• 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.

• 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.

• 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.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.202-209
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• 2013

This study suggests a new women's upper clothing based on traditional Korean costumes that utilize the Jatmulim. The Jatmulim is an example of the skill found in conditional Korean costumes and is of a small triangular shape. Jatmulim was developed in size, shape, and arrangement through the method of making and using children's Durumagi, the dancer's or shaman's Mongduri, and modern works. A total of five pieces of different women's clothing were suggested by applying the developed Jatmulim. In the first piece, the clothing is a woman's sleeveless blouse based on the construction of the Yoseon-Cheolik from the Joseon period and made with a larger sized Jatmulim in the back of the neckline and shoulders. In the second piece, the clothing is designed for a woman's jacket based on the Bansuui of the Joseon period with rectangular Jatmulim in the front neckline and at the end of the sleeves. In the third piece, the clothing is designed for a woman's sleeveless blouse based on the Danryeong with rectangular Jatmulim in the neckline. In the fourth piece, the construction of the Jeogori is applied to the clothing for making a woman's jacket that has a bigger sized Jatmulim in the front part as a decoration. In the fifth work, the clothing is designed for a sleeveless blouse based on the Dapho with a different sized arrangement of the Jatmulim in the neckline.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.272-288
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• 2021

The purpose of this study is to classify the types of decoration techniques used in women's Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.145-152
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• 2004

The purpose of this study was to find out the traditional decoration techniques in the Korean costume. Both quantitative and qualitative research methods were used to collect and investigated the traditional decoration techniques used in the related literatures and museum catalogues. The results were as follows. The broad and back stitching are fundamental stitching, which used to Nubi and Keki. Top stitching applied broadly to the Korean costume, for example, Jergori, Wonsam, Jeonbok, Beosun, Bojagj and so on. The expression techniques for top stitching were one, two or three stitches. When the top stitching was used as colorful stitches, they were more decorative. The Zatmulim was used for the decorative effect on the seam line because it was triangular shaped and became more effective by changing the rotor and size. Sunmulim was used on the narrow line such as the seam lines of Gergori and Chima. The bakchi decoration was imitating a bat shape, had a meaning of bringing the goodness and gave the tiny and elaborated image. It was used to the neckline of Geogori, seam line of Chima, Pungcha Bazi and so on. Sattgi was used to attaching the bottom of two stiff fabrics adopting for Beosun, Ayam and Norigae. When it used colorful strings, the more decorative effect was added. The knot for button used the fabric instead of buttons and applied to the Cheonlik, Gergori. The aesthetic values of the traditional decoration techniques in the costume were both natural beauty and practicality with creativity.

• Journal of Korean Ophthalmic Optics Society
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• v.13 no.4
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• pp.13-17
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• 2008

Purpose: Study the method to attach to traditional pattern for the demands of eyeglasses' function which is becoming extended to cultural psychological and social aspects. Methods: To understand the symbolic characteristic of traditional pattern, especially through using palmette, embroidery, and practicing it on glasses' temple and cleaner. Results: Globalization stimulates crossing-consumption cultural trend rapidly. Thus, new glasses pattern involving Korean ethnic feature is a new source that could well adapt to this tendency. This report presents new aspect which corresponds to the demand of modern consumers. By modernizing Traditional pattern and method, we could discover the cultural value of glasses design. Conclusions: Glasses imply social position of users and became a measure that reveal a part of style that presents modern psychological language. Thus, the glasses design using traditional pattern makes a chance to change the beauty sense from western style to oriental one. And it achieves the desire of cultural consumption through glasses design.

• Archives of design research
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• v.14 no.4
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• pp.87-98
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• 2001

In the Chosun Dynasty (1392-1910), the walls and chimneys of palaces, temples, and the houses of the upper-class show various characteristics of decorative design patterns. This study investigated ceramic bricks and roof tiles, which is one aspect of environmental design studies. This study aimed to provide a typology ot traditional Korean design of bricks and roof tiles used in walls and chimneys, and to show the design characteristics. This study collected 685 designs of bricks and roof tiles, and divided them into 18 categories and 5 types of design patterns based on object figures, architectural styles, materials, and decorative methods. In conclusion, there were differences and similarities among the design patterns. In general, the palaces mostly used red, gray, and black bricks that had more detailed designs presenting auspicious signs or exorcism. But, temples and the houses usually used (black) roof tiles horizontally configured with the edges overlapping to decorate as wall as to strengthen their structure.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.83-90
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• 2023

The recent trend in younger generations of wearing traditional costumes or incorporating fusion hanbok into daily wear necessitates the development of modern hair accessories to complement hanbok. The purpose of this study is to develop practical and modern hair accessory designs inspired by royal women's hair ornaments that complement hanbok, and therefore expand the scope of fashion content development utilizing hanbok culture as well as meeting the demand for various experiences of traditional culture. This research studied the literature on traditional hairstyles and accessories of Queen Yeong and constructed models of these accessories for the purpose of empirical research. The production process first required creating a basic foundation of nylon mesh reflecting the silhouette of a traditional hairstyle, and then grafting a digital textile printed fabric using majestic and extravagant royal relics on top, thus employing the trompe l'oeil technique to ultimately give the impression of wearing traditional jewelry. As a result, a total of six hair accessory designs were completed, produced with hairbands, hair pins, and hair ties. In addition, the accessories are designed to be easily worn regardless of the wearer's hair style, and the stiff yet flexible nylon mesh effectively expresses the shape of a voluminous hairstyle and creates an optical illusion, blending into the hair. These research results present a unique aesthetic and cultural experience to the greater public seeking both daily entertainment and value from rarity.

• Archives of design research
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• v.16 no.2
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• pp.291-300
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• 2003

In metalcraft, there are two kind of skills, one is forming and the other is decoration. And we could discern these skills as metal casting and metal hammering.. In metal casting, there are sand mould, cire perdus, stone mould and sealed monld; In metal hammering, metal forging, repousse technique and metal sheet making. After make form, craftman can use the decoration skills. There are chasing hammering, line carving, dotted line engraving, hair line engraving, kicking line engraving, ring punched ground, inlay, filigee and granulation skills. In korean traditional copper alloy, the craftman used forming and decoration skills. In Korea, tradionally the clatter use bronze for copper alloy; in case of Japan, they use violet coloring, and in case of Chinese, they like to use bronze used copper alloy. In case of Alloy, korean craftman used bronze traditionally, but recently the copper alloy skill is usually used; in case of Japan shibuichi and shakudo skills are used; and in Chinese copper, brass and cupronikel alloy are used.