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Signs and symbols have been formed as the function of messaging through a long history. The development of signs, one of methods of communication, is equate to the development of human culture. Also, signs, which contain human thoughts, assign meaning to different semiosis when it correspond to symbols and they derives another meaning. Art is the different name of language which show the human nature and its inner world. Therefore, artists create new images through signs that placed within the existing meaning system plus their own unique symbols to communicate with reinterpreted works.
Contemporary ceramics have become possible to have various __EXPRESSION__s beyond pottery's practical ways as Peter Voulkos and his close artists of Otis Art Institute began to use medium of soil as means of artistic __EXPRESSION__ in the mid of 1950s. Under the influences of Otis Group, many contemporary ceramic artists started to have their own private thinking system based on flexibility and symbolism of soil. Those contemporary ceramics worked as symbols that own the form of __EXPRESSION__ which fulfills information delivery function. Because of such changes, the critical approach based on art history or a format of discourse need to be obviated and a suggestion of new method of analysis became significant when it comes to work interpretations.
This thesis analyses contemporary ceramics on the basis of signs and symbols. The characteristic and structure of contemporary ceramic are reviewed in advance with the study of system of symbols through one of the logical approach methods, semiology. Also, how the various symbolic elements that appear in the contemporary ceramics would occur the semiotic process between ego of artist and audiences have been studied.
The summary of the body is as follows.

In chapter II, the theoretical background of signs and semiotics are studied based on the basic characteristics of signs and art semiotics. Also, various concepts of symbols and symbolic signs in the art history are described and referred the relationship of signs and symbols.
In chapter III, the correlation between signs and contemporary ceramics are studied. At frist, the semiose, semiotic system, and process of contemporary ceramic are described. And the symbolic functions of contemporary ceramics are categorized in two different elements as reproduction and social statement.
Chapter IV paid most attention to the text images in contemporary ceramics based on theoretical consideration and contextual background which studied in chapter II, III. The text images are limited and categorized in 3 different themes and each specific work are depicted to compare and analyze signs and symbols on them.
Contemporary ceramics can be reinterpreted even wilder and more varietally by use of signs and symbols. It is regrettable not to suggest the overwhelming differentiation among another contemporary ceramic works since the study doesn't contemplate the entire contemporary ceramic history, but only analyze few specific work appearances. However, the study enlightened that appreciating or interpreting works don't only require the actual form of work or elements of art history, but the signs and symbols are essential in order to read the texts in works.                             

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  • http://www.riss.kr/link?id=T13733579