• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.196-207
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• 2014

This study considers expression types and aesthetic characteristics by analyzing Animal sculptures by Billie Achilleos in art collaboration with Louis Vuitton. The conclusions of this study are as follows. First, As for expressin type shown in the art collaboration, it is reflected the historical and cultural value peculiar to a country symbolized through animals. As the aesthetic characteristics of symbolism, it reflects historical identity of country by using an image of a symbolic animal representing a state. Second, as the type shown in physical characteristics of animals by utilizing items in Louis Vuitton directly, it is organically expressed a literal type by directly integrating a form having been designed as a commodity itself into the characteristically physical part of an animal. As the aesthetic characteristics according to this is naturality, the motive of the work having borrowed shapes of diverse animals or insects can be said to have been naturally reflected in the primitive natural beauty. Third, through the deconstruction and recombination of a Louis Vuitton item. the amusement of the aesthetic characteristics was expressed in a type having the structurally embodied dynamic movement of an animal, and is expressing visual fun. Fourth, it uses expression type emphasized a specific part of an animal by decorating accessories in Louis Vuitton partly. The aesthetic characteristics is Ornament, the value of craft decoration is being shown by using colorful visual effects by using materials with the colorful textures and patterns of fabrics or mixing embroidery or beads, and belt decoration.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.109-124
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• 2018

This study focused on the accessory of clothes of minority groups in Yunnan province to further the research about specific accessories' development in the future. Among the minorities in Yunnan, this study centralized characteristics of ornaments, hats and belts among five minority groups such as the Bai, Zhuang, Hani, Dai, and the Zang as representatives to study in detail because these five ethnicities have a relatively long history and plentiful information. The results are as follows: First, exaggeration means large gorgeous patterns that attract attention. Generally, there are many natural resources that can be used in places where these minority groups live such as gems, gold, silver shells and animals' horns, bone, teeth and the like. Headdress includes combs, loops, hairpins and other similar articles. Second, nature is a very fundamental part that people rely on for existence and development. The production and living that people need in life all depend on nature. The design of accessories is made from animal forms and patterns of clothes are presented through embroidery and wax printing. Designers always tried to add natural elements to their works. Third, symbolism consists of two aspects: One is the people's imagination, which related to actual materials, and the other is the product of imagination that provides better conditions to inspire people when they design. In China, most minority groups believe in Buddhism. The symbols in the clothing show their devout faith. Even the method of wear has many special implications like the use of accessories and length of clothing. The pattern of dragons and use of golden, red and other colors all have a proper symbolic significance in modern designs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

• Journal of architectural history
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• v.29 no.2
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• pp.75-88
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• 2020

There are stone sculptures diversely shaped in several parts of Gyeongbokgung. Geunjeongjeon is a place where the stone sculptures are intensively placed among the various palace buildings of Gyeongbokgung, and it is more important because it contains the phases of the age of the dynasty and the symbolism of governing philosophy. What can be seen in the structure of auspicious animal sculptures is based on the form of instinctive thought that the heavenly and human order systems are in an organic correspondence with each other, especially with regard to astronomical events such as Samwon Sasin 12jisin 28su. The parts that have been interpreted only in Sasin and 12jisin in the interpretations such as wild dogs, Gyoryong, camels, wolves, and apes were able to clarify the contents by revealing the form of 28su. In particular, as Beopsu Ssangbeopsu at the corner may be related to the guardian deity who governs water, called Yimun, Chimi, and Chimun, it is one of Bibo's ways to protect the palace that was vulnerable to fire. In addition, the shape of the existing 28su placed Dambi, but Ha Woldae at the Geunjeongjeon was assumed to have a camel statue and a planned arrangement of double meaning with the Bibo form of Pungsu Sasinsa, and it is also a feature of the arrangement of Woldae at the Geunjeongjeon. The actual composition of auspicious animals at the Nambogye of Geunjeongjeon was in the order of Haechi, wild dogs, horses and Jujak, and the contents of "Gyeongbokgung Construction Daily Record" were in the order of Haechi, horses, wild dogs, and Jujak. As to different composition layouts, based on the contents of the "Gyeongbok palace Construction Daily Record", the composition of Samjae Cheonjiin (天地人) was interpreted differently from the conventional interpretation of the arrangement of Woldae. All of these forms are associated with defense systems in the four directions and have become animal representations of each direction. The auspicious animal statues placed on the railing of Geunjeongjeon Woldae can be seen as reflected in a single building with the three dimensional personality that includes Pungsu's Bibo personality with the symbolic meaning that reveals the centrality as Jeong Jeon, the nation's best politics let alone the ideological system of the ancient astronomical of the East called Men Heaven Unity.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.71-86
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• 2009

This study examines plant patterns expressed on the fabrics during the Goryeo Dynasty and many countries in the Chinese continent and analyzes their symbolism and formativeness. This study deals with clothes which is one of the most fundamental aspects in a culture and plant patterns on them; it examines the overall formativeness of plant patterns in East Asia from the 10th century to the 14th century by studying plant patterns in the Goryeo Dynasty and the contemporaneous dynasties in the Chinese continent - Five Dynasties, Song Dynasty, Western Xia Dynasty, Liao Dynasty, Jin Dynasty and Yuan Dynasty. The plant patterns of each country were categorized by the type of plant. The composition and expression of plant patterns were examined and statistically analyzed. Small flowers were found in Goryeo fabrics twice more than other types that could be clearly identified, and peony was the most popular flower used in Chinese fabrics. In terms of composition of plant patterns, both Goryeo and Chinese fabrics had plant only patterns more frequently than the patterns mixed with animals or jewels. Regarding expression methods of plant patterns, the most common one in Goryeo fabrics was the petal-type, while the branch-type is the most common one in Chinese fabrics. The plant patterns of the Goryeo Dynasty show beauty of simplicity with minimalism and simplification while expressed with brilliant sold threads on dark background, such as purple or light green, so the overall feeling of fabrics was simple yet nobel.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.135-149
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• 2014

This study attempts to adapt and develop Korean prehistoric petroglyphs into textile design for children. For this purpose, literature review was conducted to understand the plasticity and symbolism expressed in Korean prehistoric petroglyphs. Also this study conducted textile design development as follows: First, the figures and faces in petroglyphs were selected because children can easily recognize them. Second, two groups of different ages (7-9 and 10-13) were allowed to freely draw the selected motifs. Third, some of the motifs created by the children were selected that show children's individuality and also keep the features of the original motifs. The children's motifs were developed into textile design using Texpro and Photoshop. Then digital textile printing and 3D mapping program were used to make pajamas (5 types), umbrellas (3 types), and simulate bedding sets (2 types) for children. This research's results are as follows: First, petroglyphs are symbolic language of human's oldest art form, and related to religious and mythical belief. Korean petroglyphs have plasticity showing the development steps in technique and expression, with various shapes such as animals, human figures, faces, masks and abstract figures. Third, children showed their interests in various human figures and faces of the petroglyphs, and it was easy to draw those motifs in their own way. Fourth, 10 design motifs were selected from the children's work and used to create textiles considering materials and colors for children. Total 10 items were made and presented. This study confirmed the usefulness of applying prehistoric petroglyphs to children's textiles designs. These designs may grow as a kind of cultural product for children who know about and like petroglyphs. They can be a niche market items too, made to order for children with individuality and who favor originality.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.160-171
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• 2018

This study aims to find an original form of temple flower decoration patterns, considering floral lattice pattern as a view element composing temple landscape. To that end, we analyzed and interpreted the form and symbol expressed in the floral lattice pattern at Nahanjeon of Seonghyel Temple at Yeongju, Gyeongsangbukdo. The front side of Nahanjeon windows shows a sculpture with 176 pure patterns in a form where two squares are in sequence. The basic concept of main front door (the inner gate of Nahanjeon) frames is considered the design language of lotus pond that symbolizes "square land" in traditional gardens. The four leaf clover and arrowhead are water plants discovered in areas nearby ponds, which are a realistic expression conforming to the water ecology of lotus pond. The lotus, which is the most important plant at the main front door, indicates purity, a non-stained state, and the world of the lotus sanctuary, which is the land of blissful happiness in Buddhism. The lotus expressed in the floral lattice pattern is spread in a diverse form, containing the features of creation and destruction, showing the landscape character of the "One Body of Buddha and Lotus". The expression of flying birds such as kingfishers and egrets is an ecologically aesthetic idea to infuse dynamism and vitality into a seemingly static aquatic ecosystem. The floral lattice pattern contains lotus pond scenery showing symbiosis of animals(i.e., dragons, frogs, crabs, fishes, egrets, wild geese, and kingfishers) and plants(i.e., four leaf clovers and arrowheads), which are symbols of relief faith for longevity, wealth, preciousness, and many sons. The pattern is not just an ecological aesthetic expression but a holistic harmony of ecological components such as growth and disappearance of lotus and its leaves, fitting habitats, symbiosis, and food chain.

• Cartoon and Animation Studies
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• s.47
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• pp.357-380
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• 2017

From the 21st century, characters have been developed and managed by many companies, organizations and groups due to public-friendly elements, Community Identity Program, value of utilization for OSMU, etc. This study was carried out according to a plan of developing a character and making an application in ACC Children based on Asia Culture, which was implemented as ACC Children contents R&D project from 2014 to 2016. This R&D and purpose is significant because of laying the groundwork for identity system making it possible to increase the brand value of ACC Children and symbolize ACC Children by developing a character, application and name suitable for the philosophy and function of ACC Children that will be used together with CI of Asia Culture Center. With regard to the research method and scope, Asia is divided into 5 regions, and 100 representative stories in Asia are selected, and a storytelling-based character, application and name with connotative symbol and meaning pursued by ACC Children is developed by choosing and analyzing symbolic animals according to consulting and survey. The characters of ACC Children give publicity to the symbolism of ACC Children, and are actively utilized for OSMU.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.