• Journal of Digital Convergence
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• v.19 no.4
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• pp.285-289
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• 2021

Traditional Chinese patterns are known for their unusual and attractive visual symbols with unique artistic characteristics and practical values.In mobile game UI design, traditional Chinese pattern has important meaning and value in interface design.The research aims to extract elements of traditional Chinese patterns and apply them to the design of mobile game UI, and better fuse traditional patterns into the design of mobile phone UI.Through literature analysis on traditional Chinese patterns and mobile UI interface case analysis, we learned the design principles and design methods of traditional Chinese pattern elements in mobile game UI.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.461-462
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• 2016

본고에서는 중국의 전통문양 중 풍요와 다산 그리고 입신양명의 의미를 지니고 있는 어류(魚類) 문양을 대상으로 문양의 기원과 의미해석, 현대 디자인에서 활용된 사례들을 살펴보았다.

• Journal of the HCI Society of Korea
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• v.3 no.1
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• pp.39-47
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• 2008

A mobile phone became the practical necessities of Chinese life that can not be explained without a mobile phone as it is rapidly popularized in China in recent years. As income increases due to economic growth, so did desire to buy better products. And This desire has made consumers in China more concerned about design and consequently leads to artistic design of a mobile phone. And also this trend is getting linked to people's personalisation in that people prefer rather to choose products they like than standardized ones in the middle of a variety of cultural inflows. This study mainly focuses on the development of the characterized mobile phone with a high class brand by use of traditional elements and of design identity of a mobile phone with Chines style that is well harmonized with cultural and personalized identity as consumers' preferences are quite different from each other depending on each country's culture. For this, this study investigates traditional elements such as patterns, colors and characters as well as development and features of the mobile phone design. This will also lead to the development of a mobile phone with traditional elements of China by studying utilization of design with traditional patterns. To do this, the study analyzes to research traditional patterns(Dragon, Phoenix, Peony, Lotus Flower), colors(Red, Yellow, Blue, Black, White) and historical origin and concept of characters. The study also looks into instances and personalisation of mobile phone design by analyzing literatures.

• Cartoon and Animation Studies
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• s.50
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• pp.349-382
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• 2018

China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.708-711
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• 2008

Through the analysis and the caomparation of the furture patterns between the China Ming dynasty and the Korea joseon dynasty, we try to searches for the culturl value of the appreciation possibility to the concept design by the aesthetic and objective tools in this paper. For making cultural and economic mind. cultural product as well-mated as 21st century is how traditional pattern might design, but how fassionable design in modern is attracted. As making and providing those mind, it is observed what the strategy of program activation could be. it is to be desired that is provided the use of product as traditional pattern of today on the traditional pattern of today based on the mentioned above. Hence, it is looked to activation in the modern pattern for development of cultural product.

• Archives of design research
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• v.17 no.2
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• pp.311-322
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• 2004

The purpose of this study is to ascertain pattern design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. The basic assumption underlying this study is that these northeastern Asian states have been developed a unique inter-cultural ties over long periods of time in history, culminating in their respective design cultures. Undoubtly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean pattern design element. In the West, the pattern is appreciated by an aesthetic level, but the East Asian pattern is a symbolic alphabet deeply rooted in religious and folk beliefs. The difference of the respective country comes from the expression style of the pattern the Chinese express the magnificent pattern with various color, the Korean do the moderate pattern with harmonious color with the nature and the Japanese do the stylized pattern with the material color. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China, and Japan is as the following : It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas 'and 'confucianism'. But the representation style of the design element is differed from the country.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.332-344
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• 2019

Based on the life of the furniture is to reflect a region and the important basis of ideological and cultural characteristics of The Times culture form the traditional concept of directly determine the style and features of furniture. Due to the geographical location, China and the Korean peninsula have a long history of cultural exchanges. Through long-term exchanges, Chinese traditional culture has penetrated into the daily life of the ancestors of the Korean peninsula in various ways. As one of the traditional Chinese cultures, Taoism began to spread in The Three Kingdoms period on the Korean peninsula. With the integration and development of Taoism on the Korean peninsula, Taoism culture with unique characteristics of the peninsula was formed and became part of the traditional ideological and cultural life of the ancestors on the peninsula. In the historical development of furniture on the Korean peninsula, Taoist theories such as yin-yang theory and five-element theory and geomantic geography theory have exerted an important influence on the use, shape, material and pattern of traditional furniture on the Korean peninsula. The late period of the joseon dynasty was the heyday of the handicraft industry on the Korean peninsula. During this period, the categories of furniture increased, and a large number of furniture with distinctive Taoist characteristics, beautiful shape, excellent design and different uses appeared. Through the study on the modeling, materials, patterns, seals and designs of furniture in the late period of joseon dynasty, this study confirms that Taoist thoughts are one of the main factors affecting the development of Korean traditional furniture forms and patterns. Using patterns of various natural objects or plants and animals for furniture design, it is to pray for family members to avoid disasters and disasters. Thus it can be seen that praying for blessings from heaven is the main Taoist thought.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.475-477
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• 2010

경극은 중국의 전통극 중 하나이다. 경극의 영어 명칭은 'peking Opera'다. 경극의 "분장"은 희극에서 배우들이 얼굴에 하는 채색 화장을 가리킨다. 경극 배우들의 얼굴 분장을 '검보'라고 한다. 형태, 색채와 유형 면에서 특별한 양식을 갖춘다. 본 논문은 중국에 전하는 가면극의 외면적 표현 형태를 시각디자인 조형영역 분석을 통해 학문적 가치를 창출하는데 목적이 있다. 본 논문의 연구 영역은 경극의 유래, 색채, 형식적 측면에 대한 조형분석과 가면의 표현형식, 즉 표형기법, 색상구성, 형태구성, 역할특성 등의 구성형식을 조형적 분석 틀에 의해 분석하고자 한다. 가면 얼굴의 대표문양 분석을 통해 단순화 표현형식으로 작품을 만들어 연구하고자 한다. 분 논문의 의의는 중국 전통경극의 집중적 연구의 결과 추출을 통해 한국의 유사 전통탈춤과 비교하는 연구의 귀중한 자료로 예측되기에 본 연구를 진행하였다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.58-65
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• 2015

Compared to pavement of Chinese palace gardens, those of private gardens in south part of the Yangtze River(長江) in China shows variety of patterns. In order to figure out what causes the difference in paving pattern, this article focuses on the traditional Chinese ideologies during the all time. An analysis on 'Classical Gardens of Suzhou', which has been designated as UNESCO World Heritage, was used to determine how ideologies have influence on paving pattern of Classical Gardens. As a result, various Chinese ideologies such as Nature worship, Totemism, Confucianism, Taoism, Buddhism, and Folk Culture were found in paving patterns of the private gardens. Pattern of sun in the Retreat & Reflection Garden(Toisawon) is an example of Nature worship among primitive beliefs of ancient China. Phoenix pattern of the Couple's Retreat Garden(Ouyuan, Liuyuan) reflects Totemistic beliefs. Confucianism is the underlying philosophy of Eight Square pattern, Six Square pattern, and Cross Square pattern. These patterns were mainly used to pave large area and easily found in many gardens. Patterns reflect Taoism are "Wufu holding life" pattern(the Five blessing holding life, 五福捧壽), Flat peach pattern, and Alluding Eight Immortals pattern. Paving patterns related to Buddhism are patterns of 'Eight treasures' and Endless knot pattern appears most frequently since it expresses concept of reincarnation well. Paving patterns shows folk culture and beliefs of the time in China are bat, butterfly, dragonfly, frog, carp, and coin(ingot).

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.34-38
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• 2004

복식사 연구의 의의 중 하나는 고대 복식 자료를 현대 패션 디자인에 활용하는데 있다. 현대 패션디자이너들은 전통 복식의 스타일, 소재, 색, 문양 등에서 디자인 영감을 얻고 있다. 이러한 측면에서 본 연구에서는 고대 아시아 북방 민족들에게서 시작되어 중국 본토에 보편화되었으며 청조에는 관복의 구성품목으로 제도화된 피령에 대해 살펴보고자 한다.(중략)