• Fashion & Textile Research Journal
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• v.10 no.4
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• pp.479-488
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• 2008

The purpose of this study was to re-interpret the traditional patterns in modern point of view and connect them to the apparel textile design to use them widely in our real life. For this, a documentary research on the traditional patterns and arabesque patterns was made first, and then, through the manual and photoshop workings, two apparel textile designs were suggested. As a result, the followings were acquired: First, the arabesque pattern, which is a traditional pattern of Korea, has a continuous life power and a natural formative characteristics. In its pattern, there is an abundant possibility of change. So, it has a wide usability regardless of time and space. As the symbolic image of the arabesque pattern is connected with the instinctive beauty sense of human beings, it has shown the more adhesive affinity that any other materials. Second, two kinds of textile design were suggested. The motif of work 1, "Fragrance of Woman," was the richness and the harmony, and so a lotus arabesque pattern was selected to present its concept, "Classic Elegance." The expression technique was to use a manual work and cloths to make it a voluminous one. The motif of work 2, "Green Field" was to show the clean beauty with a lotus arabesque pattern. Its concept was the "Natural Elegance," and the expression technique was to repeat the motif by using the Adobe Photoshop to complete the work.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.13-24
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• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

• Fashion & Textile Research Journal
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• v.8 no.4
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• pp.400-406
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• 2006

The purpose of this study is to investigate characteristics of arrangement methods and weaving types of fabrics during 16-17 century. Research was done through the references of exhumed clothing in Chosun Dynesty. Seeing the waving types of fabrics of flower patterned fabrics of total 108 items, satin damask(Dahn) was 71items, took the majority. And the next order was twill(Neung) and plain(Ju). It means Dahn was the most popular fabric among the upper classes. It was regarded as one of the noble textiles, because of its luxurious appearance and pleasant touch. Flower patterned plain fabric(Munju) was found only 9items, even though the plain fabric was the most common used type. Assumed for the reason, Chosun government had restrict to extravagance of the people. In terms of the arrangement of flower pattern, it can be classified into three methods. The most common arrangement method was Arabesque type, followed by open order shaped type and scattering shaped type. In the repetition of pattern, there were brick-shaped pattern and half drop pattern which were spread flower pattern all over the surface of fabric.

• Fashion & Textile Research Journal
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• v.10 no.5
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• pp.762-770
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• 2008

The purpose of this study was to examine of the flower patterned fabrics used for the Shrouds during 15~18th century in Chosun Dynasty. The Shrouds at that time could be classified by the garments for the dead(殮襲衣) and the utensils used in religious services(殮襲諸具). And we looked into the types and the compounding methods of the flower pattern used for the utensils used in religious services(殮襲諸具) as well as the Shrouds accounting to the uses. Results of this study are as follows. 1) The flower patterned fabrics weaved as the uses of the garments for the dead(殮襲衣), item by item, were divided into the upper garment, the lower garment and men's Po(coat). 2) Seeing Jeogori, mixed various flower patterned fabrics, among the upper garment, there were focused on the various good meanings such as longevity, integrity and prosperity etc. 3) The flower patterns in men's Po(coat) were used a lot in Jangui and Dahnryoung. Cheollik, Dappo, Jeonbok, etc made of the flower patterned fabrics, were of small number but we can feel an aesthetic sense of men at that time. 4) The flower patterned fabrics weaved the lower garments, were used much more in the skirts than in the trousers, for reasons of the wrapping a dead body. 5) Seeing the flower pattern used the utensils used in religious services(殮襲諸具), the pattern of Lotus and Arabesque, among the types of flower pattern, had a majority.

• Journal of Fashion Business
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• v.11 no.6
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• pp.139-156
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• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• Journal for History of Mathematics
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• v.21 no.2
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• pp.71-80
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• 2008

From the ancient Korea, our ancestor had designed the unique pattern which is Dan-chung, in architectures such as palace and Buddhist temple. In Dan-chung pattern, there are many various kinds, that is geometric pattern, arabesque pattern, plant pattern, flower pattern, animal pattern, Buddhist pattern and living pattern. So, we can see the tessellations in the Dan-chung pattern, moreover we can find the beauty of tessellation in the Korean traditional architectures and crafts. In this paper, I'll show you Korean traditional tessellations via GSP 4.0. which means geomeric program Geometer's SkechPad.

• Journal of Fashion Business
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• v.15 no.5
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• pp.115-128
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• 2011

Textile fabrication based on traditional culture has grown very attentive as fashion icons in recent so that designers, especially, who want to be the center of attention, may be a public interest and introduce their own culture to the world. In the 21st century by more focusing of our culture, Korean textile designs that is applicable our traditional motifs are required to develop and also its motifs could be comprehensibly got the spirit and the inherent meaning, and should be fuse with modern touch and developed practical design in daily life. Of all many different patterns, this paper placed an emphasis on three of main traditional motifs as a floral arabesque pattern, ivy pattern and butterfly pattern. The traditional motifs were applied through a hand-made technology and the professional design program of TexPro, and then the textile design was simulated by Photoshop to approaching the apparel design. Through these produced artworks, we have conscious that the oriental images have associate traditional meaning and the traditional design tried to express co-existence past and present. Moreover, we believe that the surface pattern design of textile for printing was good chance to relive the traditional meaning, and the tradition is recognized not mere old and expects more advance with applications.

• Journal of the Korea Furniture Society
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• v.27 no.3
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• pp.185-196
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• 2016

This study is about watching the changes in Modern and Contemporary ages, through Traditional Ottchil Painting analyzed the formative characteristics presented on 23 pieces of Najeon Master Bong-Ryong Kim. He restored and reproduced the Ottchil Painting Technique by making Najeon ware (lacquer ware inlaid with the mother-of-pearl) on the Korean Modern and Contemporary period. The formative characteristics of his Ottchil Painting Technique are as follows. He used a lot of the Myochilchaehoi Technique as the technique of expression, along with the Najeon Yanggam Technique mixed with Myochilchaehoi Technique. The frame material of Ottchil Painting Ware is handcrafted wood. And in the painting foundation, red is presented more than black. The colors of painting and the pattern drawn on the foundation of Ottchil painting are mainly bright red, blue, yellow, black, and white (five-color). The main pattern used is the dragon, and the subordinate patterns are clouds and Arabesque. Also, the main pattern is solo, and the subordinate pattern is mostly an arrangement combination of radiation symmetry. This style of art was most commonly used for painting fruit trays. As stated above, Bong-Ryong Kim presented various and masterful aesthetic quality based on sincere and exquisite Najeon ware production skills.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.857-863
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• 2008

The purpose of this study is to analyze the types of Hibiscus patterns expressed on Aloha shirts. This study analyzed real data collected from man's aloha shirts displayed at the International Market Place in Waikiki of Hawaii during January 21-27, 2007. 35 pieces of Aloha shirts with Hibiscus Patterns were was analyzed. The total of each analysis means all number of patterns sampled or appeared to analyze the types of patterns. The motif of Hibiscus was sampled a total of 42 units for some shirts having several motifs. Its motif was divided into two groups, 20 units(47.62%) of natural type and 22 units(52.38%) of stylized type, according to modeling. Two types were much the same percentage. Hibiscus patterns were classified into three groups, isolated, band and arabesque type, by formation type. The isolated type was appeared most frequently. The layout of Hibiscus pattern was classified into three groups, engineered print, all over print and border print. All over print was appeared most frequently. The data of this study will be provided as a resource to promote using and developing of the pattern of Korean rose of Sharon.