• (The)Study of the Eastern Classic
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• no.43
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• pp.259-304
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• 2011

It has been difficult to logically and consistently explain about the history of Korean national flag, Taegeukgi, for the past time because the exact shape of Young Hyo Park's Taegeukgi was not known. Any meaningful study of Taegeukgi was no longer possible since the most important core key was lost in the study of Taegeukgi. In this study, I inferred the original copy of Taegeukgi used by Young Hyo Park referring to the aspect of principle of Taegeukgi based on the existing historical data such as the copy of Young Hyo Park's Taegeukgi found in the UK National Archives in 2008, the recordings shown in Shi-wha-ji-lue, the painting of Taegeukgi inserted in Sisashinbo then in Japan, the Taegeukgi painted by Gil Joon Yoo, Denny Taegeukgi, etc. As a result, I have found that Taegeukgi has been handed down in a consistent shape even if China and Japan had tried to disturb and distorted it. That is, the Taegeukgi used by Young Hyo Park was painted following the command of the King Gojong and its shape was already defined before he went to Japan. I have found that such defined shape was the 'COREA Ensign', which was used for the Treaty between Chosun and the United States. I have also found that the 'COREA Ensign' from which Young Hyo Park's Taegeukgi was originated was designed by Gyoung Seok Oh and Gyoung Soo Kim referring to the situations that time. In addition, I have found that Shi-wha-ji-lue giving the base for the existing theory of Taegeukgi designed by Young Hyo Park was partially distorted by Japan.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.581-594
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• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.1-13
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• 2009

The purpose of this study is to discuss the modern fashion design that incorporates national flags, by each country, methods of their expressions and distinct characteristics. Moreover, it intends to contribute in creating the image of Korea and our own unique fashion identity through creative designs that coincides with the modern trend by adopting Taegeukgi. The results of this study can be summarized as follows: The American flag and the British Union Jack were molt widely used and even though it was less frequent, flags of the France, Korea, Israel, Germany as well as Argentina have been featured in modern fashion. The expression methods also varied and it demonstrated the unlimited options as to how a flag can be presented. Some used the traditional flag as is. Some only used a portion of a flag or its colors as a motive or sometimes the flags were completely redesigned. There are distinctive characteristics when flags are incorporated into fashion. First, the shapes or colors of the flags were used to emphasize the image of a country in rather simple silhouette without many details. Second, through altered shapes, shades, colors or rearrangement, the country's image is presented in more subtle, indirect manner. Third, a flag is a mere element of a formation with various changes to its shape or color, and it no longer holds the traditional significance of a flag. It may also represent the playful or ironic image by combining with other items or execution techniques.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.98-108
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• 2010

The purpose of this study was to analyze the monumental expression of Korean War Memorials(KWM) in Korea(KWMK). Through site survey and internet searching, the researcher selected 17 KWMK and analyzed four analysis categories: contents, spatial form, landscape elements, sculptures and architectural elements. The results are as follows: 1. The analysis revealed that main contents of KWMK were to cherish victims of the Korean War, honor military merit, and explain Korean War. 2. Most KWMK built battlefield had the form of symmetry and spatial axis arranged monuments and sculptures for solemnity and heroism. Though the sites were terraced by traditional spatial order, spatial sequence wasn't seen except Yang-gu KWMK and Chumomyeongbi in United Nations Memorial Cemetery in Korea. 3. Stone monument-like towers, tablets, podium, monoliths, cenotaphs, and exhibit halls to explain Korean War and combat history were used as main elements of KWMK and also, war weapons were often displayed the flags of countries taking part in Korean War were raised with Taegeukgi and the United Nations flag. 4. Most sculptures were used as important media to represent the Korean War and assumed realistically the form of heroic combat. But a few architectural memorial built in recent were designed in contemporary style to have spatial sequence and represent Korean War symbolically and narratively. 5. In memorial culture, KWMK were strongly influenced by ideology and patriotism, impacted by conventional value, and designed by some sculptors and designers in a certain circle. Further study will be required to analyze the characteristics of KWMK in the point of design style and diachronic.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.6
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• pp.875-885
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• 2018

This study analyzed the major issues of the Candlelight Rally and Taegukgi Rally registered in news comments of the politics section of the portal site from October 24, 2016 to March 19, 2017. We examined the political recognition of the two rallies with the Named Entity Recognition. The main analytical items are the responsibility for impeachment, the subject and method of settlement, and other major issues. As a result of the analysis, the comments of the Candlelight Rally focused on the impeachment support and the legal penalties of the regime ministers, and insisted on resolving the political situation through the next election after impeachment. The comments of the Taegukgi Rally focused on the rejection of the impeachment to maintain the regime and insisted on rejecting the impeachment of the Constitutional Court. The conflicts between the group that supported Candlelight Rallis and the group that supported Taegukgi rallies are predicted to last at least for the time being (Park Geun-hye's trial period) after the presidential election. After the impeachment of the President and replacement of the regime this conflict will develop into the confrontation between the pursuit of liquidation and new politics and the attempt to influence the trial of Park Geun-hye. Therefore, the efforts to integrate society in the aftermath are necessary.