• 문화기술의 융합
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• 제9권3호
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• pp.537-550
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• 2023

본 연구는 한류의 세계적인 확산으로 한류 휴먼브랜드의 영향력이 높아지고 있는 반면, 이를 중심으로 한 학술적인 논의가 많지 않다는 점에서 한류 휴먼브랜드가 소비자 행동에 미치는 영향성을 자아일치성, 휴먼브랜드 애착과 브랜드 자산 요인으로 검증하였다. 한류 소비가 많은 중국 소비자를 대상으로 온라인 설문조사를 진행하였으며, 403명의 데이터를 분석에 사용하였다. 연구 결과, 한류 휴먼브랜드와의 이상적 자아일치성과 실제적 자아일치성은 한류 휴먼브랜드 애착에 유의한 영향을 미치는 것으로 나타났으나, 사회적 자아일치성은 유의하지 않은 것으로 나타났다. 또한 한류 휴먼브랜드에 대한 애착은 브랜드 인지, 지각된 품질, 브랜드 이미지와 브랜드 충성도에 긍정적인 영향을 미치는 것으로 나타났다.

• 유통과학연구
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• 제22권3호
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• pp.21-31
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• 2024

Purpose: The primary aim of this study is to explore how social media marketing influences customer purchase intention, focusing on the roles of customer engagement and trust as mediators. Research Design, Data, and Methodology: The investigation utilized an online survey conducted in Chinese on the Questionnaire Star platform. It targeted male and female consumers aged 18 and above who purchase products online, yielding 1107 valid responses from across major Chinese cities. Results: Analysis reveals that social media marketing significantly affects customer purchase intention in a positive manner. It also enhances customer engagement and trust, which serve as crucial mediating variables linking social media marketing to purchase intention. The study found that engagement and trust facilitate brand identification and alignment, thereby directly boosting purchase intention. Conclusion: The findings offer essential insights for businesses aiming to improve their social media marketing impact on consumer behavior. It highlights the importance of fostering user engagement and trust, as well as creating a favorable brand image. These elements are key to influencing consumer purchase decisions within social media contexts. The study advises businesses to engage deeply with consumers and build trust, providing practical recommendations for navigating the evolving social media environment towards sustainable growth.

• 한국의류학회지
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• 제48권3호
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• pp.576-595
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• 2024

Bracelets have enjoyed extensive use among the Chinese since antiquity as decorative pieces credited with warding off evil forces and inviting auspicious fortune. This study aims to integrate traditional cultural elements, such as Yuan blue and white porcelain flower patterns, into modern design using 3D printing technology to create culturally inspired bracelets. To this end, bracelet designs from the top four museums on Taobao were examined. In addition, we analyzed online reviews of culturally themed bracelets using text mining and applying FEA criteria and found that Chinese consumers are easy to wear and sizable, enhance cultural pride, and drive the demand for artistically sophisticated bracelets. The research culminates in the development of a modular bracelet design inspired by flower motifs from blue and white ware of the Yuan dynasty, with an emphasis on iterative improvements based on reviewer feedback. The final design meets consumers' expressive and aesthetic needs while also maintaining cultural integrity and functionality. The aim of the study is to inspire pride in traditional culture, provide insights for fashion accessory industries, and promote the national image through the development of culturally inspired products.

• 한국지역지리학회지
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• 제16권5호
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• pp.497-516
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• 2010

본 연구에서는 서거정의 '대구십영'에 대한 한시 해석과 고문헌 조사 및 현장답사를 통해 대구십영지의 장소 고증을 지리학적 관점에서 규명하여 보고 다음과 같은 연구결과를 얻었다. 1) 그동안 논란이 있어 왔던 대구십영지에 대해 고문헌 및 현장답사를 통하여 비교적 정확하게 고증하였다. 2) 제7영의 '동사심승' 중 잘못 사용된 한 개의 한자어를 찾아냄으로써 기존의 잘못된 해석을 바로 잡을 수 있었다. 3) "동국여지승람"을 토대로 발간된 "사가집"에 게재된 '대구십영'이 "신증동국여지승람"이나 "대구읍지"에 게재된 '대구십영' 보다 시제와 내용이 보다 정확한 것으로 나타났다. 4) '대구십영'과 관련하여 시제와 시어가 고문헌별로 약간 다르게 나타나는 오류를 바로잡았다. 5) 본 연구에서 밝혀진 '대구십영지'를 복원하고, 활용 측면에서는 기존의 대구시티투어 프로그램에 포함시키면 대구시의 브랜드 가치와 이미지 제고에 큰 기여를 할 것으로 판단된다.

• 한국콘텐츠학회논문지
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• 제17권11호
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• pp.470-478
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• 2017

코스튬 플레이는 디지털 게임이나 만화, 애니메이션 속의 등장인물 또는 캐릭터의 외형적인 모습이나 행동을 모방하는 행위이다. 최근 중국에서 애니메이션, 게임의 영화화로 코스프레 문화가 확산되었고 이에 따라 캐릭터를 코스프레 하는 코서들이 증가하고 있다. 칠미조는 중국의 코스프레 사진작가로 코스프레 문화의 특징을 깊게 이해하고 이를 실질적으로 반영한 작품으로 코서들 사이에서 큰 인기를 끌고 있다. 특히, 코스프레 사진의 상업적인 측면뿐만 아니라 문화예술적 가능성을 제시하여 중국의 코스프레 사진 분야에서 중요한 사진가로 인식되고 있다. 본 논문은 칠미조가 어떠한 촬영 방식으로 원작의 내용을 재구현했는지 살펴보았다. 분석 결과 칠미조는 과도한 후기 작업을 피하고 캐릭터의 초현실적인 이미지를 현실감 있게 촬영했다. 캐릭터의 이미지를 형상화하는 소품을 활용하거나 특정 행위를 강조했고 원작의 배경과 유사한 야외 촬영지를 다양하게 활용했다. 연구 결과를 바탕으로 중국 코스프레 사진의 예술적 가능성을 구현하기 위한 창작 방식에 대해 논의하였다.

• 한국의상디자인학회지
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• 제22권2호
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• pp.167-180
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• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.

• 한국의류산업학회지
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• 제5권5호
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

• 한국디지털건축인테리어학회논문집
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• 제6권1호
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• pp.5-11
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• 2006

Korea and China have had close relations not only geographically but also ideally and culturally throughout history. Regarding their lifestyles on housing patterns, however, Koreans had a sedentary way of life, usually sitting on the floor while Chinese had a standing lifestyle, sitting on a chair. This paper tries to have a comparative analysis on similarities and distinctions of two countries' traditional furniture that had complied with each lifestyle. This paper also aims to explore the similarities and distinctions of the form and function of the traditional furniture of the two countries and then to put results of this paper in design and plan of modern furniture and housing in our times. The study can be summarized as follows. Even if, cultural and historical relationships of two countries, there is a different of traditional furniture's forms and types. The major differences are as following : Korean furniture is predominantly on the floor level with storing furniture while Chinese one is intermixed with seat-level and floor level styles. These characters seem to be derived from their own housing and life style. In Ming and Qing period China, Their developed in which intermediate people and building. But, in Korea their housing style had floating floor against wet earth, which finished woods, Ondol. Because of these finishing, the Korean traditional furniture was developed into a good form and a suitable dimension for moving. These differences in furnishing style seemed to well reflect building and housing style of each country. And Image map and positioning map can show the differences in a whole aspect.

• 한국생활과학회지
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• 제18권3호
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• pp.799-807
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• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2008년도 춘계 종합학술대회 논문집
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• pp.187-190
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• 2008

예로부터 중국에서는 Red Color를 선호하여왔으며, 이는 원시적인 태양숭배에 대한 고귀함, 순결함, 정직함, 흥망성쇠, 성공, 행복, 길함(吉), 경사로움 등의 상징으로 대대로 전해 내려온 것이다. 본 논문에서는 중국역사로부터 현대에 이르기까지 중국 포스터디자인에 표현되어진 전달대상에게 중국이라는 이미지를 강하게 나타나고 중국문화라는 것을 인식하게 되는 Red Color에 대한 분석이다. 20세기 중반부터 중국포스터에 나타난 Red Color는 당시 객관적인 영향으로 정치적 의미를 지닌 컬러로 변모 하였지만 오늘날에 와서는 글로벌화의 영향으로 다시금 중국 5000년의 문화를 대표하는 컬러로 재 표현되고 있음을 알 수 있다. 날로 발전하는 중국포스터디자인에서 Red Color가 세계인의 의식에 반영됨으로써 전달대상에게 중국이라는 이미지를 전달하는 매개체로 자리 잡고 있다. 이러한 Red Color에 대한 분석을 통하여 새로운 포스터디자인의 의미를 새기고자 한다.