• Korean Journal of Human Ecology
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• v.22 no.4
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• pp.667-676
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• 2013

The purpose of this study is to establish a new method to develop the textile pattern design using Saengbul flower in Seo-cheon flower garden of Jeju Myth, in other words, to create mythic textile patterns by borrowing effectively from the mythic image of Saengbul flower. Seo-cheon flower garden is an incantation space and Saengbul flower means pregnance. Therefore, we drew Camellia flower motifs from a mythic image based on archetypal symbols about the Saengbul flower, and created mythic patterns. In order to achieve this textile pattern design, Adobe CS5(Photoshop, Illustrator) and Texpro were used to design the motifs of Saengbul flower, and then they were arranged in a square pattern and diamond pattern of Richard M. Proctor' set layout. And to conclude, development of the creative textile pattern design using the mythic contents of the Jeju Myth contribute to invigoration the fashion industry and regional culture contents projects in Jeju, and also become the basis of creating added valued to it.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.1-11
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• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

• Fashion & Textile Research Journal
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• v.4 no.2
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• pp.117-127
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• 2002

Patterns presented at baroque were mostly floral pattern. Abstract anonymous flower, tulip, Acandus leaf, pomegranate were blended with one another and had a distinct leaning toward continuation and repetition. Components of design could be classified into flower and leaf, flower and fruit, flower and circumferential ornament, bunch of flowers, flower and pot, flower and geometry, and flower and animal. Floral patterns in this era were mostly fullness type being large, simple, and having more formalized motive and were fronted with unit type and vine shape. Unit type shows reflection of baroque style which aims to present absolute unification rather than freedom, which was inherent property of baroque style, by using symmetric pattern. Vine type were unfolded with C type curved line which was main characteristics of that time and showed flowage as a whole and pliable beauty. Floral pattern was filled the whole surface of fabric, thus background of fabric can not be discerned. So, it showed extreme decorative tendency and lavishness.

• 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 the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.47-59
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• 2021

This study aims to provide inspiration and methods for menswear design by analyzing elements for men's fashion using flower images. The results are as follows: Men's fashion types with flower images were categorized as classic tailored, casual tailored, casual wear, sports-outdoor. The order of frquency was casual tailored, casual, classic tailored, and sports outdoor. For the classic tailored type, the flower images are related with an X-line silhouette, and the arrangement methods, such as a scattered patterns, one-point patterns, and surface techniques, such as printing and embroidery were used, and similar color or monochromatic schemes appeared sequentially. For the casual tailored type, the flower images are related to an H-line silhouette, arrangement methods such as a scattered pattern, panel pattern, and surface techniques, such as print, embroidery, and jacquard were used, similar color and accent color schemes appeared sequentially. For the casual type, the flower images are related to H-line and Y-line silhouettes, and arrangement methods, such as a scattered pattern, all-round continuous pattern, and panel pattern, and surface techniques, such as print, jacquard, embroidery, and patchwork were used, similar color and contrast color schemes appeared sequentially. For the sports outdoor type, the flower image were related to A-line and H-line silhouettes, arrangement methods, such as a scattered pattern and all-round continuous pattern, and surface techniques, such as print and jacquard were used, monochromatic scheme and contrast color schemes appeared sequentially. Therefore, the flower images in men's fashion were applied to various design elements, and displayed an interesting result, different from conventional design approach.

• 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.

• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.101-121
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• 2021

The flower, a symbol of beauty representing beauty, exists as an aesthetic object throughout the history of mankind, and is one of the motifs most often used in plastic art. In this way, flower art is an art that embodies a form based on the theme of flowers. The flowers played a role in expressing human happiness and love by harmonizing beautifully with each other in shape and color. The flower pattern containing this symbolism is beautiful and excellent in decoration, and is applied not only to household goods, but also to art and fashion. The flower pattern is the most preferred pattern among patterns, and it is widely used regardless of the four seasons by changing the color according to the color and flowering time, and it is effective in stimulating the symbolism and psychological sense of humans, so it is used in design in various fields. In this study, the flower pattern, which is a symbol of beauty representing beauty and the motif of art, has been traditionally used in Korea, and is still loved in fashion and art even in modern times. We hoped to be active, and through this study, we tried to develop our own unique flower pattern and lay the groundwork for it to be commercialized.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.325-334
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• 2016

This study explores developing a large round table with Bosang flower pattern for a contemporary meeting room made by a cabinet maker, Kim Byeung-soo, who has built the traditional Korean furniture in Korean Western Gyeongnam Province since after his elementary school. He uses the post finger joint from one of the middle level of his education process based on the traditional Korean technique, develops it into flower stem joint, and adds flower patterns' carving decoration called Bosang flower patterns. Hence, the table makes the table be strong, useful, and beautiful. Therefore, the modernized round table will be able to make the people access more easily and to make more demand on the traditional Korean furniture and the adopted furniture than ever.