• The Journal of the Korea Contents Association
• /
• v.11 no.12
• /
• pp.674-681
• /
• 2011

'The Three Bonds And The Morals in Human Relations' was published in Joseon Dynasty period in 1434, relatively early days of comic history in the world. The gaps between comics frames have symbolic meaning as comics frames have in the area of symbols of comics. After comics frames appeared, it was likely that the advent of the gaps between frames had its own value in the aspect of comics history. Historical backgrounds of domestic comics would be built on firm base led by studying on the symbolic meaning of the gaps between comics frames. Two forms of the gaps between frames were shown in 'The Three Bonds And The Morals in Human Relations.' The first form is the gap between cloud frames. The second is the gap between cloud frame and background frame. Although a little difference is found in the shape and display, two forms of the gaps between frames in 'The Three Bonds And The Morals in Human Relations' have a similarity to modern comics. This study is to demonstrate valid background for the domestic history of comics by means of analyzing the shapes of the gap between comics frames in 'The Three Bonds And The Morals in Human Relations.' The objective of this study is to prove the meaning of the shapes of the gaps between comics frames 'The Three Bonds And The Morals in Human Relations', focusing the gaps between frames among symbols of comics.

• Cartoon and Animation Studies
• /
• s.38
• /
• pp.115-132
• /
• 2015

An animation is a tool to represent the consciousness of an author. It is a medium that converts his/her consciousness to time by the means of spaces. Image is the most inherent element among the elements of an animation. Character is the element that has the very core function among the elements of an image because a character is a shape that can deliver a story through various actions and facial expressions. In this context, is a representative satire animation that describes a ranked and unequal human society and selfishness and absurdity of human beings existed in the human society, based on the original work of George Orwell. Therefore, this study aims to study what the work tries to satirize through the meanings and symbols that the characters, animals, and spaces in the work. As a result of the study, it was found that the characters appeared in the work are metaphoric symbols that imply the meanings of each character, not just simple characters or spaces. In the work, the farm is a symbolic space that symbolizes a human world. John, a human being, is described as a dictator in an absolute Russian monarchy who suppresses people. Old Major, a pig, is described as an old pioneer that preaches the appropriation of a revolution while Snow Ball, a pig that follows the Major is described as a naive leader that dreams to establish a real socialist state where everybody lives equal, through successful revolution. Another pig, Napoleon is described as the more greedy dictator than human being. He killed Snow Ball for his private ambition and suppresses and exploits the same race, animals. That is, setting man and various animals in the relation of dominant class and subordinated class, the author generates conflicts among characters. Although the characters pursue an ideal society through revolution, it requires another revolution in the process, which expresses repetitive contradiction of human history in a symbolic and strong way.

• The Journal of the Korea Contents Association
• /
• v.20 no.2
• /
• pp.82-95
• /
• 2020

This study takes the identity and characteristics of public art in historical and cultural regions as the research object. Through the theoretical investigation and research on the public art of historical and cultural regions, six evaluation factors that shape spatial identity and characteristics were drawn: Environmental characteristics, public characteristics; Symbolic characteristics; Artistic characteristics;.Historical characteristics; Interactivity. The identity and characteristics of Taoxichuan public art in Jingdezhen was analyzed and evaluated. The results show that the " public art " of seven large chimneys is consistent with the historical structure of the industry. Among them, environmental, public characteristics, symbolic, artistic and historical characteristics of the Industria park have a high degree of preservation value and can be recognized as the historical landmark of the park. In the new public art, the artistic quality of public art, the environment, and the public characteristic of public art, are also at a moderate level, but it is comparatively weak. Public art recreated as an industrial heritage has formed an identity that can communicate spiritual sympathy to the public by forming a time-space communication between the public with historical relics and ceramic elements, and the new public art for local rehabilitation has given new artistic flavor to the city, but the new identity has not been shown.

• The Journal of Korean Philosophical History
• /
• no.23
• /
• pp.393-421
• /
• 2008

This thesis has an intention to reorganize the topic of Ontology that has not unnoticed, investigating the symbolic signs of Zhuxi. The symbols in Ontology visualize in an anthropomorphic form or a form of animals that we can usually find in the nature. The visible symbols have characteristics of the dynamic rather than the stillness. The symbols of human and a horse have developed as different interpretations depending on the relative importance. The movement of stream symbolize the Movement of Daoti that manifests thorough all things in the Dao and have a structure of 'Ti-Xiang-Yong'. The Substance of Metaphysics embodies an action thorough 'Metaphysics' or 'with Metaphysics'. Accordingly, 'a stream' symbolizes 'the Movement of Daoti' in that it manifests the form of Daoti makes body. A kite and a fish symbolize the form of a kite flies up into the sky and the shape of a fish plays in the pond. These not only represent an outlook on the world, but also symbolize the stage of the Movement of Daoti. 'Human', 'a stream', 'a kite' and 'a fish' include activeness, domination, dynamics, manifestation, visibility, naturalness.

• Journal of People, Plants, and Environment
• /
• v.23 no.5
• /
• pp.577-587
• /
• 2020

Background and objective: Plants in temples are the results of cultural symbolization that embraces the experience and enlightenment of humans about life. As a way to improve the acceptance of the foreign religion, China gave cultural symbolization to plants in temple gardens through integration with traditional cultures and the understanding of the nature of plants themselves. This study aimed to identify cultural symbolism and signs of acculturation associated with Buddhist plants, targeting Bolisu, the most essential and symbolic plant in temple garden forests in China and Korea. Methods: The morphological and ecological characteristics of plants, functions, the texts that contained the history of Buddhism and literary works were examined through literature review, and the relation of Ficus religiosa with its planting conditions and nature, and Buddhist culture was explored. In addition, the cultural value of Buddhist plants themselves in establishing temples and the reason why Bolisu was planted in temples were reviewed through time series analysis. The obtained results were interpreted using an inductive method to identify substitutes for F. religiosa, cultural symbolism and signs of acculturation. Results: F. religiosa as one of the three holy trees and the five trees and six flowers in Buddhism is known as the original Bolisu. Since it grows well and is widely distributed in regions that accepted Indian Buddhism, it became the most representative holy tree in Buddhism. From the perspective of tree shape and nature, F. religiosa is in line with the Buddhist spirit of saving those in need with mercy and redeeming mankind, and figuratively shows that perfection can be attained like the fruit of Bolisu. Chines Buddhism had adopted highly symbolic plants for a long period of time as a means to spread the same belief and doctrines as Indian Buddhism. In China, however, there were only limited areas suitable for the growth of F. religiosa, and for this reason, borrowed Bolisu trees including Tilia. miqueliana, T. mandshurica and T. amurensis and other plants such as F. virens Ait. var. sublanceolata, G. biloba and M. alba were planted as a substitute in most regions, having been given with symbolism and belief as Bolisu. Conclusion: Chinese Buddhism planted the same plants as Indian Buddhism in order to enhance symbolism and also similar substitutes to express the same symbolism. This is a kind of acculturation and its influence and customs were not limited to China, but were introduced to Korea, The difference between China and Korea was that G. biloba was excluded from the substitute for Bolisu in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.3
• /
• pp.18-27
• /
• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.6
• /
• pp.171-184
• /
• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.4
• /
• pp.39-48
• /
• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.14 no.1
• /
• pp.31-42
• /
• 2012

This study focuses on the establishment of the medical practitioners' brand image through uniforms design developments and the need for recognition, which follows the globalization and evolution of the medical industry. It also embodies public healthcare management services, as well as works to develop a unified design for nurse uniforms at the Gyeonggi provincial medical center in order to place it as a foothold hospital in the region. The results of the study are as follows: First, the symbols of nurse uniforms were divided into external and internal definitions. However, when comparing the uniforms of university hospitals and Gyeonggi provincial medical center, the nurses of the Gyeonggi provincial medical center preferred a uniform that had a strong symbolic meaning. Second, the functionality of nurse uniforms included management of uniforms, sewing, and measurements as important elements. Also, it was found that medical center nurses prefer materials with high functionality. Third, the aesthetics of nurse uniforms and decoration, which includes the external shape and popular influences, were displayed. Also, medical center nurses have a higher preference in external aesthetics than university hospital employees. The results of this study were used as the basis for the development of the design for the Gyeonggi provincial medical center nurse uniforms, which are as follows. First, in terms of symbolism, active application of the Gyeonggi provincial medical center's brand image and medical practitioners such as the Gyeonggi provincial medical center's logo were applied to establish a unified image. Second, in terms of functionality, consideration of the special working conditions and activities were taken into place through the use of functional materials and details to create superior application and efficient work performance. Third, in terms of beauty, bright and neat colors as well as pleasantries were emphasized to create a professional image that will reel in confidence from the patients.

• Journal of the Korean housing association
• /
• v.25 no.6
• /
• pp.111-121
• /
• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.