• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.87-99
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• 2014

This study aims to suggest a bag design focusing on the symbol of Bo patterns by developing a pattern-based textile which forms a Korean design with a modern sense of beauty as well as following the conventions of traditional cultures, a design which is based on the previous study on formative characteristics of Bo patterns. That is, seven pieces of motifs are considered as proper patterns that have a symbol suitable for the materials of bags, showing their individual beauty well. This includes Horomum (longevity and prosperity of desendants), Banjangmum (eternity and samsara), Jeonbomum (treasure and luck), Seobomum (innate good fortune), Bangseungmum (it means that things don't break in harmony with one another), Bomum (embroidered patches for royal family representing justice), and Seogakmum (blessed life). With these seven motifs, we developed textile patterns and printed them through DTP. Then, we created a fashion bag design with a high quality using durable canvas fabrics. Therefore, a fashion bag with the Bo patterns symbol has a propitious symbol designed with a propitious shape, not to mention its formative beauty. It is expected to have value as a fashion art item by being redesigned for benevolent patterns with a modern image.

• Proceedings of the Korean Society of Dyers and Finishers Conference
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• 2011.03a
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• pp.95-95
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• 2011

가방지 중에서 고급 브랜드의 핸드백은 근래의 세계적인 경기불황에서도 꾸준한 소비층을 형성하면서 매출 상승을 유도하고 있는데, 기존 40~50대 시니어들을 위한 전통적인 레자 또는 자카드 문양직물의 고유한 디자인 뿐만 아니라 20~30대의 젊은 층을 위한 다양한 칼라의 프린팅 문양 직물도 많이 개발되고 있는 실정이다. 본 연구는 잠재권축사와 고강력PET를 이용하여 이소재 복합 ATY를 제조하고 제직 및 날염을 통해 다양한 프린팅 문양을 발현할 수 있는 가방지용 직물 개발에 관한 것이다. 최근의 캐주얼 및 힙합룩은 물론, 베이직 정장 차림까지 트렌디한 우븐 백이 코디 아이템 1호로 떠오르고 있는데, 가방용 브랜드 중"레스포색"과 "키플링" 등이 급상승 기류를 타며 국내에 빠르게 정착하고 있으며 수입 브랜드인 경전상사의 "롱샴"도 폴딩백으로 인기를 누리고 있다. 핫 이슈인 스포티즘을 떠올리지 않더라도 최근의 변화는 소비자의 니즈를 적극 수용하려는 패션잡화 업체들의 움직임을 대변하고 있으며, 직물형태의 백이 합리적인 가격에서나 가볍고 편리한 실용적인 부분 모두 소비자의 니즈를 채워주기에 충분하고, 트렌드가 부각된 가방일수록 시즌에 따라 스피디하게 구매가 이뤄지고 있다는 장점이 있어서, 최신 트렌드의 디자인과 재료 효과를 극대화한 제품이 다수 선보이고 있다. 본 연구에서는 이러한 다양한 트렌드 디자인의 문양 발현을 위한 직물을 위해 PET Base의 잠재권축사와 PET 고강력사를 사용하였는데, 이때 사용되는 잠재권사는 Effect사로써 온도, Air압 등의 공정요소 제어를 통해 Soft한 touch을 위한 잔루프를 발현하도록 하였으며, PET 고강력사는 Core사로 사용함으로써 잠재권축사의 강도를 보강하여 가방지로써 요구되는 강력을 가질 수 있도록 하였다.

• KOMUNHWA
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• no.70
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• pp.17-34
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• 2007

Jigangkooksa's Monument at Beopchonsa is a monument representing the Goryeo Era, registered as the National Treasure No. 59. Haerin was a descent of a small regional clan, who overcame a number of challenges to become the leader of the nation at the age of 75. The tower and monument built after his death are among the finest works of the Goryeo Era. The Yongwha-world of the Jigangkooksa's Monument is the expression of a new utopia, which cannot be found in numerous Buddhist arts including Buddhist holy picture's art or other Codex. After passing through the pillar of cloud where 4 heavenly birds play, the new world of vault unfolds. Below are the 13 mountains which stand for 13th Heaven. In the center stands Tusita, the sky. On the top of Tusita is a Nagapuspa. The Nagapuspa in general has wooden pillars of treasure dragon patterns with dragonhead-shaped flowers on top. On the bottom, indrajala hang down. The Yongwha-world of the Jigangkooksa's Monument is carved with patterns related to Maitreya entering Nirvana. Jigangkooksa was active in the Moonjong Kingdom, the most prosperous times of the Goryeo Era, and led the publication of the Buddhism's Collection of Sacred Writings, the holiest work of the Goryeo people. At the time, people have offered on his tower a picture of him as the owner of Yongwha-world, with the utmost respect. This was the ideal utopia perceived by the people of Goryeo.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.289-303
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• 2019

This paper presents research on furniture making based on Hojangjul, which is an engraving technique that highlights the wooden patterns of traditional furniture. Somokbang, one of the 12 workshops in Tongyeong, has used Hojangjul as an engraving technique since Imjinwaeran. It was inherited by the late Cheon Sang-won, who was No. 59 of National Important Intangible Cultural Properties, and developed into Samhojang, Ohojang, Seongtoinoimun, Hotguinoimun, and Gyeopguinoimun. It was then spread to Masan, Ulsan, and Gwangyang via marine routes and further into the inland areas via land routes, developing in various patterns and forms. The present study investigated and examined the making techniques and characteristics of Hojangjul engraved in joinery furniture in Tongyeong, Masan, and Ulsan in the Gyeongsang region and Gwangyang and Dongbok in the Jeolla region, thus shedding new light on the traditional techniques that have been gradually disappearing and promoting the transmission, inheritance, and development of the traditional techniques.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.85-110
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• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of Korean Historical Folklife
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• no.46
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• pp.195-237
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• 2014

Palsapum are ornaments to reveal the purpose of commander of three naval forces as well as symbols to remember the greatness of admiral Yi, Sun-Shin. In 1966, ther were designated as a treasure No. 440 based on their value; however, they have not received attention from academia because they are relics from China. This study compares and analyzes the document, paintings, and relevant references from Korea and China focusing on Palsapum, understands their formal characteristics, and examines their historical value such as years and location of creation. As a result, the study determines five of them are original, but three of them were newly created by the later generations. The five, Dodogin (都督印, Commander's seal)·Yeongpae (令牌, Commander's tablet)·Gwido (鬼刀, Replica of the devil sword)·Chamdo (斬刀, Replica of the decapitation swor d)·and Gognapal (bugle) were created by Ming Dynasty before 1598, and delivered by the hands of General Chen Lin. The other three, Dokjeongi (督戰 旗, Battle flag)·Hongsoryeonggi (紅小令旗, Commander's flag)·and Namsoryeonggi (藍小令旗, Commander's flag), were created in 19th century by Joseon Dynasty. After analysis on the former relics, the study determines that they are not official relics with the dignity of Ming Dynasty but personal relics with regional characteristics; in other words, Palsamun are not the royal gifts from Emperor Shenzong to Admiral Yi, Sun-Shin. but personal momentoes left by General Chen Lin in the Tongjeyoung to celebrate the admiral. The names, variety, numbers, and appurtenances of Palsapum have been changed with time as follows. First, the scholars of Jeseon in 17the century only focused on Dodogin. It was certainly created in Ming Dynasty; however, it was a personal stamp, so considered to be not from the emperor but from General Chen Lin. Second, Palsapum was called Palsamul and consisted of 14 pieces of 8 kinds in 18the century, ; it is confirmed on the 「Dosul(圖說, stories with pictures of」 『Yi Chungmugong Literary Collection』 The sizes of five relics including Dodogin are similar to the records, but their patterns and shapes are exotic, or cannot be found in Joseon. Thus, they reflect the regional characteristics of Guangdong province. Third, they were called Palsapum, and consisted on 15 pieces of 8 kinds in 19th century; it is confirmed on , a sixteen-fold folding screen drawn by Shin, Gwan-Ho in 1861. The stamp box, tablet bag, and three flags were newly created to engrave Joseon style letters and patterns on damageable materials such as leather and cloth. The relics easy to be destroyed have been renewed even after 19th century. Last, there are many misunderstandings about Palsapum by governmental indifference and improper management of records even though they were designated as a treasure in very early times. Thus, authorities should be concerned with Palsapum to provide the measures for stable maintenance of the relics; this will let people remember not only the history of cooperation between Korea and China to stop the Japanese ambition, but also Admiral Yi, Sun-Shin and General Chen Lin to bring victory in Japanese invasions of Korea.