• Proceedings of the Korean Society of Precision Engineering Conference
• /
• 2010.05a
• /
• pp.87-88
• /
• 2010

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2003.05a
• /
• pp.12-13
• /
• 2003

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2005.05a
• /
• pp.128-129
• /
• 2005

• Human Ecology Research
• /
• v.53 no.1
• /
• pp.81-92
• /
• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

• Journal of Conservation Science
• /
• v.29 no.1
• /
• pp.81-92
• /
• 2013

In the past, European material and method were applied to conservation of Buddhist mural paintings in Korea. At that time, there were inadequate to selection of materials in consideration of porosity and hydrophilicity, therefore insufficiency to assessing their suitability for materials. The treatment result of mural painting are dissatisfied with consolidation of painting layer using synthetic resin. Therefore, it has experimented on applying fixative for reinforcement of painting layer on Buddhist mural painting in order to establish the effects of conservation. In relationship of binder's viscosity, adhesion and penetrating depth, adhesion increased in high-viscosity specimen whereas it decreased in low-viscosity specimen. While the binder's penetrating depths show similar patterns, the surface's response and combination adjacent to painting layer have differences. Animal glue and methyl cellulose (MC) shows excellent performance in their reaction with soil and painting layer. It is estimated that the fixative penetrates deep into soil to produce a stable fixing effect. The viscosity of polyvinyl acetate resin (PVAc) and acrylic resins are low, and thus penetrates well into soil, but they adhere poorly to soil.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.2
• /
• pp.199-206
• /
• 2021

The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a 'NogUdang' painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2004.10a
• /
• pp.172-173
• /
• 2004

• Proceedings of the Korea Society of Costume Conference
• /
• 2005.10a
• /
• pp.96-97
• /
• 2005

• Journal of the Korean Wood Science and Technology
• /
• v.27 no.3
• /
• pp.82-90
• /
• 1999

The buddhistic painting of Song-Kwang temple in Seungjoo-gun, Chonnam, Korea is not known in chronicle, but it could be estimated to works in the early 19th century through it's remaining records and qualities of materials. And it was analysed the qualities of materials consisting of pigment layer, silken-ground layer and support layer in order to preserve buddhistic painting, made back-adherent paper of the support layer proper to it, tested its compatibility, and then concluded as follows. 1. The section structures of buddhistic painting is consisted of the pigment layer, silken-ground layer of silk and the support layer of Korean hand made paper, it could be recognized that buddhistic painting in 19th century was basically composed of the pigment layer, the silken-ground layer and the support layer. Moreover the pigment layer and the silken-ground layer got adhered with glue, and sheets of support layers got back adhered with paste. 2. The support layer of buddhistic painting consisted of 5 layers and two kinds of paper were used for them. The first and second layers were composed of Korean hand made paper made of pure paper mulberry bast fibers, and the rest of them of paper that paper mulberry bast fibers were mixed into recycled hemp fibers. Though it is difficult to assert without the security of more data, finding out the then situation through the qualities of materials, it was presumed that the society in 19th century was suffered from economical difficulties and the operation of the paper industry of temples was rather difficult and so low-qualitative recycled hemp fibers might used for back-adherent paper. 3. Considering tension between silken-ground layers and support layers of this materials, newly made back-adherent paper was used for repair, and then I could conform that it was proper to back-adherent paper for repair.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.1
• /
• pp.113-123
• /
• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."