• 농촌계획
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• 제16권4호
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• pp.117-129
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• 2010

This study is to make value estimating system to valuate prototype landscape of rural and to derive itemized importance to select priority preservable object The results of the study are summarized as follows, It is examined value estimating standard by analyzing prototype landscape related previous study, law and order. Also, It is derived conclusive prototype landscape value estimating system by doing attribute assessment of preserving objects while surveying the site and interviewing professionals, Value estimating system is classified into five items of physical value which are integration, harmony, diversity, symbolism and aesthetics, The historical-cultural value are divided into four categories which are religious value, originality, historicity and scarcity, The communal values are divided into three categories which are sociality, continuing and regional locality and also divided into three categories which are rarity, primitiveness and diversity as the ecological value, Relative priority of prototype landscape value estimating system result is derived as historical-cultural value as the superior position and physical value, communal value and ecological value as the priority order. In the subordinate, historical categories are derived to be the most valuable and originality, symbolism, integration, regional locality, continuing, harmony, aesthetics, religious value, primitiveness, diversity of physical values and diversity of ecological value in order of the priority assessment The results of the study have the meaning of practical use in prior selection and preservation plan of preserving prototype landscape as practical alternative plan for systematical preservation of damaging prototype landscape.

• 한국의류학회지
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• 제34권5호
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• pp.873-887
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• 2010

Yuan Shi Kai, the first President of the Republic of China, established a ceremonial uniform system based on ancient styles in 1914 just before the national polity was changed to the Empire of China in 1915. This system is Jisiguanfuzhi (a system on costumes for memorial services), and figures included in the system are Jisiguanfutu (figures showing costumes for memorial services). This study is the first to examine Jisiguanfuzhi and Jisiguanfutu and to approach the background idea of the establishment of the system with a focus on the meaning of 'unity.' Jisiguanfuzhi regulates the ceremonial uniform system of all classes from the President along with the 1st-class to the 5th-class people. The uniform consists of a crown, robe, belt, the mid-section cloth, and boots. In addition, the uniforms of ritual musicians and dancers are included. The basic principles in establishing the system were the restoration of ancient systems, the adoption of convenience, the acceptance of current practices, and the implication of symbolism. Jisiguanfuzhi clarifies that the pattern of the ceremonial uniforms was modeled on Juebianfu, for religious services. The reason for choosing Juebianfu for religious services was to achieve 'unity' and Juebianfu was associated with 'unity' because it was common to all, from the emperor to the gentlemen class, in ancient times. Yuan Shi Kai tried to show flexibility to the gentlemen class who represented the intellectuals at that time by adopting Juebianfu for religious services, fearing that the gentlemen class might oppose the attempt to restore the imperial system. Therefore, although Jisiguanfuzhi adopted mostly Mianfu and royal sacrificial robes, it also emphasized 'unity' by professing that the uniforms were based on Juebianfu for religious services.

• 패션비즈니스
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• 제12권5호
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• pp.126-140
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• 2008

This thesis aims to examine the symbolism of color in the clothing of women, focusing on the protagonist of the movie Elizabeth: The Golden Age (2007). At the beginning of the movie, the Queen wears gowns with cartwheel ruff and wheel farthingales, symbolizing the attempt of establishing a powerful majesty. However, the Queen falls in love with Walter Raleigh and her clothing comes to emphasize femininity displaying her cleavage. Later on, her clothing indicates charismatic authority as she prepares for the Spanish war. At the end of the movie, the Queen who led the the country to victory in war puts on a luxurious gown with butterfly wings that reminds of a fairy queen. The colors of the Queen's clothing are categorized into three groups. First, the color red represents two opposite allegories. The positive image of red denotes Christ's blood, the love of God, and noble status of the Queen's image as a savior of England. On the other hand, red represents lewdness and evil which insinuate that the Queen is being attacked on her religious and political genuineness. Second, the color blue represents Saint Maria, chastity, and divinity. Third, the color goldw and white represent the Queen's ideals which are chastity as a virgin Queen and divinity.

• 복식
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• 제37권
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• pp.231-252
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• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• 한국실내디자인학회논문집
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• 제22권6호
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• pp.199-211
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• 2013

Indonesia is archipelago country and plural society which consist of diverse ethnic groups. This study select Java island and Java houses as a representative housing of Indonesia. The aim of this study is to present a comprehensive overview of traditional houses of Java in Indonesia by examining pre-existing literature. First, the Java House as a microcosm of the universe that shows universal and religious aspects. Furthermore, each building contains spiritual symbolism. These ideological aspects select the location and layout of the towns, villages and buildings, which create an order to the interior space. The space structure of Java housing is characterized by strong juxtaposition between east/west, front/back, public/private, male/female, and open space/ closed space. There is also a hierarchy of space, which were applied in floor level, height of space and lightness. The structure of the roof shows the best formativeness. Depending on the shape of the roof, the function of the building is shown, and also it represents the social rank and religious respect. Joglo's unique formativeness is an icon of the Java architect.

• 한국주거학회:학술대회논문집
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• 한국주거학회 2009년도 추계학술발표대회 논문집
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• pp.55-58
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• 2009

Traditional pile-buildings in Southeast Asia has high utility. Their floors are lifted above the ground to stave off humidity in the house, increase the amenity and hygienic condition, fend off fierce animals or harmful animals like rat, and protect the house from being submerged in flood waters. Such traditional pile-buildings have Austronesian saddle-backed roof commonly, and are built through various techniques such as joining and mortising, without use of nails. The roof has a considerably large proportional appearance, and for this formal characteristics, the roof is symbolized as boat on occasions. The roof has dual structures or is lifted in some cases to facilitate the ventilation, and the wall is formed to maximize the ventilation. This housing types the hierarchy of foundation, housing space, and roof, which implies religious symbolism that human is above animal and God is above human. However, housing types in Southeast Asia have very different detailed form and culture, depending on the ethnic and religious characteristics. As explained above, this study examines the common aspects and diversity based on the form and culture of traditional housing of Southeast Asia and provides useful basic academic data.

• 복식
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• 제52권4호
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• pp.111-123
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• 2002

The purpose of this study is to correctly understand the shaping process of Mongolian women's costumes, which had close connection with Korean costumes. 'Nomadic' factors of Mongol costumes are trousers and jacket, with deel(袍) pleated in the waistline for horse riding, and knee-covering narrow-sleeved long dress for men and women alike for protection against the cold. However, Married women wore bogthag(gogo: ) containing symbols derived from nomadic way of life. 'Foreign' factors are divided into two kinds; foreign culture applied to Mongolian costumes(woven stuff, Koryo style), and transformation in costumes to adjust to the environmental alteration owing to extended territory(pigap(比甲), Jacket and skirt), the last of which served as the chief distinction between nomadic and Y an fashions. 'Religious' factors are unique patterns and colors while retaining their symbolism. Some aspects(mongke tengri or eternal sky) of Shamanism is reflected in avoidance of washing, while positive effect of Lamanism is evidenced in yellow cosmetic applied on the forehead and 16 sky devil dance clothes.dance clothes.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.277-296
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• 2023

The South Korean ethnic diaspora US lobby shows efficacy as an interest group in generating influence in American foreign and domestic public policy making. The persuasive portrayal of South Korea as a critical Cold War US ally reinforced US amenability to pro-South Korea lobbying. Also, the South Korean US diaspora is a comparatively recent immigrant group, thus its lingering resistance to assimilation facilitates its political mobilization to lobby the US government. One source of this influence includes the foundational legacy of proselytizing Western and particularly American religious social movement representatives in Korean religiosity and society. US protestant Christianity acquired a strong public association with emerging Korean nationalism in response to Japanese imperialism and occupation. Hostility towards Japanese colonialism followed by the threat from Soviet-sponsored, North Korean Communism meant Christianity did not readily become a cultural symbol of excessive external, US interference in South Korean society by South Korean public opinion. The post-Cold War shift in US foreign policy towards targeting so-called rogue state vestiges of the Cold War including North Korea enhanced further South Korea's influence in Washington. Due to essential differences in the perceived historical role of American influence, extrapolation of the South Korean development model is problematic. US hegemony in South Korea indicates that perceived alliance with national self-determination constitutes the core of soft power appeal. Civilizational appeal per se in the form of religious beliefs are not critically significant in promoting American polity influence in target polities in South Korea or, comparatively, in the Middle East. The United States is a perceived opponent of pan-Arab nationalism which has trended towards populist Islamic religious symbolism with the failure of secular nationalism. The pronounced component of evangelical Christianity in American core community nationalism which the Trump campaign exploited is a reflection of this orientation in the US.

• 대순사상논총
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• 제49집
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• pp.229-263
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• 2024

이 논문의 목적은 한국의 주술적 장식물인 북어, 복조리, 소코뚜레, 명주실의 상징성의 기원을 밝히는 것이다. 기존 연구들은 주로 이 장식물들의 모양이나 기능에 근거하여 주술적 의미를 해석했으나, 이러한 설명은 사후적 해석일 가능성이 높다는 한계를 지니고 있다. 본 연구는 이러한 장식물들의 상징성이 당시의 사회경제적 특성에서 비롯되었다고 주장한다. 열거한 주술적 장식물들은 당대 사람들의 경제 활동과 밀접한 관련이 있는 식량자원이나 상품이었으며, 따라서 풍요와 재복(財福)의 상징으로 여겨질 수 있었다. 특히 북어는 조선 시대에 중요한 식량자원이자 상품으로 준화폐 기능까지 했었고, 세계 여러 문화권에서 물고기가 풍요와 다산의 상징으로 여겨진 점을 고려할 때 그 상징성이 더욱 명확해진다. 복조리와 소코뚜레는 쌀과 소 같은 당대 주요 재화와 연관되어 풍요의 의미를 획득했고, 명주실은 농가의 중요한 수입원인 양잠업과 관련되었다. 이러한 사회경제적 특성이 이들 장식물 상징성의 기저를 이루며, 액막이 기능은 이러한 의미가 사회적으로 정당화되는 과정에서 추가된 2차적 상징성으로 볼 수 있다. 이 연구는 주술-종교적 관습의 기저에 경제적 동기가 자리 잡고 있음을 드러내며, 문화 현상의 기원과 변화를 이해하기 위해 당대의 문화생태적 환경을 폭넓게 고려할 필요가 있음을 시사한다.

• 한국전통조경학회지
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• 제29권2호
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• pp.81-89
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• 2011

속화(俗畵 또는 민화(民畵)) 속의 도입요소를 대상으로 식물의 상징성을 추적한 연구결과는 다음과 같다. 1. 우리 민족의 토속성 짙은 그림이자 상징적 의미를 담고 있는 '속화(俗畵)'라는 용어는 고려시대 이규보(1268~1241)의 '동국이상국집'에서 발견할 수 있고, 그리고 조선시대 초기 '속 동문선'과 강희맹(1424~1483)의 '사숙재집', 조선시대 후기의 '일성록(1786)', 유한준(1732~1811)의 '자저(自著)', 이규경(1788~?)의 '오주연문장전산고(五洲衍文長箋散稿)' 등에서 다양하게 추적할 수 있다. 특히, 이규경의 '오주연문장전산고' 인사편 서화(書畵)의 제병족속화변증설에 의하면 "민간에서 속화라고 불렀다"라는 기록이 발견된다. 2. 시대사적으로 한국의 속화는 농경문화의 자연관을 원초적으로 반영한 선사시대를 거쳐, 우주관을 반영하고 영혼불멸의 사상을 채색화 형태로 표현한 삼국시대, 추상적인 도형과 초자연적인 무늬를 공간 속에 상징화시켜 종교적으로 표현한 고려시대, 그리고 자연관, 심미적 가치, 상징성 등이 복합적으로 작용되어 대중화되고 한국 고유의 정체성으로 자리매김한 조선시대 등 시계열적 변화과정을 추적할 수 있다. 3. 한국의 속화 1,009점을 대상으로 분석한 소재는 식물요소 35종, 동물요소 37종, 자연요소 6종, 기타요소 5종등 총 83종이 출현하고 있다. 4. 속화에 표현된 식물 요소의 미학적 분석에 따른 형태미의 경우 모란도는 음양오행의 원초적 세계관을, 매화도는 역동적인 운치와 생태적인 조화원리를, 구도미의 경우 책가도는 복합 다시점 구도이면서도 강한 주목성을, 병화도는 역원근법에 의한 색의 강한 대비를, 독서여가도는 직선과 사선을 이용하여 자연과 인공요소의 질서정연한 균제미를 담백하게 표현하고 있다. 한편 색채미의 경우 오방색(동(東), 서(西), 남(南), 북(北), 중앙(中央)) 또는 오채색(적(赤), 청(靑), 황(黃), 백(白), 흑색(黑色))의 경우 주술적 또는 종교적으로 활용하거나 자연법칙과의 상관관계를 상징적으로 대입시키고 있다. 5. 한국 속화에 등장하는 각 요소들의 도입방식은 단순한 자연계 형태 모방을 뛰어 넘어 우주 내에 존재하는 본질의 의경을 통해 회화적 예술성을 바탕으로 자연관과 접목된 '상징성'으로 승화시켰다. 즉, 한국의 속화에서 추적할 수 있는 동 식물의 '상징성'은 종교적, 사상적, 생태적, 철학적 측면이 복합적으로 작용되어 자유 분망하면서도 독특한 표현으로 과학적 인식체계가 아닌 상징적 인식체계로, 현재 속에 과거와 미래가 공존하는 우리 민족의 집단적 문화 정체성으로 나타났다. 따라서 한국의 속화(또는 민화)는 우리 민족의 문화적 정체성이라 할 수 있으며, 우리 민족의 생활문화 속에 자연스럽게 배어든 자연관이자 토속성 짙은 의미경관요소로 해석할 수 있는 것이다. 그러나 우리 민족의 생활문화 속에 뿌리 깊게 배어 있었던 속화는 시대적 변천과정을 거쳐 그 의미와 감정이 현격히 퇴색되었다. 오늘날 주거생활이 아파트문화로 전이되고 가치관의 혼돈이 심화되는 시대적 상황 속에서 속화가 갖는 미학적, 상징적 가치는 정신적 풍요를 건전하게 지켜주는 상징 자산으로 전승되어 우리의 정체성으로 자리매김해야 하는 당위성을 갖는다고 하겠다.