The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer’s brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer’s name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor City(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女); and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

한자는 표의문자로 그 깊고 풍부한 문화내포와 역사를 가지고 있으며 한자의 구성에 많은 영양을 준다. 그리고 한자는 각 글자마다 하나의 독체자(独体字)로서의 독립적인 메시지와 문화내포를 포함하고 있다. 본 연구는 주로 한자기호의 시각적 유희성을 연구하였다. 즉 한자의 시각 표현은 유희성의 개념을 도입하여 한자의 시각적 표현 유형을 제시하며 그 유형에 따라서 모리스 기호학 3분할법 이론에 의하여 분석하였다. 이 기호학 방법론에 의하여 한자의 유희적 시각 표현에 다양한 아이디어를 제공할 수 있고 한자의 의미성도 깊고 뚜렷하게 발견할 수 있다. 중국한자의 시각 조형성을 유희적으로 파악하고 시각적 유희 이론으로 한자의 시각적 유희의 표현 유형을 정리하여 제시하 였다. 한자의 시각적 유희성을 활용하여 시각디자인 분야에 활용할 수 있고 단일한 한자그래픽 도형을 창작하는 게 아니라 브랜드 이미지를 뻗을 수 있게 된다. 또한 현재 중국은 국제적으로 많은 발전을 꾀하고 있으며 이런 발전 추세는 중국 스타 일의 브랜드 이미지를 요구하고 있기에 한자로 디자인한 작품은 더욱 글로벌 디자인 수준이 되는 기초를 마련하고자 한다.