• Journal of Fashion Business
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• v.25 no.6
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• pp.131-145
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• 2021

As the use of cultural elements to enhance design has become increasingly emphasized, fashion studies are focusing more on the cultural aspects of design. However, the diverse approaches of Minhwa (Korean folk painting) still need to be incorporated into fashion designs. Moreover, there is limited research on the awareness and thought of using a cultural design source of Minhwa based on people from different cultural backgrounds. This study aims to reveal an in-depth understanding of the use of Minhwa and its inner symbolic meaning by people from a diverse range of cultural backgrounds. A review of the literature on cultural design and Minhwa studies was conducted to establish a theoretical foundation. Focus group interviews were conducted with 26 participants, who were divided into five distinct cultural groups to ascertain their thoughts towards Minhwa and its inner symbolic meaning. The study's major findings were threefold. First, the outer appearance of Minhwa elements based on aesthetic preferences and familiarity affect their preference choices more than the influences of their cultural backgrounds. Second, knowing the knowledge of symbolic meaning makes a big difference in image preference. Third, avoiding the use of anachronisms is a significant consideration, as they can lead to negative judgments irrespective of cultural background.

• Journal of Korea Multimedia Society
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• v.25 no.1
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• pp.135-143
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• 2022

In order to convert Korean folk paintings called Minhwa, a part of traditional Korean heritage, into DBs, it is necessary to design a classification system suitable for the characteristics of folk paintings. A classification system and the generating of unique codes are required to classify and save them. To realize this, a basic classification system was created by listing objects depicted in folk paintings, and keywords were extracted by reclassifying them for each object. In order to assign a unique code to each piece, we organize the English names of each Minhwa since the English names of the folk painting contain the names of objects. The code name is extracted by applying the order of nouns and consonant priority rules in English names and attaching five Arabic numerals. These codes are later assigned to each image file stored in the database and are input together with the keyword. The Minhwa DB constructed in this way enables storage and search centered on objects and keywords and the intuitive inferring of the type of object from the code name.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.59-72
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• 2012

This study aims to collect Minhwa, or folk painting, particularly the Lotus Flower Painting, to analyze its formative characteristics and related story, and to develop cultural fashion products by utilizing Korean traditional culture and modern flavor based on the results. Lotus flowers grow from mud, but are unstained, and they bloom beautiful flowers. Thus, they symbolize Gunja, a true gentleman who is very learned and proper in behavior. In Buddhism, lotus flowers are divine flowers that have the meaning of the creation of life and the eternal cycle of birth, death and rebirth. Lotus flowers also represent the love between man and woman as well as conjugal harmony and love. Lotus flower painting includes the paintings of the lotus flower alone as well as the paintings of the lotus flower with ducks, white heron, kingfisher, fish, butterfly, crab, or tortoise. Colors that are mostly used in lotus flower paintings is the compatible combination of red and blue (green). Based on these findings, fashion products such as bag accessories, sitting cushions, and kitchen utensils are developed using various designs such as realistically drawn lotus flower, schematized lotus flower, the lotus flower alone, or the lotus flower with kingfisher, crab, or dragonfly, that emphasizing the compatible color combination of red and blue.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.16-32
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• 2022

In the intensely competitive global fashion market, the use of cultural elements to enhance design has become increasingly widespread. However, there is a lack of research on challenges and opportunities associated with integrating cultural elements of Minhwa into fashion design. Moreover, diverse approaches to incorporate Korean cultural elements into contemporary fashion designs are still needed. This study aims to reveal the real-world challenges relating to the incorporation of Korean cultural elements, including Minhwa, into fashion design and to clarify the possibility of applying Lin's cultural levels to cultural aspects in accordance with experts' views. To establish a theoretical foundation, the literature review on cultural design and Minhwa studies was conducted. It analyzes Minhwa to gain an understanding of the characteristics associated with different cultural levels. In-depth interviews with fashion industry professionals and Minhwa artists were conducted to ascertain their attitudes toward Minhwa use. The study's major findings were threefold. First, the cultural design facilitates the introduction, promotion, understanding, and maintenance of the culture. Since Minhwa offers rich inspiration linked to Korean culture, Minhwa-related designs can provide new perspectives while still having commercial potential. Second, however, the limitations of existing cultural designs included their being outdated, superficial without interpretation, unsophisticated, or limited. Furthermore, the use of Minhwa is limited since it is difficult to avoid creating superficial and unsophisticated designs in the real world. Third, approaching Minhwa at different cultural levels can promote diverse thinking and reduce the challenges of Minhwa use in design, but the major challenge remains visual expression.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.121-150
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• 2004

As genre of Buddhist paintings that express generally mountains and waters, there are Eight Scenes from Life of the Buddha(八相圖), Eternal Life Painting(甘露圖), Avalokitesvara Painting(觀音菩薩圖) includes Sixteen Lohans painting(十六羅漢圖), and Hermit Painting(獨聖圖), or Mountain God Painting(山神圖) which is especially appeared in late Chosun Period. These Buddhist paintings had various backgrounds including mountains and waters, the tradition of Water Ink Painting still remains after 18th century, however the trends got complicated to express various landscapes including splendid color, waters and mountains, and it appeared to have historical trend with introduction of factors of Minhwa(民畵) so called in 19th century. Sixteen Lohans painting painted from late 19th to early 20th century, still contains the traditional factors in terms of describing background among above trends, however the main factors of expressing the background are different from other Buddhist painting which reflects historical art trends in colors and its materials by drawing various background distinctively. That is, Sixteen Lohans painting is distinct at describing the background of blue & green colored mountains and waters that is appeared in trend of Minhwa(民畵) and the royal which were popular at that time It also shows broad acceptance with introduction of new background expressions such as Sipjangsang(十長生, Picture of 10 different things of Sun, Mountain, Water, Stone, Cloud, Pine, Plant of eternal youth, tortoise, Crane, and deer to hope the eternal life) Unryoung(雲龍, Dragon Cloud), Mangho(猛虎, Wild Tiger), Gweseck(怪石, Oddly shaped stone), Hwajo(花鳥, Flowers and Birds), Chaekgoeri(冊巨里, The books and bookshaves). In terms of its materials, positive representations of eternal life, wealth and luck were mainly appeared, this is closely related with Self-Search of Buddhist which was the trend at that time that Buddhist turned into the popularized religion in Chosun Period, especially the cooperation of popular belief with Taoism. This is appeared on various Taoists that is expressed in Buddhist paintings of Sixteen Lohans painting at that time. It would provide some clauses to infer the painted years of existing Minhwa at the fixed type of folk story paintings appeared on Sixteen Lohans painting painted mainly from late 19th to early 20th Century. There is also a possibility of the active participation of Buddhist painters(佛畵僧) as painters of Minhwa by request and demands from common people. Inquiry into factors of folk story paintings among Buddhist paintings started from similarity of the materials and shapes, however it doesn't seem to have dramatically expressed comic or exceptional techniques. But, the fact that there are similar types of decorative pictures in the Royal Court rather seemed to be possible for Buddhist paintings to have functions as religion.