• 한국실내디자인학회논문집
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• 제23권3호
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• pp.29-38
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• 2014

This paper is to analysis covering and exposing elements through surface in the spirit of the time through the meaning of relationship between structure and symbol(ornament) in the theory of dressing of Gottfrid Semper. In other words, The purpose is to illuminate how complementary tectonic between structure and symbolic of an architecture surface is expressed in accordance with the biased required conditions relating with the paradigm of the era. The advancement of the new method of tectonic and the new aesthetic taste have a deep relation with the reconsidering the dichotomy classification discussing a dominant position between structure and symbol(ornament). Expression of surface representing the era comes across the combined interpretation of technology, structure, and the non-physical culture's art of the community and the era.

• 한국의류산업학회지
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• 제5권4호
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• 복식문화연구
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• 제11권1호
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

• 한국생활과학회지
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• 제10권2호
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• pp.179-188
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• 2001

The purpose of this study was to research the symbolic of Ancient Egyptian Crown ornament. The results of this study were summarized as follows. Ancient Egyptians expressed the authority of king and nature worship to the crown ornament. The volume and scale of shape symbolized the authority of king and the nature worship. The brillant and plentiful of colors symbolized the strong1y authority of king. The numbers of patterns symbolized the authority of king and the nature worship.

• 한국의류학회지
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• 제37권5호
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• 복식
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• 제39권
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• pp.21-37
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• 1998

This study researchs forms of Egyptian religious dress for studying formation-process of religious dress and its ornament. The study goes abreast literature and the very spot's materials also divides god's dress, priest's. Ancient an egytian worshiped mainly animals, step by step animal's humanization. So gods were expressed animal's face and human's body. Egypt god's costume is 1st, to take off upper hament and wear loin cloth on trousers 2nd only to wear short sheath skirt. 3rd to wear shout sheath skirt and to skirt and to wear loin cloth on there 4th to cover whole body and to open hand like mummy. Egype goddess' costume is largely to wear long sheath skirt up to the ankle and we can see selkit goddess's figure that wearing kalasiris after new dynesty. Priest had been a bald head and worn loin cloth and surrounded leopard's skin on there, but after the period of empire, worn a wig and worn less stoically. Also god had hung the lion's tail at symbol of the dignity and priest had put on sandals for a ceremony.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.133-141
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• 2009

Since Adolf Loos' Ornament and Crime was released, ornament had been regarded as a vice in Modern architecture. In Post Modern architecture, the ornamental vocabularies extracted from the classical architecture have been symbolically expressed. As a result, the significance of existence of and the use value of architecture have increased with improved intimacy to the public. However, many studies that have analyzed architecture in terms of semantics and semiotics focusing on communication between architecture and the public have admitted instability in architectural meaning because of the fundamental difference between architecture and language. At the same time, the architectural representation has encountered a lot of limitations along with the deconstruction and non-presentation theory in Post-Structuralism. Even under these circumstances, the ornamental representation can be a critical factor which makes communication possible while expressing spatial identity in this pluralistic contemporary society. Hence, this paper has established logical grounds for research based on theoretical investigation on the concept of representation, semiotics, and ornamental representation, with regard to spatial communication through ornamental representation in commercial space. Based on Peirce's Semiotics which is the typical theoretical science in terms of representation, this paper has analyzed the three kinds of signs (Icon, Index and Symbol) that he proposed. Peirce's classification of signs becomes ideal when the factors are well balanced, with room for combination instead of strict classification. It appears that his theory of signs would be useful in understanding and analyzing ornamental representation. This study on representational ornament could offer a plan for ideal communication and abundant spatial experience in the interior design of commercial space in which the expression of creative space identity is required.

• 한국의류학회지
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• 제18권1호
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• pp.140-159
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• 1994

Heraldry, which originated from the culture of knights in the 12th century, came to be drawn on shields, and was inherited as a symbol of the family at the end of the 12th century and developed rapidly through the 13th and 14th century. Afterwards heraldry was in great vogue and used in the shields, clothes of men and women, armors, housings and flags. Therefore the citizen class as well as nobles and knights came to possess heraldry. In particular parti-color and impaled coat were accepted in the clothes, and served the dual purpose of status symbol and ornament in the 13th century. It can be said that the appearance of heraldry on the clothes was typical of the Middle Ages. The origin, generally accepted, was that the crusaders wore the surcots, also known as the cyclases, on the armors to prevent the powerful sun of Syria and dust of deserts, and to prevent the armors from rusting due to moisture. As the surcot was made of white linen or white silk till the beginning of the 13th century, knight's heraldry came to be put on the surcot in order to identify each corps. According as the coat of mail covering all the body was devised, the same heraldry attached on the shield seemed to appear on the clothes of surcot or jupon(afterwards pourpoint) in order to identify the status in the battlefield and tournament. Heraldry, a system of mark in the 12th century, was used as a symbol of authority of the upper class such as the Royal House, nobles and knights, and may have been mysterious instruments in the Milddle Ages. However, in the modern times of the 20th century heraldry has come to be a kind of symbol marks such as badges and banners symbolizing the hallmark of the goods of enterprises, organizations and groups. Heraldry, existing up to now, of the individuals as well as international organizations can be seen as a result of deep-rooted tradition for esthetic appreciation and symbolism for heraldry.

• 패션비즈니스
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• 제13권1호
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• pp.17-33
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• 2009

The purpose of this study is to find the character of Cleopatra (69 B.C-30 B.C) by analyzing materials about Cleopatra, and to figure out symbolism and costume presented in movie . Costume of the main character, Cleopatra, compound the type of Egyptian traditional clothes, the change of it, and the trend in the 1960's. And, the symbolic meaning of it is also reinforced by adding ancient Egyptian myth to it. This kind of symbol is usually represented in Cleopatra clothing, especially in weaving pattern, embroidery, and ornament. And color of the clothes not only have their on predominance, but also can have their meaning fade away by mixed with each other, and also the shape has relation with the meaning of color. To sum up, the color and pattern of ancint Egyptian Cleopatra as alive formalize the power that come from coherence with the sun god in the center, which a used to maintain the power of the king. Costume in movie also contained color and pattern as a symbol of religion to symbolize the absolute power of king. These kinds of symbols are reemerging through historical recurrences and exotic interests.

• 한국의상디자인학회지
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• 제5권3호
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• pp.37-48
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• 2003

'Pattern' is of very unique nature in each and every country around the world, and its aesthetic feeling of 'pattern' has been handed down according to its nationality and cultural development process. That is, 'pattern' is ornament to symbolize each country's aesthetic standard or choice through some shape, reflecting social consciousness or religion philosophy. Mostly based upon literature survey and case study, this survey paper analytically compares oriental botanical pattern with occidental botanical figure, which has been influenced by Buddhism-Confucianism and Christian religion respectively. The results show that some patterns are commonly used in both area, while meaning differently in some cases: lotus (life), pomegranate (wealth and prosperity in orient, resurrection in occident), grape (fecundity in orient, wealth in occident), dangcho (fecundity in orient, victory in occident). And the other patterns look uniquely used either just in orient or only in occident. For instance, oriental area had its own patterns such as peony (meaning wealth and honour), peach (longevity), ume flower (happiness), orchid (fecundity); while occidental area used lily (purity), olive (peace), palm (victory), and so on. Interestingly, the botanical patterns were used as main patterns in orient whereas as minor in occident.