한·중 무형문화유산의 시각 디자인 비교 연구 = Comparative Study on the Visual Design of Intangible Cultural Heritage in China and Korea

다국어 초록 (Multilingual Abstract)

With the growing emphasis on cultural diversity and the rapid evolution of digital media environments, intangible cultural heritage (ICH) has increasingly shifted from being merely a subject of preservation to serving as a cultural resource actively involved in contemporary communication, public engagement, and creative industries. In visually dominant media ecologies, visual design has become an essential medium through which ICH enters public perception and interacts with institutional protection,cultural industries,and user cognition. However,existing research has mainly concentrated on macro-level dimensions such as legal systems,transmission mechanisms,or tourism-oriented development.Systematic investigations into the structural differences of visual styles, the design mechanisms behind these differences, and their impact on user perception remain insufficient.
To address this gap, this study conducts a comparative analysis of ICH visual design in China and Korea, aiming to identify the characteristics of visual style differentiation, examine its institutional and design-ecological determinants, and reveal how visual expression influences user perception and cultural attitudes. First, a bibliometric analysis of Web of Science and CNKI publications (2015–2025) was performed to clarify research trends and the positioning of visual design issues in ICH studies. Second, policy documents, design education practices, public support systems (KIDP, KOCCA), and media structures of the two countries were comparatively analyzed to extract institutional influences on visual expression. Third, representative cases—including Miao embroidery, Jingdezhen porcelain, and Kunqu Opera in China, and Hanbok, Talchum, and Hanji in Korea—were examined. A dataset of 186 visual samples was constructed, which were coded and statistically tested based on five key visual components: color, pattern, form, material expression, and layout. Finally, a user experiment using poster stimuli incorporating Chinese and Korean styles evaluated differences in aesthetic appraisal, cultural understanding, trust, cultural identity, and purchase intention.
The results demonstrate recognizable, quantifiable, and stable differences in Chinese and Korean ICH visual styles.
Chinese designs form an “extraverted-energy” visual system characterized by high-saturation and high-contrast colors, dense patterns, dynamic forms, and visually centralized layout structures; whereas Korean examples constitute an “introverted-restraint” system with low-saturation palettes, refined patterns, stable silhouettes, material-focused surface expression, and layout emphasizing spatial breathing. These differences are interpreted as institutionally shaped design strategies, rooted in divergent professional risk logics—China prioritizing visibility and attention acquisition, and Korea emphasizing semantic accuracy and cultural authority. The user experiment further verified that the two styles induce distinct perceptual pathways: Chinese styles are more effective in capturing attention and triggering short-term behavioral response, while Korean styles foster deeper cultural comprehension and sustained identity recognition. These findings indicate that visual design is not merely aesthetic decoration but a mechanism that influences cultural cognition and behavioral engagement.
Based on these analyses,this study proposes a six-level “Design Conversion Mechanism Model”,encompassing institutional orientation,educational pathways,industrial environments, media structures,design behavior,and user perception,to elucidate the generation and effect of visual differences.The findings provide theoretical implications for the visual innovation of ICH and practical insights for design education,cultural policymaking, and industry development in both countries.
Keywords:Intangible Cultural Heritage;Visual Design;Design Conversion;China–Korea Comparison; Visual Style; User Perception

목차 (Table of Contents)

• I. 서론 1
• 1.1 연구 배경 및 의의 1
• 1.2 연구문제 제기 5
• 1.3 연구의 필요성 8
• 1.4 연구 방범 11
• 1.5 연구 흐름도 23
• II. 이론적 기초와 문헌 고찰 24
• 2.1 무형문화유산 관련 개념 개관 24
• 2.1.1 무형문화유산 개념의 제기 24
• 2.1.2 무형문화유산의 정의 26
• 2.1.3 무형문화유산의 가치 30
• 2.2 국내외 연구 동향 및 문헌 고찰 36
• 2.2.1 국내외 연구 현황 36
• 2.2.2 문헌 고찰 39
• 2.3 디자인 전환 이론 70
• 2.4 시각 디자인 이론 73
• 2.5 기호학 및 디자인 의미론 이론 78
• 2.6 사용자 지각 이론 80
• 2.7 이론적 통합 모형 82
• III. 한·중 무형문화유산 시각 혁신 메커니즘 비교 분석 85
• 3.1 제도적 지원 메커니즘 비교 85
• 3.2 디자인 생태 메커니즘 비교 104
• 3.3 매체 전파 메커니즘 비교 121
• 3.4 본 장 요약 127
• IV. 한·중 무형문화유산 시각 스타일 특성 귀납 132
• 4.1 연구 설계 및 자료 출처 132
• 4.2 시각적 스타일 관찰 프레임워크 152
• 4.3 시각 스타일 차이 비교 분석 157
• 4.3.1 일관성 검증 분석 158
• 4.3.2 기술통계 분석 158
• 4.3.3 독립 표본 t-검증 분석 162
• V. 디자인 실험 연구 171
• 5.1 실험 설계 171
• 5.2 실험 절차 178
• 5.3 측정 도구 179
• 5.4 실험 설계 180
• 5.4.1 기술 통계 분석 181
• 5.4.2 신뢰도 분석 184
• 5.4.3 타당도 분석 185
• 5.4.4 차이 검증 분석 187
• 5.4.5 상관관계 분석 189
• 5.4.6 회귀 분석 190
• VI. 연구 논의와 이론적 고찰 193
• 6.1 시각 스타일 차이의 다층적 통합 분석 193
• 6.2 디자인 전환 기반 혁신 발전 경로 모델 제안 195
• 6.3 디자인 교육 및 문화 정책에 대한 시사점 205
• 6.4 연구의 혁신성 209
• VII. 결론 및 전망 213
• 7.1 연구 결론 213
• 7.2 연구의 한계 및 향후 전망 216
• 참 고 문 헌 220
• 영 문 초 록 227
• 부 록 230