한극서예의 국제화를 위해서는 그 동안 한자 중심의 전통세예를 탈피 한 디지털시대 맞는 방법론을 찾아보는 것이 중요하다. 가장 한국적인 것이 가장 세계적이다 라는 말과 같이 서양 동양 중국 일본 한국 등 특정 문화에 대한 편견을 버리고 우리 한글이 우수성과 문자의 독자성을 찾아 서 거기에 맞는 방법론을 찾는 것이 중요하다. 논자는 그 방법론 중에서 문자텍스트와 이미지가 융합된 전형적인 도 상텍스트를 중심으로 연구를 하고자 한다 아울러 본 연구에서는 서구기 호학이 천착해운 기호사각형 관점을 빌려 서양의 타이포그래피 나 캘리 그래피 동양의 전통서예 나 문자도에 나타나는 상이한 차이에 대한 물음 을 제기하면서 서예문화를 연구한다. 한글은 타 글자와는 다른 추상문자에서 출발하여 점차 이미지로 변환 되어가는 문자 추상이 중심이 되므로 기호학 관점을 빌어 연구할 만한 충분한 가치가 있다.

The rapid developments of research and teaching of international law in China have attracted the attention of international law academics of the world, who have looked over the landscape of international law in China with great interest. Unfortunately, existing literature has yet to completely satisfy their interests in this aspect. This article is intended to compensate for this gap by introducing representative international lawyers, publications, academic associations and research funding schemes on international law in China. More concretely, this paper will show the mainstream research sources of their Chinese counterparts as well as embrace teaching as part of the research system of international law in China. It is expected that, with their more attention into the holistic research methodology and the “One Belt, One Road” strategy, the Chinese academia of international law will contribute more to the international rule of law.

본 연구는 온라인 큐레이션 플랫폼을 이용한 외현적 정보의 제공이 현대미술에 대한 일반대중의 진입장벽을 낮추는 효과를 가지는지 알아보았다. 현대미술은 일반대중이 접근하기 난해한 장르로 여겨져 왔다. 한편, 미술 감상에 대한 연구들은 외현적인 정보의 제공이 미학적 감상 경험에 긍정적인 영향을 줄 수 있음을 밝혔다. 따라서 본 연구에서는 작품에 대한 구체적 정보를 제공하는 것이 현대미술을 감상하는 데에 긍정적인 영향을 미칠 수 있는지 알아보았으며 감상 경험을 심리학적으로 분석한 Leder et al.(2004)의 이론적 모델에 기초하여 외현적 정보가 어떠한 인지적 처리과정을 도와주는지 분석하였다. 더 나아가 최근의 전시 트렌드를 반영하여 온라인 플랫폼 환경을 적용하였다. 실험 1에서는 작품과 설명문이 제공되었고 작품에 대한 이해도, 관람의향을 보고하였다. 실험 결과, 해설이 제시된 조건에서 작품에 대한 이해도가 더 높았다. 또한, 긴 해설이 제시된 조건에서 해설 이해도와 관람의향을 작품이해도가 완전매개하는 매개모형이 나타났다. 실험 2에서는 ARS 설문을 추가하고 온라인 큐레이션의 능동적인 조작 환경을 재현했다. 실험결과, 해설이 제공된 조건들에서 관람의향, 작품이해도가 더 높았다. 예술사적 의미, 자아성찰, 창의성 등 Leder et al.(2004) 모델의 후기 단계에 해당하는 지표들 역시 해설조건에서 더 높은 것으로 나타났다. 종합하면, 온라인 큐레이션 환경에서의 정보전달이 일반대중의 현대미술 작품에 대한 인지적 처리와 판단에 도움을 줄 수 있었다.

이 글은 근ㆍ현대 한국불교 예송의례의 아우라에 대해 전승과 변용을 변 증법적으로 고찰한 논문이다. 이를 위해 먼저 의례서적의 편찬 방식 등을 기준으로, 대각교의식과 석문의범 등이 편찬된 20세기 초중반을 근대 로, 불교의식을 현대와 같은 방식으로 편찬하기 시작한 20세기 중후반을 현 대로 상정하고 논의를 전개하였다. 현행 조석의 7정례는 대웅전에 모신 존상과 큰 관련이 없는, 주전에서의 전통 예참의식 형태로서, 사찰의 전 대중이 참여하는 일상의례인데, 근대불 교시기에 유사한 양태로 성립되기 시작하여 점차 변형을 겪으며 현대불교시 기에 이르러 현행 양태로 변용되었다. 7정례가 한국불교사찰에 널리 보급된 것은 사실이라고 할 수 있지만 한국의 모든 사찰에서 동일하게 설행되는 의 식이라고 할 수는 없을 것 같다. 사찰의 새벽을 알리는 도량석이 현재와 같 이 활용된 시기와 의미 등을 단정할 수는 없으나, 야간에 행해지는 시식(施 食) 의식의 결계(結界)에 대(對)되는 의식이라고 할 수 있다. 우연의 일치 일지 모르지만 현재 법성게가 ‘도량석’에서 주로 염송되는데, 이는 시식의식 에 초대된 존재들이[諸法] 본래의 붓다[名爲佛]이고 그곳으로 돌아가라는 의미라고 할 수 있으므로, 그 의미와 역할이 묘하게 부합된다. 범종각의 사 물인 법기들은 식당에서 출가 승려들이 음식을 먹을 때 울리던 것으로, 사 찰에 재승(齋僧: 승려공양)이 들어왔을 때 야외에서 식당을 차리고 음식을 먹는 행위를 지휘하는 지휘소와 같은 역할을 하는 유나소인 종루(鐘樓)에서 활용되게 되어 종각에 모이게 되었다. 이 같은 역사 속에 예경과 송주의 도 량석이나 종각의 사물은 본래 의미를 잃어버렸으나 각 의식과 사물은 탄생 의 연기를 환기하여 깨달음을 되새기는 역할을 하고 있다고 보인다.

연구자는 표절논란이 진행 중인 손몽주와 박정현의 사례를 미술과 저작권이란 양자적 관점 에서 분석한다. 손몽주는 박정현의 작품이 자신의 작품과 재료와 표현형태가 비슷하다는 이유로 2014년 대구지방법원에 전시금지가처분을 신청하였다. 법원의 결정에 따라 대구미술관에서 박 정현의 작품은 전시가 금지되었다. 이후 진행된 법적 분쟁에서 부산지방법원은 박정현에게 법원이 정한 일정한 표현 형식을 사용하지 말라고 판단하였다. 연구자의 주장은 미술표절 논란에 대해 법 적분쟁보다 미술계의 논의가 먼저 이루어져야 한다는 점과 미술표절의 판단 주체는 법원이 아닌 미술계가 되어야 한다는 것으로서, 현대미술에 대한 활발한 표절 담론 형성 필요성을 지적한다.

중국현대미술은 1993년 제45회 베니스비엔날레에 참가한 것을 시작으로 꾸준히 국제미술계에서 두 각을 나타내고 있다. 한·중·일 동아시아 삼국 가운데 가장 늦게 출발했음에도 불구하고 중국현대미술은 베니스비엔날레를 중심으로 점점 더 폭넓은 위치를 점유해 나갔다. 진출 초기에는 중국정부차원의 지원이 아닌 작가 개개인의 활발한 제작 활동으로 스스로의 입지를 다졌으며, 1999년 차이궈창(蔡國强, 1957-) 이 중국작가로서는 처음으로 대회 최고상인 황금사자상을 수상하여 전 세계의 이목을 집중시켰다. 중국 정부는 문화예술이 국가의 위상에 미치는 영향력을 경험했고, 본격적으로 정부차원의 지원을 시작한 결과 2005년에는 베니스비엔날레 본전시장에 중국의 국가관을 설립하기에 이르렀다. 발전을 거듭한 중국현대 미술은 2013년 베니스비엔날레 진출 20주년을 맞이하며 더 이상 서구미술의 흐름을 따라가는 후식민적 경향에서 벗어나 중국 스스로가 지닌 다양한 사회문제에 대해 논하는 작품을 선보였다. 중국현대미술의 베 니스비엔날레 참여과정에 대한 연구는 중국현대미술이 국제화를 이루어 낸 맥락과 가치를 보여준다.

Confucianism originated from China, spread to East Asia soon in history. "Confucianism East" have taken advantage of creating a flourishing Korean Confucianism, so far, from the Korean Three-Kingdoms Times, the Unified Silla, the Korea Times, Joseon Dynasty, to today, South Korea contemporary Confucianism still to better development and spread, in the aspects of ideology, social structure, folk life wide under its influence. The contemporary South Korean Confucianism spread and inheritance trend, as the Comparison between Chinese and Korean Cultures, not only inherits the official and private educational institutions established in the earlier history of the path of "central-local", but also to Sung Kyun Kwan University as a representative of the Confucian education take on an altogether new aspect of modern university. The efforts of Korean society in the study of Confucian literature and Confucianism, showing the social and academic power,and it is indeed the valuable and sustainable cause of Confucian's good inheritance and development in contemporary Korea. And "An-dong cultural phenomenon" is the best “ChongRu-ShangXian“ interpretation of Confucianism in contemporary South Korean society spread. In the course of study、inheritance and development, Confucianism carried out fruitful local practice in Contemporary Korea, forming the good development trend of Korean Confucianism and the Korean characteristics of Confucian studies. With the internationalization of Confucianism, inheritance and development of Confucianism in Korea to local benign succession, characterized both contemporary Confucianism spread and inheritance, and embodies the modern value of Confucianism, not only closely linked with the Korean cultural environment and soil, of course , but also cannot leave Chinese classical culture broad and profound and tremendous influence.

This paper aims to analyze the characteristics of the contemporary Chinese fashion market and the competitiveness of Korean fashion brands in China. Fashion professionals experienced in both the Korean and Chinese fashion markets participated to investigate the Shanghai market and consumers. The results of in-depth interviews show that Shanghai is the most favorable city among Tier 1 cities for Korean fashion brands planning on entering into the Chinese market. Shanghai consumers are open to international brands and highly prefer newness in fashion. Contemporary menswear was selected as a potentially big market due to the increase of unique, young, upper-middle-class male consumers. The Korean fashion brands’ strength is that they are capable of satisfying Shanghai consumers with excellent product planning and sensory design capabilities. Their disadvantage is that their brand recognition is weaker than that of global and international brands, and their ability to localize to the Chinese market is weak. The opportunity comes is from the Korean Wave, which is a positive for Korea's products and has good geographical access. The threat is that the Shanghai market is fiercely competitive; having access to many worldwide brands, and the competitiveness of Chinese brands is on the rise. To enter the Shanghai market, creative design ability, trendy product development, skill, and appropriate PR methods such as using Korean culture contents would be required to satisfy the young, powerful consumers in Shanghai.

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women’s clothing collections perfectly covered up a woman’s body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women’s fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes’ colors and patterns, and the methods in which the decorative factors were utilized.

This study proposes that Malevich's 1913 performance “Victory Over the Sun” was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. “Victory Over the Sun” did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in “Victory Over the Sun”, and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on “Victory Over the Sun” from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on “Victory Over the Sun”. and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

The purpose of this study is to delineate and analyze the expression of the kidult and its characteristics and thereby provide data to be used for fashion design in various manners as well as to suggest creative and varied possibilities of fashion design. As a way to study, the author of this paper organized the general terms, concepts and definitions concerning the kidult in the previous papers and journals. The data was collected from the collections represent the characteristics of kidult especially from 2006 to 2015. The results are as follows: Firstly, The characters stimulating the innocence of children were used the most for infantile expression. Parody used characters in the movie or famous logos. Déformation was used to create designs by way of distortion and deformation. Exaggeration thereby showing visually strong impression and inducing surprise and unexpectedness. Dépaysement was useful to let us describe concepts and enhance our infinite creativity and interests about objects using surrealistic. Secondly, Infantile characteristics used the images of toys with infantile imagination and sense of humor. Fantasy introduced objects or expressed a dream-like feeling. Unexpectedness used two-faced ideas or conflicting ideas to express conflicts, collision and an interchange with heterogeneous things, avoiding the limit of size and the simplicity of materials. Parody used jocular expressions, satire and ironic expressions to express the original image in a fun manner. Exaggeration transformed changed the structure to restructure objects in a subjective and creative manner, thereby expressing creative patterns using various subject matters by way of special modeling or distortion and transformation.

Since the recent Hanok boom in Korea, Contemporary Hanok has been evolving in terms of structure, space, form, etc. To get a comprehensive understanding of the diversified Contemporary Hanok, this paper aims at its type classification by analyzing architects’ designs since 2000. The criteria for the classification are two: (1) renovation [Re] or new construction [New]; and (2) degree of Contemporary Hanok’s deviation from the traditional Hanok’s standard ― maintaining the traditional form [Main]; changing space within the traditional form [Space]; changing the traditional frame [Frame]; and juxtaposing the traditional and the modern [Combi]. From the two criteria, this paper deduced eight types of Contemporary Hanok, named respectively: Re-Main, New-Main, Re-Space, New-Space, Re-Frame, New-Frame, Re-Combi, and New-Combi, and studied their cases. It can be argued that various aspects of Contemporary Hanok and their critical meanings were well-investigated through this type classification and case-studies.

『弟子規』는 기초한자 교육 및 인성교육을 위한 童蒙書다. 그 중에서도 한자 학습보다는 윤 리도덕교육에 더 큰 목적을 둔 책이라 할 수 있다. 책은 “總敍”를 포함하여 총 여덟 항목으 로 구성되어 있지만, 주제는 셋으로 요약할 수 있다. 첫째는 부모에 대한 효도와 長者에 대한 공경, 둘째는 사회생활과 처세의 방법, 셋째는 배움과 실천에 관한 내용이다. 대부분 孔子를 대표로 하는 유교사상을 바탕으로 하여, 인간의 기본 도리와 처세법을 자세히 설명해 놓고 있다. 내용 중에는 21세기 현실생활과는 다소 부합되지 않는 낡은 사상과 행동지침이 포함되 어 있어 논란이 되기도 하지만, 전체적으로 보아 전통문화 창달과 인성교육에 유익한 교재라고 판단한 중국 교육계에서는 현재 『弟子規』 閱讀과 교육을 활발하게 전개시키고 있다. 중국 의 ‘國學’ 열기와 함께 인성교재의 핵심으로 활용하고 있는 『弟子規』는 개인주의와 황금만능 주의가 팽배한 현대사회의 아동들에게 전통문화를 이해시키고 바람직한 가치관과 인간성을 회복시키는데 크게 도움이 될 것으로 사료된다. 이런 현상에 대한 치밀한 분석은 우리나라에 서 『四字小學』 등과 같은 교재로 한자 및 인성교육을 시키는데 있어서도 적지 않은 도움이 될 것으로 기대된다.

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun- Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.