• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.36-36
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• 2003

인간의 사회문화 속에 신체장식은 과거 원시사회 부터 오늘날에 이르기까지 다양한 표현기법으로 발전되고 있으며 특정 나라의 국민성 및 전통적 양식이 담겨있다. 신체장식은 정형적, 무형적 가치를 지니며 사람의 내면 속에 잠재된 본질적 욕구의 표출이라고도 할 수 있다. 최근의 현대 사회에서 이러한 신체장식 표현을 잘 볼 수 있었던 계기는 세계적 축제로 알려진 2002년 FIFA 한·일 월드컵이었다.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.13-29
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• 2021

Under the recognition that the technological system of traditional flower design in Korea has been passed down from the past to the present, we extracted the type of design form from the flower decoration of the Joseon Dynasty, analyzed the expression technique, and examined the relationship with the modern traditional flower decoration in this study. As a result, most of the flower design works of the Joseon Dynasty mainly expressed one focal point at the central starting point. One central branch line was mainly used, and cut leaves were mainly used as the base material. Similar to the Joseon Dynasty, one central starting point and a base made of leaves are mainly used In modern flower design. In the frequency of use by expression technique, the stem exposure technique was used the most, and cut flowers and cut stems were used at a similar frequency in all techniques. As plant materials, cut flowers and cut stems were mainly used. In addition, non-plant materials such as feathers, fans, and brushes were also used for decoration. In conclusion, it can be seen that traditional flower decorations in Korea were systematically established in the Joseon Dynasty in terms of expression techniques and high-level flower design works were made. In the future, it will be necessary to study the history of our flower designs in more diverse ways and to develop modern flower designs while preserving historical traditions.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.495-502
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• 2017

Modern ceramics is exploring the expansion of the area with various expression techniques. The silhouette technique among various expressive decoration techniques is a representative expression technique of object form expression. This emphasizes the outline of the form and expresses it and omits the inner form. It gives simplicity and intensity, and awakens aesthetic sensibility and imagination. Therefore, the researcher designed the material related to the core image of the story by designing it as a silhouette technique by using the "Acorn Story" as a subject and then making the transfer paper by using the vector graphic. The transferred paper was expressed on a ceramic plate by transferring technique. Therefore, I hope that this research, beyond the merely decorative function of ceramic expression, will become a ceramic design that will awaken imagination and aesthetic sensibility in digital information age.

• Conservation Science in Museum
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• v.12
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• pp.25-34
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• 2011

This study examined conservation process of white porcelain bottle with phoenix and peony design poly chrome, recovery of golden powder painted porcelain being damaged and colored, and recovery material and conservation methods by using a variety of experiments. Not only traditional method but also modern method can recover golden powder painted area being damaged and/or peel off, and suitable recovery was found out by using experiments. The golden powder paint of pattern edge was recovered not by traditional method but by modern method of golden powder paint with acrylic paint and binder.

• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.68-69
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• 2003

현대인은 복식활동에서 개성이 강하게 표현되기를 원하며 웨딩드레스에서도 차별화 된 다양한 디자인을 요구한다. 복식의 한 분야인 웨딩드레스는 복식의 흐름에 동조하면서, 디자인 개발보다는 복식사적 틀 속에서 재현되어 왔다. 본 연구에서는 신부들의 개성과 다양한 요구에 부응할 수 있는 디자인 개발과 표면적인 재질감의 표현에 있어 예술성 및 가치부여를 비즈장식 기법을 응용한 웨딩드레스와 웨딩예복을 개발하는데 목적이 있다. (중략)

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.6-21
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• 2022

This paper examines the material culture of the Goryeo-Joseon Period through changes in the design and crafting of the earpick. In Chapter 2, terminology regarding earpicks is presented, and the culture of using earpicks is examined through fragmentary literature of the late Joseon Dynasty. Earpicks were first a personal hygiene tool, and, secondly, they played a symbolic role as a style accessory used by men, analogous to the fan carried by women of the time. In Chapter 3, earpick form are classified by period, and characteristic decorative techniques for each form are examined. During the Goryeo Dynasty, earpicks were sanitary tools, and, according to their form, they were classified into single and complex types. From Unified Silla to Goryeo, there is an angled type of connecting rod, and in the Goryeo period, there appeared earpicks with colorful decorations on the handle, completely forged earpicks with a thin and long shape, and earpicks which were part of multitools. Common decorative techniques include line expression, gold plating, cheophomun on the background, and inlay. Earpicks of the Joseon Dynasty are classified into sanitary tools or ornaments, according to their purpose of use. Sanitary tools are divided into single type and complex type, and earpicks used as ornaments include headdress, norigae, and sunchu. For earpick accessories, headdresses and norigae were used for women, and sunchu was used for men. The decorative techniques of earpicks during the Joseon Dynasty were mainly seen in the headdress earpicks. They were decorated with various colors in the Cloisonné method or bejeweled. Research on everyday tools among crafts is lacking; greater attempts to read the flow of time and approaches to material culture through everyday tools should be made.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.53-67
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• 2002

자연을 분석함으로써, 얻어진 기하학적 패턴은 이미 자연의 질서를 포함하고 있는 논리적이고 합리적인 기본형이기 때문에 간결하며 시각적으로 명쾌감을 준다. 이러한 기하학적 패턴은 복식 디자인에 있어서 20 세기 이후 여러 디자이너의 작품을 통해 재구성되어 현대적 이미지를 나타내는 중요한 모티브가 되고 있으며, 다양한 기법과 재료로 형성화하여 도입되고 있다. 이에 본 연구는 복식의 문양, 실루엣, 디테일에 사용되고 있는 기하학적 패턴을 연구함으로써 기하학적 패턴의 새로운 조형가치를 고찰하였다. 먼저 기하학의 용어 정의를 하였고 기하학적 패턴의 유형과 표현 기법을 분석하고 정리하여 현대 패션에 나타난 기하학적 패턴의 조형미와 그것을 바탕으로 패션 이미지를 추론해 보았다. 현대 패션에 나타난 기하학 패턴을 분석해 보면 유형으로는 첫째, 기하하적 문양으로 복식디자인에 있어서 주로 평면적인 형태로 많이 나타나지만, 크기가 다르고 동일한 기하학적 패턴을 조합시킴으로서 평면적인 형태에 공간감을 부여하기도 하며, 같은 기하학적 패턴의 표면이라도 배치구조에 의해 직선 혹은 사선으로 지각되므로 전혀 다른 이미지를 주었다. 또한 현대 패션에 나타난 기하학적 패턴이 종류는 세로 스트라이프, 가로 스트라이프, 격자 문양, 원, 사선 스트라이프, 마름모, 사각형, 삼각형 등의 순서로 많이 나타났다. 둘째, 색채는 단색의 복식에 강한 대비가 이루어지는 색상으로 표현되어 역동감과 유연한 운동감을 나타났다. 셋째, 기하학적 실루엣으로 단순한 라인의 형태를 나타내거나 입체적이고 부조적인 형태로 구성되어 전체적인 실루엣으로 사용되어 강한 조형감각을 보여주는데 원형을 이용한 실루엣이 가장 많았으며 사각형을 이용한 실루엣, 삼각형을 이용한 실루엣 순서로 나타났다. 넷째, 기하학적인 디테일로 복식의 어느 한 부분에 장식적으로 사용되거나 입체적 형태로 부출 되어 부조적인 느낌을 주는데 소매에 가장 많이 나타났으며 앞여밈, 칼라, 밑단, 주머니 순서로 장식되었다. 다섯째, 현대 패션에 표현된 기하학적 패턴의 표현기법으로는 프린팅, 퀼팅, piece기법, 패치워크, 엮기, 꼴라쥬, 아플리케 순서로 많이 나타났다. 위의 분석을 토대로 기하학 패턴을 활용한 디자인에 내재된 조형의지는 다음과 같이 정리되었다. 첫째, 기하학적 패턴이 지닌 단순성과 경직성을 완화하기 위하여 여러 가지 패브릭을 조합시켜 입체적인 표면효과로 시각적인 착시효과를 극대화하였다. 둘째, 표현기법은 입체파적 표현주의의 특성의 하나로 복시에 사용되는 소재의 왜곡으로 설명할 수 있으며, 새롭고 실험적인 소재의 도입으로 인해 의외성과 부조화를 유발시키는 통시에 유희직인 일면도 지니는 일종의 그로테스크를 나타냈다. 이상에서 정립된 조형의지를 바탕으로 현대 패션에 나타란 기하학 패턴은 절제된 단순함과 명확성으로 단순미가 유추되었고 강한 색상대비로 인한 시각적 집중효과로 주목성을 가지며 재현이 가능하므로 반복성이 유추되었다. 그리고 표준영역이 없는 창의적 표현으로 풍부한 독창성을 보여주고 있다. 또한 내재된 패션 이미지를 분석해 보면 정확함과 차가움의 의미를 지닌 이지적 이미지와 우주의 질서를 반영하는 상징적 이미지, 복잡한 자연으로부터 간결한 형태로의 경향성이 이루어낸 인공적 이미지를 느낄 수 있었으며, 미래적 이미지와 전통적 이미지의 상반된 개념의 이미지를 같이 내포하고 있음을 추론할 수 있었다. 이와 같이 현대 패션에 표현된 기하학적 패턴은 복식을 조형예술 분야로 확실히 인식시키고 발전시키는 데 중요한 촉매제 역할을 담당하고 있으며 또한 많은 디자이너들에게 창조적 욕구를 불러일으키고 영감을 주는데 중요한 모티브를 제공하고 있다.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.405-410
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• 2019

This study is an primary analysis on convergence of porcelain lacquer painting art which is composed of porcelain art and raw lacquer technic. As a part of ceramic art, this study suggest 3 ways of porcelain lacquer decoration with understanding of its history and contemporary status. Lacquer technic gives stability for surface paintings and it also has various media to express its beauty. Porcelain lacquer decoration art contains artistic value and pragmatic purpose for daily life usage. These days, due to unavailability for mass production, it tends to be tried for art work purposes. However this artistic technic and value can be applied to porcelain goods, so that it will raise aesthetic pleasure and cultural diversity.

• Conservation Science in Museum
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• v.14
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• pp.61-67
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• 2013

Lacquerware of Goryeo period was variously developed from the early 10th century to the 14th century and became lacquerware inlaid with mother-of-pearl which shows creativity with splendid heyday. For characteristics, splendid and close mother-of-pearl. Characteristic of decoration method is to use gold painting method, Tortoise shell and metal line. Drawing is done with gold dust and gold painting method decorating lacquerware are very splendid from an artistic and decorative aspect, but gold painting is easily lost. So, it's currently difficult to find in relics succeeded. Therefore, there are domestically insufficient studies on gold painting method in Goryeo period, so this researcher intended to observe gold painting of lacquerware excavated in Goryeo period through the microscope, investigate characteristics, mixture, etc. of gold dust and provide data of studies on the recovery of ancient technology. As the result, gold dust particle has various shapes such as irregular square, polygon and triangle under the size from 2 ㎛ to 20 ㎛. The end of gold dust is rolled and overlapped and irregular particle seems to be similar to the shape of crumpled paper. This research showed that gold dust used in gold painting of Goryeo period had used gold dust made by grinding gold leaf to gold painting.