• 복식
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• 제66권8호
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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.

• 디자인학연구
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• 제17권4호
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• pp.15-26
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• 2004

18세기 이후 조선사회의 폭발적으로 성행한 수(壽, longevity), 복(福, good fortune), 강(康, health), 령(寧, well-bing) 자등의 길상문자도나 대국민 교화를 목적으로 하여 효(孝, filial piety), 제(悌, fraternal devotion), 충(忠, loyalty), 신(信, trust, fidelity), 예(禮, propriety, courtesy), 의(義, commitment), 염(廉, frugal honesty, integrity), 치(恥, knowing shame, humility) 여덟 문잘ㄹ 파노라마로 꾸민 효제문자도는 동양의 전통적인 개념으로는 서화일치(書畵一致)나 서화동근(書畵同根)이고, 서양의 기준으로는 문자를 일러스트레이션화 또는 타이그래픽화한 디자인의 또 다른 세계를 의미한다. 이들은 표현 방식에는 다소의 차이가 있으나 조선뿐 아니라 중국, 일본, 베트남 등 한자문화권(漢字文化圈)에서 대단히 유행한 것이다. 조선후기에 형성된 효제문자도(孝悌文字圖, Hyojemunja-do)는 중국 양식에서 발전된 것이기는 하나 중국의 유교 윤리관을 보급하기 위해 교육적 요소를 첨가한 연속화형식의 연화(年畵, Chinese Nianhua)나 실용성에 목적을 두었던 민간화(民間畵, Folk Painting)와도 구분되는 조선만의 독특한 도상(圖像, Iconography)과 양식이라 할 수 있다. 19세기에 들면서 조선의 독창적인 조형관으로 재구성된 효제문자도는 다양한 계층의 화공들에 의해서 경기도, 강원도 관동과 관서지역, 제주도, 남도지역 등에서 그 지역의 고유한 지방색을 지니고 특색 있는 양식으로 발전한다.