largely on the experientialist account of the nature and structure of symbolic experience, I try to explicate the complexity of symbol in terms of "the symbolic mapping." According to experientialism, our experience consists of two levels, i.e., physical and symbolic. Physical experience can be extended to symbolic level largely by means of "symbolic mapping," and yet is strongly constrained by physical experience. Symbolic mapping is the way in which we map part of certain physical experience onto some other area, thereby understanding the other area in terms of the mapped part of the physical experience. According to this account, all the signs, icon, index, and symbol a la Peirce, are constructed by way of symbolic mapping. While icon and index are constructed by mapping physical level experience onto some signifier(i.e. Peirce's "representamen"), symbol is constructed by mapping abstract level experience onto some signifier. Considering the experientialist account that abstract level of experience is constructed by way of symbolic mapping of physical level of experience, the symbolic mapping of abstract level of experience onto some other area is a secondary one. Thus, symbol, being constructed by way of secondary or more times mapping, becomes a higher level sign. This analysis is based on the idea that explaining the nature of sign is a matter of explaining that symbolic experience, leaving behind Peirce's realist conception of sign as a matter of an event or state of affairs out there. In conclusion, I suggest that this analysis will open up new possibilities for a more appropriate account of the nature of signs, beyond Peirce's complicated riddles.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.1010-1014
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• 2009

Acceleration of the globalization process as they are internationally accepted, standardized. A lot of somebody started to feel tired of the standards symbols, and like to pursuit the original and natural, and hope that the new interest in the emergence of visual symbols. Dongba (東巴文字) text are Naxi(納西族) Dongba pictograph (象形文字) of a concrete nature in china, Characterized by simplicity, abstraction, associative, interesting, decorative, symbolic etc. These features can quickly identify and satisfy to the people's demand for special aesthetic.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Journal of the Korean Applied Science and Technology
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• v.40 no.2
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• pp.355-362
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• 2023

Characters in visual media have different symbolic meanings depending on their orientations or roles. 『山海經』 is a fantasy novel written around the 3rd or 4th century BC., and the characters in the classical Chinese novel have various meanings and symbols, such as disasters, wealth, diseases, etc., according to their types. The symbolism of animals that the Chinese think of, the symbolism of characters in fantasy novels, and the morphological analysis are necessary elements in the development of characters and the film industry in China. This study analyzed the images of characters as follows, focusing on classical Chinese fantasy novels 『山海经』, 『山海经圖象全體』, and 『山海經圖』 and the fantasy novels of the Qing Dynasty 『山海经存』 and 『山海经圖錄』. First, the shapes of characters are slightly different in illustration images. Second, Among 453 characters in 山海經, there are a total of 8 characters related to flood damage, such as floods, rainy season, etc.: 'Jangwoo', 'Hapyu', 'Hwasa', 'Yeongryeong', 'Buje', 'Seungwoo', 'Manman', and 'Naeo' Third, it can be seen that the characters are creative ones that are combined with objects and animals and plants, apart from the symbolic meanings of real animals and characters in 山海經. It is believed that the continuous analysis of the characters in 山海經 will enable them to be widely used in the film industry.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.198-221
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• 2009

Royal tombs of Joseon dynasty are the crystallization of history, ideology, culture, art, architecture, and ritual ceremony of Joseon dynasty, all mingled in one. So, they are very significant symbols showing 500 years of dynastic history as a whole. Among various factors comprising a royal tomb, stone figures surrounding grave mound are special factors as a symbol protecting it. Further among them, twelve zodiac images arrayed nearest to the grave mound represent the core of the function. Images of twelve zodiac signs originated from the tombs of the Unified Silla Kingdom are certain to hold important role and position in the construction of royal tombs, judging from huge scale and excellent sculptural art of them. However, both their scale and form had been gradually simplified in Goryeo and Joseon dynasty, thus the importance of them has been underestimated compared to other stone figures Images of twelve zodiac signs were very important factors which decorated royal tombs both as a protective role and as a concept of direction. Their historicity and symbolism cannot be neglected in that they had been transmitted to the royal tombs of Joseon dynasty. In this paper, images of twelve zodiac signs expressed in the royal tombs of Joseon dynasty are classified into 3 forms, and reviewed the origin and development of them for each period. They could be classified into 3 forms ; civil vassals with human body and head, civil vassals with human body and head wearing hat decorated with zodiac animals, Chinese characters of either zodiac signs or either a combination of 10 calendar signs and 8 trigrams. The above 3 forms originated from China and became a favorite motif to decorate the royal tombs from early Joseon period until late Joseon by replacing each other and thus changing along the course of the dynasty. In the meantime, we can see a unique character in the images of twelve zodiac signs of royal tombs of Joseon dynasty. In some cases, 24 directions are expressed in which 10 calender signs and 8 trigrams are composed altogether. Images of twelve zodiac signs in the royal bombs of Joseon dynasty are very significant as evidences by which we can confirm uniqueness and tradition of Korean tomb system transmitted from Unified Silla period.

• Archives of design research
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• v.17 no.4
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• pp.327-336
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• 2004

The cultural production of meanings is becoming more and laden with the intricacies of signs and symbols in our times. The idea of 'character' is important as an intermediation for information and an essential characteristic of "the object" experienced through the sence of sight. Character is symbolicin its form but also in its iconic markings. Motion Picture Animation makes Character not just an expression of an image but visual communication that expands the action of meaning piled up, sign upon sign. The analysis of 'character' suggests that motion picture animated characters could play an important role as a cultural mode leading to new styles not merely as an aesthetic mechanism. The study there with analyzed animated character systematically to discem where the sign phenomena shows up in social conventions under the semiotic rigor of Peirce's concepts of icon, index, and symbol.