• Review of Korea Contents Association
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• v.11 no.3
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• pp.39-47
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• 2013

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2008.10a
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• pp.320-326
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• 2008

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2008.10a
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• pp.333-339
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• 2008

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.463-464
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• 2017

음양오행설을 바탕으로 한 오방색(五方色)은 중국과 한국에서 공통적으로 활용된 전통 색채 체계이다. 그러나 양 국의 상이한 역사 문화적 환경에 의해서 상징의미에 차이가 있으며, 각국 내에서도 시각의 변화에 따라 전통과 현대에서 응용되는 오방색의 상징의미에 변화가 있으므로, 이에 대한 사례를 분석하였다.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.62-70
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• 2007

The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.

• The Journal of Art Theory & Practice
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• no.3
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• pp.155-172
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• 2005

Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki's paintings have been recognized as linked with 'blue' in spite that he used colors within the category of 'Colors of Five Directions(五方色)', which are traditional oriental colors composed of red, lue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki's dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that 'dark blue' of the dot painting is 'Hyun-saec(玄色)'. Eventually we can make sure that Kim Whan-ki's view of Art originated in oriental philosophy and beauty.

• Korean Institute of Interior Design Journal
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• no.20
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• pp.78-83
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• 1999

The purpose of this study is to find out the symbolic meaning of interior color a the chosun dynasty's upper class houses, and to review it from a point of view of the Western coloring harmony theory. from this study, the Oriental philosophy, the ideas of Confucianism, and the ethnic traits influenced the interior color of the Chosun Dynasty's upper class houses like an-bang or sarang-bang. The results indicated that main color, auxiliary color, accent color were harmonized with similar harmony by hue and with contrast harmony by value and chroma. Therefore, interior color image of Korean traditional houses should be applied to the various design field as well as modern interior desigv.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.154-164
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• 2012

The purpose of this study was to investigate the modernizations of traditional Saekdong by analyzing the magazines from the 1955 to 1995. The application of Saekdong extended during the 1950s. Before, Saekdong was only used for children; however, women were wearing it during this period. With the advancement of the fabric industry in the 1960s, a great popularity of Saekdong was witnessed and its application extended even further. During the 1970s, the Saekdong was applied in westernized clothes; however, the 1980s was a time of renaissance for Saekdong as the awakening of national identity movement began. The application of Saekdong in westernized clothes became more popular during the 1990s as the widespread of industrial designing was inspired by the tradition. The functional aspect of Saekdong such as recycling the leftover fabrics decreased over the years whereas the decorative aspect increased. The form of Saekdong became more variant. The Saekdong was applied either as a part or whole of the clothes. With the development of the mechanically woven Saekdong, various widths and forms of Saekdong, not only vertical lines but also diagonal and wave lines, appeared. The colors also changed. During the 1990s, low chroma and gradation methods were applied. Gold and silver threads also were woven together. The motifs were created and gilts were printed on Saekdong.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1629-1639
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• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.15-31
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• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.