• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.78-97
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• 2016

The purpose of this study is to develop textile pattern designs by utilizing the prototype of traditional culture extracted from cultural resources in order to establish a specialty strategy for local cultural contents. To achieve this, the study selected the Hyojaemunjado as source of Jeju traditional culture. Jeju's Hyojaemunjado is characterized mainly by the creative and unique formativeness of Jeju's character paintings. Character paintings often contained images related to the characters featured inside characters, or composed stroke with symbolic iconography. The main subjects of Hyojaemunjado were stories that alluded to the Confucian virtues. Therefore, the purpose of this study was to remind people of the real meaning of Shin(truth) by developing textile pattern designs, which borrows the tessellation technique for design, and the dominant characteristic of geometric abstraction. This study used theoretical research and empirical analysis. First, the study did the theatrical research on Hyojaemunjado based on literature and precedent studies, and then analyzed the style of expression and formativeness on the Shin character paintings through real analysis of Jeju's Hyojaemunjado kept in Jeju National University Museum. Second, based on the analysis of the style(three-tier composition) and formativeness of Hyojaemunjado, it analyzed the formativeness of the iconography about Shin, i.e. character types(semi cursive style, square style) drawn according to the symbolic meaning, palace, unknown flower, pheasant, tile fish and constellation. Based on analysis of the iconography, it stylized the motives that became available on the Archimedean tiling of tessellation, and then developed the textile pattern designs by arranging the iconographic motives with Platonic tiling and Semi-tiling. The reason why this study borrowed tessellation was to create various visual effects using the size of angle, symmetry and change and joint with simple figure.

• Archives of design research
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• v.17 no.4
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• pp.15-26
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• 2004

After 19th century of Chosun Dynasty Gilsnagmunja-do such as longevity, good fortune, health, well-being which was explosively prevalent and Hyojemunja-do which was panoramically decorated with eight characters of filial piety, fraternal devotion, loyalty, trust, courtesy, commitment, integrity and humility for enlightment of the public under the name of political ideology are consistency or same origin in traditional concept of Orient. Therefore, in view of Western standard, they are showing an illustration and a photograph of characters in design. There are some differences in way of expressions. They were considerably popular not only in Chosun Dynasty but in China, Japan and Vietnam where belong to the cultural territory of chinese characters. Though, Hyojemunja-do which was built-up in the late period of Chosun Dynasty and developed fro chinese mode is a very peculiar iconography and mode of Chosun Dynasty. Hyojemunja-do is also classified from Chinese Nianhua designed for supply of Conficianism ethics or Folk Painting designed for practical use in chinese cultural territory. In the late period of 19th century, Hyojemunja-do which was re-built with creative modeling has been developed in peculiar mode in the province of Kyunggi, Kangwon(Kwan dong region), Kwanseo region, Jeju island and Namdo region by the diversified level of painters.