• Smart Media Journal
• /
• v.12 no.1
• /
• pp.102-111
• /
• 2023

As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image research and break through the problem that the Iconology analysis of film image stays in narrative analysis (iconographical analysis). It can be seen from the results of this study that the second frame has different visual presentation according to the requirements of narrative. In the narrative of the film, it symbolizes the depressed tone of the film and the stressful relationship between different characters. What director Campion wants to show through the second frame is that in the film industry where the problem of women is getting better, the motif of feminist film creation has changed from the expression of female appeals in binary opposition to the expression of the appeals of diverse groups in "decentralization."

• Journal of Advanced Technology Convergence
• /
• v.3 no.1
• /
• pp.51-58
• /
• 2024

The reality of this study is that, in accordance with the development trend of human body art, art makeup and semi-permanent makeup are emerging as promising industries in the beauty industry among beauticians, and awareness of professional skill improvement is gradually increasing over time. Accordingly, interest in semi-permanent makeup has increased not only among beauticians who specialize in beauty industry or learn semi-permanent makeup, but also at beauty academies where they learn many beauty techniques, and this trending technology has been promoted at international beauty competitions by holding skill competitions for beauty technicians who specialize in semi-permanent techniques. As a venue for exchanging information about education, it is expected that synergistic effects such as dissemination of the education system can be expected. Korea's rapid industrial development has brought about great changes in the supply and demand of professional and detailed skilled manpower and in the formation of manpower in terms of technical level according to industrial development, and the skills and professional skills of beauty beauticians have improved due to the excellence of the professional education qualifications of beauticians and high skill evaluations. This had a significant impact on self-development and led to a re-recognition of the importance of efforts to achieve skilled skills.

• Communications of Mathematical Education
• /
• v.13 no.2
• /
• pp.563-589
• /
• 2002

고학년으로 갈수록 지필 환경에만 머무르는 현실 속에서 생활 및 예술 작품 등에서 수학적 원리와 개념을 발견하도록 하는 테셀레이션 수업은 학생들의 흥미와 호기심을 유발하고 수학의 아름다움을 느끼게 하는 것 이상으로 기하학적 사고의 기초를 학습하는데 도움을 줄 수 있다. 이에 본 연구는 4학년까지 적용되고 있는 7차 교육과정을 중심으로 새롭게 등장하고 있는 테셀레이션에 대한 이해 및 교수 학습 자료가 체계적으로 정비되어 있지 못한 현실적인 문제의 해결 방안으로서 테셀레이션을 활용한 수학 학습의 내용을 분석하여 교사들에게는 테셀레이션의 이해 및 교수 학습 자료로서 , 학생들에게는 수학의 기하적 개념들을 쉽고 재미있게 학습할 수 있는 학습도구로서 활용할 수 있도록 하는 것을 목적으로 테셀레이션을 구현할 수 있는 컴퓨터 소프트웨어를 활용하여 테셀레이션 교수 학습 자료를 개발하였고 이를 위해 다음과 같은 연구 내용을 설정하였다. 가. 테셀레이션의 정의와 예 그리고 종류를 알아보고 테셀레이션 속의 수학적 개념을 활용방법과 함께 제시한다. 나. 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 테셀레이션을 적용할 수 있는 내용영역을 분석하고 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한다. 다. 제작된 테셀레이션 교수 학습 자료의 효과적 활용을 위한 활용 방안을 탐색한다. 라. 제작된 테셀레이션 교수 학습 자료의 활용 효과를 알아보기 위해 적용 실험을 하고 이에 대한 학생들의 반응을 분석하여 학습의 효과를 밝힌다. 제작된 테셀레이션 교수 학습 자료의 적용 실험을 위하여 광주대성초등학교 6학년 한 반을 선정하였고 약 4주에 걸쳐 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료를 투입하여 4번의 활동수업을 실시하였다. 수업 후 작성된 학습지와 소감문 및 연구자에 의해 관찰된 수업내용을 바탕으로 다음과 같은 연구 결과를 얻을 수 있었다. 첫째, 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한 결과 지필적 환경에서 제한적이었던 탐구하고 조작해보는 활동을 할 수 있는 역동적인 수학 실험실 환경이 제공됨으로써 도구적 이해가 아닌 관계적 이해를 하는 것을 확인할 수 있었다. 수학적 개념을 암기하는 것에서 벗어나 자연스런 조작을 통해 학생들이 개념을 이해하고 탐구하는 과정 속에서 학생들은 수학을 공부한다기 보다는 수학 속에서 재미있게 놀이한다는 생각을 가지고 수업에 참여하였고 배우는 즐거움을 알고 자신감을 가지며 더 나아가 창의적인 생각을 하도록 하는 기회를 줄 수 있었다. 둘째, 테셀레이션은 우리 생활 속에서 쉽게 발견할 수 있는 것으로 수학이 단순히 책에서만 한정되지 않고 다양한 분야 즉 디자인, 생활 속에서의 벽지문양과 포장지, 예술작품 등에 활용되고 있음을 체험함으로써 수학이 실생활에 광범위하게 활용되고 있음을 알게 하였다. 역으로 생활 속에서의 테셀레이션을 통해 수학적 개념을 찾는 과정을 통해 수학이 아름다우면서도 실용적이라는 생각을 심어줄 수 있었다. 셋째, 테셀매니아, GSP, 캐브리, 거북기하 등 평소 수업에서는 활용도가 적은 컴퓨터 소프트웨어를 활용함으로써 컴퓨터 소프트웨어 자체에서 오는 호기심뿐만이 아니라 직접 조작하여 테셀레이션 작품과 개념을 익히고 새로운 작품과 학습을 해 내는 과정을 통해 자신감과 성취감 등에 있어 큰 변화가 있음을 발견할 수 있었다. 컴퓨터 기능이 미숙한 학생의 경우 처음에는 당황해 하고 어려워하는 부분도 있었으나 조작할 시간적 여유를 주고 교사와 우수한 학생들이 도우미로서 역할을 잘해내어 나중에는 큰 어려움 없이 마칠 수 있었다. 테셀레이션이라는 용어가 아직은 생소한 현장에서 교수 학습 자료가 부족하고 그에 따른 이해도 부족한 현실 속에서 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료가 교수 학습 현장에 투입되어 유용하게 사용될 수 있는지 그 가능성을 조사한 것을 목적으로 한 본 연구의 결과로서 테셀레이션이라는 주제는 도형 영역과 규칙성과 함수 영역에서 평면 도형의 각과 모양 등의 성질을 탐구하게 하고, 대칭변환의 개념을 효율적으로 학습하게 할 수 있고, 반복되는 모양에서 규칙성을 발견하고 부분과 전체를 파악하여 패턴을 인지할 수 있게 하며 제작하고 분석하는 과정을 통해 여러 가지 수학적 개념과 수학적 창의성, 수학적인 아름다움을 느끼게 할 수 있음을 발견할 수 있었다. 또한 테셀레이션은 수학적 개념은 물론 수학과 미술, 수학과 일상 생활과의 연결성을 논의하고 확인하는 데 흥미로운 주제가 될 수 있다. 초등학교 교육과정에서 새롭게 도입되고 있는 테셀레이션을 활용하여 지도하기 위한 교수 학습 자료로 유용하게 사용될 수 있고 앞으로는 테셀레이션과 관련된 내용이 직접적으로 교육과정 내에서 다루어지고, 또한 테셀레이션을 적용한 수업이 학생들의 기하학적 사고 및 수학적 태도에 미치는 영향과 관련한 연구가 뒤따라야 할 것으로 본다.

• Archives of design research
• /
• v.20
• /
• pp.279-291
• /
• 1997

The history of modern design begins with the arts and crafts movement(1860). The importance of the movement which decorated the outset gave birth to all the trends of thought which would occur under the circumstances within it, and is deemed that the ideas of the figures who played an active part in the movement might be ceaselessly continued through the works and ideas of their outstanding juniors or purpils as a doctrine of the philosophy of design. Therefore, it might be a prerequisite that the significance and spirit of the movement, and its developing process should be addressed in detail in the first place, but for the limited space of this paper, it was intended to desvribe only the part which can be interpreted in duplicate, linked with post-impressionism. The subject of this thesis is about a theory of art in which both ideas of the movement(1860) and the post-impressionism(1910) are comparatively reviewed. The genre, strictly speaking, is classified into the history of painting, and there is a gap fo about an half century between the issues which are comparatively discussed here. Both the movements began in a same environmental place of England, specially the movement at Milieu in England, and since there is a common point that the representative runners of each movement, William Morries(1834-1896) and Roger Fry(1866-1934), belong to a same race of Engol-Saxon, their ideas coincide with an aesthetic scholar, H. Tanie's aesthetic interpretation method and the more important is, as being elucidated in the comment and aesthetic theory for which Roger Fry gave effort and activity in his later life, that when he read intensively Ruskin's books, $\ulcorner$Modern Painters$\lrcorner$and$\ulcorner$Stones of Venice$\lrcorner$he had solidified his idea of post-impressionism while giving approval and criticism on them. After all, as in a co-painter, Windyham Lewis's reference of 'Roger Fry's Too Late Morris Movement', he, inspired by the actual activities of Morris, played activities similar to that of Morris in which exhibiting and selling some of his decorative art works signed by him and the works of post-impressionism through (1913-1920). Herein, that is wished to add a remark by this author is a point that the author of$\ulcorner$Vision and Design$\lrcorner$, Roger Fry, has not be made a subject of discussion specially in the Korean world of design. So, with this case of a thesis, it's wished that many latent awakened, design persons in korea give efforts to researching into Roger Fry so that their findings could be officially announced in the would. By the way, what is tried to describe in this paper from now on is to analyse and review the origin of post-impressionism which idea was first coined in the art world through the 1st and 2nd exhibitions of 'Manet and Post-impressionism' which were opened each at the Grafton Gallery in 1910 and 1913 by him. And also, it is intended to review it through the art journals and some references by critics of the day in which favorable criticism or severe criticism were ready to comment through the opinions and influences of the coworkers of Roger Fry, say, Clive Bell, Desmond Maccarthy, etc. and of himself as a main axis, on the art ideas of Gauguin, Gogh, Matisse, and Cezanne whose works were the typical ones participated and exhibited in those 1st and 2nd exhibitions.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.3
• /
• pp.18-27
• /
• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.4-25
• /
• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.36 no.6
• /
• pp.1-11
• /
• 2009

This study focuses on Abstract Types in Contemporary Landscape Design. The formation and artistry of contemporary landscape design reveals many areas which Previously have not been able to be expressed in scenic landscape thanks to the deviation of the genre in contemporary landscape and the hybridization that has occurred among architecture, landscape and art genres. The focus of this study is basic research concerning "the abstract", which is used as a creative artistic theory in a variety of art fields such as landscape, architecture and painting. Through a theoretical establishment of "the abstract", its process of change, and the discovery of its contemporary principles, the relationship between each art field in landscapes and the formation of the abstract, abstract language, and abstract properties have been studied. The use of the abstract in contemporary landscape design can be classified in three ways: Inductive abstract representing conceptual transcendental symbols not logically but rather through intuition and transcendental cognition to display the inner expressions, ideas and minds of the artists. Second, a deductive abstract represents an expansive, logical model for the simplification of objects, distortion, exaggeration based on knowledge and logical reasoning about objective fact based on traditional realism. The complexity of the abstract is a concept that is bound to both the deductive & inductive abstract. As a major trend, the concept of "The abstract" in contemporary landscape has been putting forth ever-deeper roots. New trends like abstract works and landscape architecture reflecting the artist's inner expression, in particular, will provide fertile soil for landscape in the future. Further research about the concept of "the abstract" will also be necessary in the time to come.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.4
• /
• pp.212-240
• /
• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.