• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.132-153
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• 2009

A lotus flower pattern of the shape of straight and pointed petals has the forms whose lotus flowers are pointed, and is one of the representative forms of lotus flower pattern of Baekjae along with a round and a triangle protruded style. This style of lotus flower pattern was applied to roof-end tiles, halos of Buddhist images, containers of Buddha's bones, head supports, etc. from the Hanseong period to the Sabi period of Baekjae. However most of lotus flower patterns that remain today were used for the tiles of the Sabi period. Many of them were produced under the influence of the Northern Dynasties and the Southern Dynasties of China, and of Goryeo, which implies the active cultural exchange of Baekjae at that time. Among the present lotus flower patterns of the shape of the straight and pointed petals, that of the earliest time is from Gyeongdang district of Poongnab mud castle and belongs to the mid-fifth century. However there is a higher chance that the gradual subsequent excavation and research will find some tiles of the earlier period and other styles can also be unearthed.

• Proceedings of the Korea Society of Costume Conference
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• 2001.04a
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• pp.30-31
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• 2001

• Journal of Fashion Business
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• v.14 no.1
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• pp.116-131
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• 2010

As our world is becoming more and more globalized, nations tend to turn their interests towards their unique legacy and traditional culture. This research is intended to re-illuminate the Korean beauty through the Lotus Pattern, a traditional factor, from the Chosun Dynasty, and at the same time, analyze how its peculiar representation and figural elements can be reflected in modern fashion designs. The results will be an essential factor in creating exclusive and original designs. Research method was theoretical research from documents and to refer to positive data on preserved relics, and research contents consists of analysis on the use of lotus patterns in artworks that were exhibited during 2000 to 2008 by Korean and foreign artists. Results showed that lotus patterns that were used during the Chosun Dynasty are categorized by shape, composition form, and structural form. Applying these results, a total of 8 works were designed and created.

• Proceedings of the Korean Society for Food Science of Animal Resources Conference
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• 2002.05a
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• pp.136-137
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• 2002

• 어항어장
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• s.94
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• pp.53-56
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• 2011

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.118-128
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• 1997

본 연구의 목적은 「Guiding Crieative Talent」의 저자이자 교수인 E.Pual Torrance에 의하여 제시된 디자인 기준(design criteria) 중에 3가지 디자인 기준을 선택하여, 스크린 프린팅기법에 의거, 일련의 디자인을 제작하는 것이다. 이 디자인 기준은 1958년, Torrance에 의하여 수행된 \"The Minnesota Tests of Creative Thinking\" 중 일부이다. 그는 \"창의적인 발상전개에 있어서 보다 더 주의를 요하는 것은 마지막 생산물(the products)이 아니라 그것의 과정(the process)인 것이다.\"라고 강조해 왔으며, 창의적 사고에 관한 개념을 제시해 왔다. 본 연구의 디자인은 그 창작의 착상의 모티브(motif)로써 연화문(蓮花紋)을 선택하여 다양한 디자인의 스크린 프린팅을 창작하였다. 12개의 디자인이 제작되었데, 그것은 Torrance에 의하여 제안된 약 20개의 기준(criteria) 가운데 저자가 디자인 착상에 있어서 최소한의 기본요소라 생각되어, 임의로 선택한 3가지 기준에 의하여 만들어졌다. :3가지 기준이란 1) 모티브(motif)의 수적증가(multiplication) 2) 모티브(motif)의 위치변화 3) 모티브(motif)의 모양변화이다. 전체적인 디자인과 테두리 디자인(border design)이 선택적으로 디자인 과정에 포함되었으며, 최종적으로 12개의 디자인이 선택, 1가지의 색채를 이용하여 스크린 프린팅에 의하여 제작되었다. 디자인 제작과정으로, Torrance의 각각의 디자인 기준에 의한 여러 장의 스케치를 그린 후, 그중 12개의 스케치를 임의로 선택하여 옷감위에 프린팅하였다. 디자인 제작 결과, 저자가 선택한 3개의 디자인 기준만으로도 다양한 수의 서로 다른 디자인 창작이 가능하였으며 본 연구에서는 1개의 디자인 기준을 선택 응용하였으나 보다 많은 디자인 기준을 선택하여 동시에 비교 연구하는 것도 필요하다고 본다. 그리고 1개 이상의 디자인 모티브(motif)를 함께 디자인 착상에 이용하는 것도 가능하다고 본다.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.67-75
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• 2003

From ancient times. lotus pattern had esthetic factor and symbolic factor. Lotus pattern was introduced to China, and it was grafted together with Chinese peculiar culture symbol system, thereafter it has changed and developed. The Chinese taking a serious view meaning that things include, and they frequently use several lucky omen patterns in their everyday life. In this study, I investigated laying stress on symbolism about Lotus patterns of China lucky omen patterns, and I wanted to present possibility that can approach to Chinese culture in new angle. Through result of this study, symbol of Lotus patterns can divide two directions. First, symbol by natural properties of lotus are same as following. 1. Lotus grows in the mud, but it is uncontaminated - clearness and uprightness, 2. Root, branches, loaves and flowers are vegetative together, and all of basis and branches are exuberant. - plenty, 3. Bear fruit simultaneously with blooming, and it is procreant. - fecundity and many descendants. Symbol that use same pronunciation and intention are same as following. 1. 'Lian(연)'-'Lian(연)' : repeatability, continuance, plenty and intercommunicate, 2. 'Lian(연)'-'Lian(염)': integrity, 3. 'He (하)'-'He(화)' : peace, harmony and combination, 4. 'He(하)'-'He(하)' : clear river, 5.'He(하)'-'He(하)' ; all work goes well. When the Chinese use lotus patterns in lucky omen patterns, same pronunciation and pitch of Chinese language more prominent than natural properties or the image of Buddhism. I guess that it cause praying individual's peace and happiness more serious than philosophical meaning or symbol that base in Buddhism for ordinary people.

• Proceedings of the Korean Environmental Sciences Society Conference
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• 2000.05a
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• pp.261-265
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• 2000

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.8
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• pp.959-967
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• 2011

An importance of design that considers the characteristics of fashion that plays a role of a medium that communicates with customers (and is not simply clothes or products by adding the particular culture factors of a local country to the development of glocalism) is discussed. While the cultural consumption becomes a core key word, the survey of customers is conducted to develop a party-wear design that applies a Korean image suitable for the party culture industry magnified by the young generation's cultural trends. Based on it, we suggest a party-wear design that applies Dancheong's lotus and derive the followed results. The first, one-piece and accessory coordination was the highest by 49.3% for the party-wear coordination and design. In addition, Dancheong was the highest by 16.5% for the traditional pattern (thought to be representative for Korean image). Among the traditional patterns, for a pattern suitable for party-wear, the case applying flowers such as the Japanese apricot flower, lotus flower, and peony was the highest. The second, among the several patterns used Dancheong that was represented by a Korean image of a lotus flower pattern because of the characteristics of strong vitality and blooming in dirty mud was often used for the pattern of clothes. The third, under the motive of the results of the survey and Dancheong's lotus flower pattern, we developed 2 methods of one piece and accessory coordination, 2 methods of top and skirt coordination, and 1 method of jacket and one piece coordination as the party-wear.

• Journal of Chest Surgery
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• v.39 no.8 s.265
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• pp.643-647
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• 2006

Congenital tracheomalacia associated esophageal atresia is a rare foregut anomaly. We report a case of 40-day old male infant with tracheomalacia who has undergone repair of esophageal atresia at his age of 1 day. The patient had progressive dyspnea and stridor after repair of esophageal atresia. His 3-dimensional chest computed tomography showed severe stenosis at the middle of trachea. We underwent resection and end-to-end anastomosis under cardiopulmonary bypass. Histologic examination revealed esophageal tissues indicating congenital origin as well as no cartilage.