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한식문화(韓食文化)구성요소의 색채분석을 통한 오브제적 표현 연구

Expression of Korean Table Setting as Objet Through Color Analysis of the Elements

이 승 은 (경희대학교)

원문보기

  • 발행기관 경희대학교
  • 지도교수이 헌 국
  • 발행년도2013
  • 제출일2013-07-12
  • 학위수여년월2013. 8
  • 학위명박사
  • 학과 및 전공대학원 조형디자인학과
  • 원문페이지p. 181
  • 실제URIhttp://www.dcollection.net/handler/khu/000000117313
  • 본문언어한국어
  • 저작권경희대학교 논문은 저작권에 의해 보호받습니다.
초록 moremore
오늘날 한식문화(韓食文化)에서 시각적 측면이 강조되면서 상차림의 색채연출이 중요한 요소로 부각되고 있다. 한식문화에서 식탁, 식기, 화예디자인은 상차림을 구성하는 오브제적 요소로서 음식의 맛에도 영향을 미칠 뿐만 아니라 식사의 전체적인 분위기를 결정하는데 중요한 역할을 하고 있다. 현대예술에서 오브제는 작가의 의미부여에 의해 일상, 그 자체가 오브제화되면서 오브제 개념은 다양한 예술 영역에서 포괄적 의미로 사용되고 있다. 이러한 시각에서 현대 상차림에서 구성요소 본래의 기능과 역할뿐만 아니라 의미를 담은 특별한 상차림의 연출이라...
오늘날 한식문화(韓食文化)에서 시각적 측면이 강조되면서 상차림의 색채연출이 중요한 요소로 부각되고 있다. 한식문화에서 식탁, 식기, 화예디자인은 상차림을 구성하는 오브제적 요소로서 음식의 맛에도 영향을 미칠 뿐만 아니라 식사의 전체적인 분위기를 결정하는데 중요한 역할을 하고 있다. 현대예술에서 오브제는 작가의 의미부여에 의해 일상, 그 자체가 오브제화되면서 오브제 개념은 다양한 예술 영역에서 포괄적 의미로 사용되고 있다. 이러한 시각에서 현대 상차림에서 구성요소 본래의 기능과 역할뿐만 아니라 의미를 담은 특별한 상차림의 연출이라는 시각에서 오브제의 개념이 중요시되고 있다. 현대 상차림의 오브제화는 식사를 하는 공간과 예술이라는 두 영역의 경계를 무너뜨리고, 상차림 구성요소의 순수한 기능뿐만 아니라 예술로서 자리매김 하려는 경향을 보인다. 한식문화는 전통과 현대 상차림의 개념을 동시에 내포하고 있는 통시적, 보편적 상차림을 칭하며, 전통의 계승과 형식의 변모 속에서 한국 상차림의 원형적인 요소를 간직하고 있다. 최근 지구촌은 세계화의 추세에 따라 국가 간에 활발한 문화교류가 이루어지고 있으며, 한식문화 또한 서구화, 퓨전화 되고 있는 상황에서 우리 민족의 정서와 문화가 깃들어 있는 전통 색채를 현대감각에 맞게 재구성하여 한식문화에 적용하는 연구가 요구된다. 본 연구는 한식문화에 활용된 오브제로서 색채를 현대적 의미로 재해석하여 상차림의 목적에 부합되면서 전통과 현대의 만남이 이루어질 수 있는 색채연출을 제안하였다. 연구 범위는 「토야 테이블웨어 페스티벌」(2004~2007)과 「홈․테이블데코페어」(2012)의 전시공간에 출품한 작품, 「도쿄돔 테이블웨어 페스티벌」(2009~2013)의 한국인 출품 수상작품 59점 중 오브제의 색채 이미지가 잘 표현된 상차림의 사례 13점을 대상으로 하였다. 연구 방법은 분석 대상으로 선정한 13점의 상차림을 중심으로 일반인과 전문가 그룹으로 나누어 설문지 조사를 거쳐 색채측색을 한 후에 종합적 연구․분석 한 것을 바탕으로 사례별 선호하는 상차림의 컬러 시뮬레이션(color simulation)을 제안하였다. 연구의 결과는 다음과 같다. 첫째, 1차 설문조사에서 추출된 대표 색채이미지의 형용사 언어 15개의 요인 분석을 실시한 결과, ‘클래식한’, ‘중후한’, ‘상쾌한’, ‘개성적인’의 4개 대표 형용사를 추출하였다. 요인 분석 결과를 바탕으로 ‘클래식한’, ‘개성적인’의 이미지가 한식 상차림에서 표출되는 대표적 형용사로 나타났으며 이러한 형용사 언어의 다차원 척도법을 실시하여 색채 이미지 공간을 제시하였다. 둘째, 상차림 이미지 유형별 색채특성 분석 결과 ‘클래식한’ 이미지와 ‘중후한’ 이미지는 색상의 영향을 받고 있고 ‘상쾌한’ 이미지는 채도의 영향을 ‘개성적인’ 이미지는 명도의 영향을 받고 있는 것으로 나타났다. 셋째, 상차림 이미지 유형별 색채 팔레트를 작성한 후 선호하는 형용사 언어에 관한 4개의 컬러 시뮬레이션을 실행하여 한식문화의 색채를 제안하였다. 현대 상차림에서는 환경 친화적이고 우리나라의 토양과 환경에 어울리는 색채가 선호되었으며 선명하고 강한 색보다는 채도가 낮은 부드럽고 은은한 색채를 선호하고 있음을 알 수 있었다. 전체적으로 상차림에서 편안하고 안정감을 주는 연출이 필요하며 색채는 오방색의 원색보다는 2차색인 간색을 적용하여 전체적으로 내츄럴한 이미지의 색상을 선택하고 식탁(테이블크로스)․식기류․화예디자인 등의 색채조화를 고려하는 것이 바람직한 것으로 나타났다. 오늘날 세계 각국의 식문화가 등장하고, 한식 상차림도 다양한 식사형태로 변화되고 있다. 한식 상차림은 실용적인 공간으로서의 기능적인 측면과 동시에 식공간의 심미적 공간 연출의 표현 방법이라는 측면에서 오브제적 인식이 필요하다. 이러한 연구의 결과로 한식문화의 색채를 제안할 수 있으며, 향후 다양한 국가나 민족의 색채 선호도 분석을 통해 한식문화 세계화를 위한 대표적인 사례로 활용 가능할 것이다. 한류열풍과 더불어 한식문화에 대한 관심이 전 세계적으로 부각됨에 따라 한식문화의 다양한 연구와 재해석은 세계 속에서 한국의 이미지를 각인시키는 중요한 역할을 담당할 것으로 예상한다.
초록 moremore
There is a rising emphasis on the visual aspects of Hansik Culture (Korean cusine) and the importance of table settings and color arrangements has also been magnified these days. The culture takes tableware and floral designs as objet factors, besides the dishes, which have a decisive role in crea...
There is a rising emphasis on the visual aspects of Hansik Culture (Korean cusine) and the importance of table settings and color arrangements has also been magnified these days. The culture takes tableware and floral designs as objet factors, besides the dishes, which have a decisive role in creating the atmosphere. In modern art, daily life becomes objet by artists' intention to impart any meanings onto it, and objet is used as a comprehensive sense in various fields. From this aspect, objet acquires a great importance not only in the essential functions and elements of modern table settings but also in setting the scene for special table arrangements. Treating modern table arrangements as objet blurs the boundary between eating space and art, and shows the tendency to position themselves as a form of art beyond the principal functions of table setting elements. The culinary culture of Korea not only covers the traditional table setting manners, but also indicates diachronic and universal styles, and thus covers the traditional inheritance along with transformation over time. It is essential to rearrange the traditional colors, which contain the national sentiment, in accordance with a modern sense and apply to Hansik culture a brisk cultural exchange under which Korean food goes through Westernization and fusion. Various studies and reinterpretations of the traditional color code are expected to imprint how global citizens should view the Korean food cultural image. This research suggests various color selections that go well with the world's aesthetic preferences and the original purpose of table settings by reinterpreting the objet colors of Korean food culture into modern terms. The scope of this study lies in the exhibition work such as TOYA (Table Festival 2004-2007), Home Table Deco Fair 2012, and 13 prize-winning table-setting works at the 59 Tokyo Dome Tableware Festival 2009-2013 that well represented the object color images. The research methods were based on the colorimetric system analysis of a according to the table-setting color simulation. Their research results are as follows: survey on the public and experts, and suggestions on case-by-case preferences Firstly, the initial survey was done on factor analysis among 15 color adjectives. In the results, 4 standard adjectives were extracted: grave, classic, refreshing, and distinctive. On the basis of the outcome, "classic" and "distinctive" images appeared as typical adjectives describing modern Korean table-settings, and these words proposed a color adjective space through performing a multi-dimensional scaling method. Secondly, as a result of multiple regression analysis to evaluate the characteristics of colors, "classic" and "grave" images were generally affected by the hue, "refreshing" images by chroma, and "distinctive" images by brightness. The colors of dining tables, tableware, and flowers with "classic" images were arranged as YR or Y. "Grave" images were YR for tables, GY or RP for tableware, and Y and G for flowers. P, PB, G, GY, or Y were selected for "refreshing" images, and "distinctive" images were as YR, R, GY, or YR. Overall, tables were preferred in YR or Y, tableware in GY, and flowers in Y. Thirdly, an image-type color palette was created and suggestions for Korean dining colors were made through four-color simulations on preferred adjectives. Tables mostly affected the overall color images and dinnerware preferred modernistic and natural Korean styles, taking chroma in order to balance with Korean food which is characterized by the five cardinal colors. The Korean catering style generally demands a cozy and stable atmosphere, and secondary halftone colors to make natural images. It also appeared desirable to consider the coordination between colors on tables or tablecloths, dinnerware, and floral designs. On table-settings where intimacy between people is taken seriously, nature-friendly materials were used to the express familiarity and liveliness of green plants rather than using extravagant floral designs. Today, worldwide food cultures are being introduced and Korean table settings also shows variations in accordance with different catering styles. What Korean table arrangements require is recognition as objet in the terms of practical space function and aesthetical space production. The results of this study can present the color suggestion of Korean food culture and be used for future case study on diverse people and nations' color preferences which would properly bolster globalization of Korean food culture. Particularly in company with Hallyu, the Korean Wave, the nation's spotlighted food culture also needs various study and reinterpretation for gaining the world's recognition of Korea's images.
목차 moremore
Ⅰ. 서론··············································································· 1
1. 연구 목적········································································ 1
2. 연구 내용 및 방법····························································· 3
...
Ⅰ. 서론··············································································· 1
1. 연구 목적········································································ 1
2. 연구 내용 및 방법····························································· 3

Ⅱ. 한식문화의 이론적 고찰······················································ 6
1. 한식문화의 개념 및 유형····················································· 6
1) 전통 상차림 개념 및 유형 ················································ 7
2) 현대 상차림의 개념 및 유형············································· 15
2. 한식문화와 구성요소························································· 20
1) 전통 상차림과 구성요소·················································· 20
2) 현대 상차림과 구성요소·················································· 24
3. 한식문화와 상차림의 영향성················································ 28
1) 한국의 문화적 특성과 상차림············································ 28
2) 음양오행사상과 상차림···················································· 30

III. 전통 및 현대 상차림의 오브제와 색채··································· 35
1. 상차림의 오브제 유형 연구················································· 35
1) 전통 상차림 오브제 유형················································· 36
2) 현대 상차림의 오브제 유형·············································· 43
2. 상차림의 오브제 색채 특성 연구··········································· 53
1) 전통 상차림의 오브제 색채 특성········································ 53
2) 현대 상차림의 오브제 색채 특성········································ 66

Ⅳ. 상차림 오브제의 색채 선호도 분석 ····································· 86
1. 이미지 표현을 위한 용어 선정 조사······································· 86
1) 상차림 오브제의 사례 선정··············································· 86
2) 색채이미지 분류를 위한 형용사 언어의 선정························ 100
3) 색채계획을 위한 설문지 조사·········································· 104
2. 상차림 오브제의 이미지 유형 조사······································ 105
1) 색채이미지 선호도 조사················································· 105
2) 색채이미지 형용사의 요인 분석········································ 109
3) 색채이미지 형용사 공간 제시·········································· 116
Ⅴ. 상차림 이미지 유형별 색채 특성 및 제안······························· 121
1. 상차림 이미지 유형별 색채 특성········································ 121
1) 상차림 이미지 유형별 색채 특성 분석 ······························· 121
2) 상차림 이미지 유형별 색채 팔레트··································· 130
3) 상차림 이미지 유형별 컬러 시뮬레이션······························· 143
2. 한식문화의 새로운 시각 및 제안········································ 154
1) 한식 상차림의 오브제화················································· 154
2) 한식 상차림의 보편성과 특수성에 의한 색채························ 156
3) 소결········································································ 162

Ⅵ. 결론············································································· 163


참고문헌·············································································· 167
ABSTRACT········································································· 171
설문지················································································· 177