• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• Journal of the Korean Society of Costume
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• v.65 no.1
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• pp.136-149
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• 2015

This research aimed to study the making of western men's coats in the early 19th century. First of all, the study figured out the concepts and forms of western men's tops in the early 19th century by collecting and categorizing pictures including engravings, paintings and pattern books, and literature data. Second, this research identified the patterns, sewing, and design techniques by examining the pattern books on men's clothing in the early 19th century, and analyzed the preserved costumes to restore the selected models. Third, this research presented historical evidences and patterns after designing a men's tailcoat of the early $19^{th}$ century and checking the fit based on the analyzed forms and design techniques. The research discovered that the analyzed results between the tailcoat forms depicted in literature, pictures and pattern books and preserved costumes were almost identical. From this, it can be assumed that the tailors followed a manual when designing garments during that time given the similarity between historical records and remaining items. In addition, it can be seen that the forms and designing methods of men's clothing in the 19th century were almost similar to that of the modern menswear, despite the differences in producing process.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.90-111
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• 2021

Seojangdaeyajodo is a drawing of Jangyongyoung's military night training on February 12 (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the positions and roles of the low-ranking soldier belonging to Jangyongyoung, and the composition and characteristics of military uniforms for each role were examined. The results ascertained by the historical research on the military uniforms are as follows. Deungronggun, noeja, sunryeongsu and daegisu who were placed in front of the king's Seojangdae were the low-ranking soldiers belonging to Jangyongyoung. The soldiers who escorted the king around Seojangdae were lowranking soldiers belonging to Jangyongyoung. The military uniform of the deungronggun was consisted of a jeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon and black shoes. The low-ranking soldier's heopsu suggested that it could also be a sochangui. He carried a sword and a red lantern. Noeja were divided into a sinjeonsu and a jujangsu. The military uniform of the noeja was consisted of a Jujeolrip, a black heopsu, red gweja, indigo jeondae, white haengjeon, and black shoes. Sunryeongsu were divided into a sinsigisu and a younggisu. The military uniform of the sunryeongsu was consisted of a jeongeon, a black heopsu, red gweja, indigo jeondae white haengjeon and black shoes. He carried a sword and a red lantern. The military uniform of the daegisu was consisted of a jeongeon, a black heopsu, blue gweja, indigo jeondae, white haengjeon and black shoes. He carried a sword and a flag. The soldiers surrounding Seojangdae and the seongjeonggun defending the fortress were the Chogun. The military uniform of the chogun was consisted of a jeolrip, a black heopsu, houi, indigo jeondae, white haengjeon and straw shoes. Houi was applying the five directional colors: the east is blue, the west is white, the south is red, and the north is black. He carried a sword and a gun. It was presented as an illustration of costumes that could produce contents by reflecting on these historical results. The basic principle of the illustration was to present the standards for 3D content production or actual production. Samples of form, color, and material according to the times and status were presented. The front, the side, and the back of each costume and the feature were presented, and the colors were presented in RGB and CMYK.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.9
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• pp.3815-3826
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• 2011

TThis study was undertaken to make trial costumes of ball jointed dolls for promoting the beauty of Korean cultural product with historical research of upper class ladie's costume from late Goryeo to early Joseon, the very unknown period in the Korean costume history. The ladies' costume from late Goryeo to early Joseon are characterized by their full silhouette, fusion with clothings of Yuan and Ming, revival of early Goryeo styles, well-developed weaving skill of ramie, a showy costume from Buddhist civilization. After investigation of researcher with literature, painting, and relics in 13-14C, 8 clothing items were outsourced totally. Items were formed as a set concept, but consumer can choose each costume as an single item and can make varied mix also. Dart, small ties, and thick fabrics were used in doll costumes partly because ball jointed doll's body has different characteristics from that of human beings. Developing research of manufacturing company's system for ready-made product remains to be considered in the future.

• Proceedings of the KAIS Fall Conference
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• 2009.05a
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• pp.47-49
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• 2009

본 논문은 기존의 가상현실을 이용하여 환경교육용 프로그램과의 차별성을 두어 단순히 가상현실을 이용한 전통문화 체험학습이 아닌, 조선시대의 자연환경과 주거환경 모습을 가상현실로 재현하고 각계 전문가의 고증을 통해 작성된 시나리오를 바탕으로 사용자 스스로 현재의 자연환경 변화의 모습과 조선시대의 환경변화 모습을 비교 학습하고 원인과 해결방안을 모색 할 수 있는 환경교육용 가상체험 프로그램을 제작하는데 그 목적이 있다.

• Proceedings of the KAIS Fall Conference
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• 2010.05a
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• pp.569-571
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• 2010

본 논문은 기존의 가상현실을 이용하여 환경교육용 프로그램과의 차별성을 두어 단순히 가상현실을 이용한 전통문화 체험학습이 아닌, 조선시대의 자연환경과 주거환경 모습을 가상현실로 재현하고 각계 전문가의 고증을 통해 작성된 시나리오를 바탕으로 사용자 스스로 현재의 자연환경 변화의 모습과 조선시대의 환경변화 모습을 비교 학습하고 원인과 해결방안을 모색 할 수 있는 환경교육용 가상체험 프로그램을 제작하는데 그 목적이 있다.

• Journal of Digital Contents Society
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• v.10 no.2
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• pp.177-188
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• 2009

The paper starts off with a notion that the most realistic problem in restoring cultural contents' archetype and developing contents industry based on it is the lack of understanding and production about key visual. Thus, with the premise that, in visualizing ancient fantasy as an original archetype subject material, one has to take into account design process for an actual content production, the paper aims for the suggestion of the necessity of key visual through visualization. For this, the paper made an artwork of archetype image based on literature and historical data with which to visualize fantasy elements of Goguryeo's ancient myth and tales that have high utilization value as various subject matters, such as animation and games.

• Proceedings of the Korea Multimedia Society Conference
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• 2012.05a
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• pp.316-317
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• 2012

문화 유적에 대한 관심은 외부환경으로부터 이를 보존하려는 수동적인 노력과 함께 문화 유적에 대한 시대상황을 보다 잘 이해할 수 있도록, 역사적 정보제공을 위한 기술적 노력이 필요하다. 더욱이 이미 사라져 문헌에만 남아 있는 이야기나 역사적 가설을 그 때의 시대적 상황에 맞게 재구성하여 사실감 있는 정보를 전달하는 기술이 필요하다. 이러한 맥락에서 본 연구는 옛 백제의 마지막 도읍지인 사비성을 3차원으로 복원하여 가상공간을 재현하고 인터렉티브 전시 콘텐츠를 개발하는 것을 궁극의 목표한다. 먼저, 고증을 통해 그 시대의 건축양식을 이해하고 가상공간 구성에 필요한 건물을 모델링한다. 사실적 표현을 통해서 사용자의 임장감을 높이면서도 사용자와의 상호작용을 통해 시대적 상황이나 역사적 정보를 제공하는 것은 물론, 다양한 콘텐츠로의 활용가능성을 고려하여 전통건축을 3차원으로 복원한다.

• Conservation Science in Museum
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• v.4
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• pp.41-46
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• 2003

Remarkable features, such as neck guard and plate designed the shape of a duck, are identified in the process of conservation for the plate armour excavated from the No. 2 tomb, Daeseong-dong, Gimhae. We considered that should be careful for treating this kind of artifacts, especially when restoring to its original. For this purpose, we thoroughly studied the endurance of materials for restoration and applied the techniques in reference to the traditional method.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.152-173
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• 2021

The Large Banner was introduced during the Japanese Invasions of Korea with a new military system. It was a flag that controlled the movement of soldiers in military training. In addition, it was used in other ways, such as a symbol when receiving a king in a military camp, a flag raised on the front of a royal procession, at the reception and dispatch of envoys, and at a local official's procession. The Large Banner was recognized as a symbol of military dignity and training rites. The Large Banner was analyzed in the present study in the context of two different types of decorations. Type I includes chungdogi, gakgi and moongi. Type II includes grand, medium, and small obangi, geumgogi and pyomigi. Each type is decorated differently for each purpose. The size of the flag is estimated to be a square of over 4 ja long in length. Flame edges were attached to one side and run up and down The Large Banner used the Five Direction Colors based on the traditional principles of Yin-Yang and Five Elements. The pattern of the Large Banner is largely distinguished by four. The pattern of large obangi consists of divine beasts symbolizing the Five Directions and a Taoism amulet letter. The pattern of medium obangi features spiritual generals that escort the Five Directions. The pattern of small obangi has the Eight Trigrams. The pattern of moongi consists of a tiger with wings that keeps a tight watch on the army's doors. As for historical sources of coloring for Large Banner production, the color-written copy named Gije, from the collection of the Osaka Prefect Library, was confirmed as the style of the Yongho Camp in the mid to late 18th century, and it was also used for this essay and visualization work. We used Cloud-patterned Satin Damask as the background material for Large Banner production, to reveal the dignity of the military. The size of the 4 ja flag was determined to be 170 cm long and 145 cm wide, and the 5 ja flag was 200 cm long and 175 cm wide. The conversion formula used for this work was Youngjochuck (1 ja =30cm). In addition, the order of hierarchy in the Flag of the King was discovered within all flags of the late Joseon Dynasty. In the above historical study, the two types of Large Banner were visualized. The visualization considered the size of the flag, the decoration of the flagpole, and the patterns described in this essay to restore them to their original shape laid out the 18th century relics on the background. By presenting color, size, material patterns, and auxiliary items together, it was possible not only to produce 3D content, but also to produce real products.