본 논문에서는 외래 문물의 유입이 본격화되었던 조선의 개항 이후 한국의 궁궐건축에 유 입되어 공간을 구성하고 장식했던 청(淸)의 공예품들을 파악하고, 이들의 유입 정황과 양식 특성을 고찰하였다. 조선과 청의 무역은 조청상민수륙무역장정(朝淸商民水陸貿易章程, 1882년)의 체결, 기선회사들의 경쟁, 화상(華商)의 활동 등에 의해 1880년대 이후 크게 증가하였으며, 궁궐 에서 사용될 물품들은 중국 상해와 조선의 인천을 잇는 항로를 통해 청으로부터 유입되었다. 1891년 건립된 경복궁 집옥재(集玉齋)는 건축의 재료(벽돌)와 축조법, 기둥과 현판 그리 고 실내 공간의 문과 격단(隔斷) 장식 등에서 중국 건축의 장식 요소들이 반영되었다. 집옥재 는 청의 영향을 확인할 수 있는 궁궐건축으로써 청의 공예품 유입도 촉진하였을 것으로 판단 된다. 이와 관련하여 현전하는 청의 가구, 도자기, 금속공예품 등을 종합하여 양식 특성을 비 교한 결과 창덕궁에 전하는 중국 가구 일부와 도자기들은 페라나칸(Peranakan)을 대상으로 판매되었던 가구와 법랑자기(琺瑯瓷器)였으며, 청말 광동성(廣東省)을 중심으로 제작되어 전 세계로 판매되었던 광동 가구와 법랑기였다. 조선의 궁궐에 유입된 청대 공예품들은 19세기 이후 중국의 무역항을 통해 전 세계로 확산되었던 중국의 미술품 수출 산업과 밀접한 관련이 있었으며, 판매 대상과 지역에 따른 독특한 양식을 확인할 수 있어 의미가 있다.

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

This Study is concerned with the color design of Korean and Japanese wooden architecture. The main subject of the study is to investigate the commonness and difference of color decoration between Korean and Japanese Buddhist 'Danchung' in the modern ages. In carrying this study into execution, I examined the architectural and historical backgrounds, and analysed the elements, techniques and principles of color design. The result of this study is as follows ; 1. 'Danchung' was originated from the practical functions in Chinese wooden architecture, and developed to embody sensuous beauty in Buddhist temple. The techniques and principles of color design and color tone of Korean and japanese Danchung had been similar in the ancient ages. But little by little they have differed in its function and color tone. So they are very different in modern times. 2. The dominant colors of Korean Danchung are red and green as 'Sang-nok Ha-dan(上綠下丹)', but Japanese's is only red as 'Bak-gan Juk-sun(白間赤線)' 3. Korean Danchung expresses and accentuates the important structural elements in three dimensions, on the other hand japanese Danchung takes two dimensional decoration on the unstructural elements 4. When seen in general, in Korean Danchung colors and their light and shade are simple and patternized. In the meantime, Japanese Danchung has many configurational expressions in general and is closed to paintings or picture.

티베트는 유구한 역사와 심오한 문화를 지니고 있으며, 티베트의 문화는 세계에서 보통 티베트학으로 불리고 있다. 티베트의 건축 장식에 사용되는 컬러는 티베트 문화 특유의 특징이며, 티베트족의 전통 건축 컬러와 그 컬러의 상징적 의미는 현대 건축 디자인에 일정한 참고를 제공한다. 그리고, 본 논문은 티 베트의 건축 컬러 연구에 일정한 과학적 의의와 현실적 의의를 지니고 있다.