• 복식
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• 제37권
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• pp.149-162
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• 1998

This study is thed Embroidery, Cross-stitchery, Weaving, Wax-Printing of technique and design appeared in textile of Miaos dwells in south-west among the minority people of china. The study is as follows. First, the technique of textile1) satin stitch, couching stitch, french-knot stitch, etc. using anther silk thread or cotton thread color 2) cross-stitchery 3) hand-weaving technique which is shaped other warp or weft using simple loom 4) the technique of dyeing of pattern using effect with wax. These methods are singly used mixing together, therefore doubled beauty. Second, these technuque of ornament have other independence, specially ornament apron, sling, sleeve borders, slack borderss, edge of upper garment, take off and put on easily, heighten effect of various ornament, can preserve many years. Third, Maker, female born in this country fashion by need of herself, used liberal method shown in unique creativity of life. This texture make standards capable female proud of intelligent and skill of herself. Fourth, Design appeared in textile like as pattern flying bird in the sky, strolling beast in the field, lion rolling gem, laughing dragon winding snake at gem, birks, flowers, fish, butterfly is used as the wish of long life, a lucky sign. They expressed creativity and unique conception using formation : the technique transform other shape using by omitting or adding or overestimating. Geometric pattern of tartan, revealing, Fifth, composition structure having balance and symmetry or contradiction towards center and circumstance of the center harmonized repeatedly method, expressed unique artful attraction by full composition.

• 미술이론과 현장
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• 제13호
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• 한국산학기술학회논문지
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• 제17권6호
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• pp.347-359
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• 2016

사람은 본인의 생각과는 무관하게 열두 동물 중에 하나의 동물 "띠"라고 하는 개념과 연관된다. 생활 주변에서 뿌리 깊게 지닌 "띠"의 문화와 이에 대한 민속학적 관점에서 민화에 나타난 십이지의 의미를 살펴봄으로써 아시아권의 민속신앙과 감정 그리고 문화적 배경을 알아보면서 상호 영향과 변화하는 과정을 이해하는 계기가 되기를 기대하며 작성된 글이다. 연구결과 쥐라고 하는 동물은 인간과 더불어 함께 하며 설화나 자연계에서 동반하고 있으며, 소라는 동물은 인류와 함께 더불어 공존하면서 인류의 문명과 같이하고 있다. 호랑이는 인간에게 벽사의 신으로 가장 두려우면서도 가까이하고 있다. 설화 속의 토끼는 인간에게 희망과 이상을 심어주고 있다. 상상 속의 용은 토속신앙의 깊은 뿌리를 형성하고 있으며, 농경문화와 인류의 수호신으로 자리하고 있다. 뱀은 대마도와 제주도에서는 인간을 지켜주는 해신으로 사람들의 생활 속에 깊이 신앙되고 있음을 알 수 있었다. 유목문화에서의 말은 그들의 수호신으로 또는 신과의 영매자로서 유목사회의 기본으로 숭상되고 있었다. 고대 일본인들은 원숭이를 신성시하였으며 보물과 연관 지었다. 원숭이의 지혜를 빌리려는 인간의 욕구의 욕구가 담겨 있다. 닭은 인간과 함께 살아가면서 하늘과 인간 세계를 연결하는 길조로서 의미를 담고 있다. 개는 무속의 저승 설화에서 이승과 저승을 연결하는 메신저의 기능을 수행하는 것으로 신앙되고 있다. 돼지 역시 인간과 공존하며 다산의 의미로 해석되고 있다. 십이지 동물은 민족 간에 의미는 다소 다를지 몰라도 인간과 함께 공유하며 인간의 내면에 자리 잡고 사람들의 생활 속에서 신앙되고 있음을 알 수 있었다.