• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.45-56
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• 2014

Embroidery is called 'Ja-Su' in Korea. The purpose of this study is to present a method that utilizes the technology of traditional Korean embroidery to get a genuine feeling of tradition. This study was conducted in the following manner: first, Previous researches and references were used survey traditional embroidery techniques. Second, by using traditional embroidery techniques, the study attempted to develop a design of embroidery household Items with modern sense and practicality. The results of this study are as follows: This study has developed and produced embroidery household items that can be used in modern life by using traditional embroidery techniques. A total of 10 kinds of miscellaneous everyday life utensils and interior pieces were produced. Materials used in the embroidery production were made out of natural fabrics, such as cotton (Kwang-Mok, Mu-Myung), linen, cotton thread were used for a practical reason for practical reasons (i.e. being easily washable). Embroidery techniques used in this study were straight stitch, outline stitch, satin stitch, separate stitch, french knot stitch, long&short stitch, brick stitch, chain stitch, couching stitch, Pad stitch, and pine-leaf stitch. In order to further develop traditional embroidery, a technique passed down from the ancestors, it needs to change to become more suitable for modern life while maintaining the tradition.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.95-112
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• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.481-501
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• 2024

This study aims to analyze the traditional embroidery in Korea, China and Japan based on Pierre Bourdieu's cultural theory, habitus and field. We conducted literature and case studies examining the late Joseon Dynasty, Qing Dynasty, and Edo Period, respectively. Based on previous studies, we reviewed three fields: social systems, goods and economy, and environmental and regional. We also explored art, culture, and national tastes as habitus. We then examined each country's embroidery practices through these lenses, and the practice of habitus is as follows. We determined that traditional Korean court embroidery in the late Joseon Dynasty was characterized as controlled elegance, while private embroidery reflected earnest simplicity. During the Qing Dynasty, traditional Chinese court embroidery depicted sumptuous power, while private embroidery portrayed harmonious splendor. Finally, traditional Japanese embroidery in the Edo period reflected symbolic natural beauty and exaggerated comic beauty. As a result, Korea, China, and Japan have had a relatively close geographical location and a similar climate environment zone, and since ancient times, many cultures have been exchanged with each other. However, it seems that the characteristics of traditional embroidery have developed slightly differently due to the practice of habitus, which was caused by of the conspiracy of field and habitus of the three countries. The significance of this study is expected to explain the relationship between the birth and extinction of costumes and embroidery by establishing a systematic and objective framework for aesthetics research.

• Journal of Fashion Business
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• v.8 no.3
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• pp.20-33
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• 2004

The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.32-48
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• 2007

Korean traditional flower motifs have often been used in traditional embroidery on personal products and on decorations. The flower motifs seen on embroidery with a variety of techniques show the shapes and colors changing to more and more brilliant and colorful design. Even today the flower motifs in embroideries continue to be reinterpreted in both modern ways and also in traditional ways with their fancy beauty in the design industry. This research is based on documentary and demonstrative studies conducted to find out the formative properties of these motifs through and analyzing the shapes and colors of flower motif embroideries from the Choseon Dynasty as applied in developing modern designs in harmony with their traditional beauty. A summary of the research is as follows. First, the peony blossom appears the most, with its gorgeous flower shape. It was used in a variety of ways for decorative purposes as well as in wishing for wealth and harmony on clothes or on personal products. Second, the result of analyzing the flower motifs on embroidery shows that 'realistic-complex- flower patterns' and 'stylized-complex-flower patterns' are mostly seen. Third, many of the peony blossoms, chrysanthemums, and Japanese apricots were in a radial shape and front facing with stamens, and the lotus flowers were mostly shown on the lateral side. Fourth, as a result of analyzing the colors of the flower motifs on embroideries, a tendency is shown toward the R and RP colors of v, b tone and the shades YR, Y, GY, and G colors of lt and p tone.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.1-13
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• 2013

This study examines the processes and characteristics of modern Korean embroidery art from the beginning of Korean modern times to 1945 which was the year of independence from Japan. An objective basis is presented by the analysis of articles and illustrations from the press and publications of the corresponding times. The significance of this study is to research the modern Korean embroidery art, which connected traditional times with modern Korean culture in order to investigate its identity. Due to Korea's modern embroidery art being started in the Japanese colonial times, there are some limits in it because of it being influenced by Western modern embroidery art and Japanese embroidery design. However, modern Korean embroidery art expanded from the private space to public space such as schools, open lectures and exhibitions. It has also accepted diverse foreign embroidery forms, which have been commercialized and accepted as art. The embroidery craft as commerce and art has given women the chance to achieve economic independence and to improve their social status. Modern Korean embroidery was art for the modern woman who had been educated in academic art, as well as a liberal art for wealthy housewives. It was the foundation of economic independence for poor rural women. It can be concluded that Modern Korean embroidery art has been accepted and developed by women in modern times.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.705-725
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• 2015

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.21-36
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• 2002

The Miaos have their own unique and luxurious culture traditional and modern formed as they have experienced repeated fusion into and resistance against the Han Race or the Chinese in their long and old history. Taijiang County of Guizhou Provice, in which whey have been living, is endowed with natural beauty. Thus their culture enjoys abundant and diverse contents of artificial and natural character. Naturally, their costume reflects cultural and natural features in abundance and variety. This dissertation aims to investigate the artistic character of Miaos' traditional costume as reflected in patterns for their embroidery. As for the artistic character of the patterns for embroidery, the following were found. To begin with, the space in the Miaos' embroidery is, unlike the measurable three-dimensional space found in Greek art, unmeasurable and fantastic with its beauty, majesty and peculiarity. It is as if immersed in limitless space, they were in communion with gods and universe. Another characteristic is the use of image construction beyond mere imitation. Their mode of image construction was realistic in that patterns as a whole reveal an abstract form or meaning but separately they portray visual representations of concrete thins in nature. Still another is that sense of motion conveyed by the basic curve line is full of life. It was the result of using light rhythm breaking stereotypic balance and symmetry. Finally, the colouring was abstract, and a strong contrast between black and white was gorgeous and fantastic.

• 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.

• Journal of Fashion Business
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• v.6 no.2
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• pp.41-52
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• 2002

At the beginning of the modern times, orientalism and ethnic character was the main stream of current fashion. Early in the twentieth century, orientalism had a tremendous affect on various areas of society, culture, and art. Particularly, it inspired and activated the design of costume. A great variety of colors and construction of the Orient and geometrical simplicity were based on the creation of modern costume. Ethnic placed weight on the Orient because Japan strengthened competitiveness and China opened the door to foreign countries. Therefore, a large number of the oriental costume produced by a variety of fashion designers. The oriental handicraft, motif and colors of the traditional costume have been used in modern costume. In addition, they are precious ideas for designers. This thesis is about a Study on costume embroidery close to fashion through the oriental embroidery and the concept of oriental embroidery. It is also a study on patterns, skills and colors of the oriental embroidery shown in modern fashion and practical use through the designers works. First, concept, process of change, patterns, skills and colors of the oriental embroidery are mainly discussed. 1.The oriental embroidery consists of life, Buddhism, appreciation and costume embroidery. Embroidery was widely used for a variety of purposes. First, it is to make a good impression and beauty. Second, to decorate many kinds of patterns and shapes. Last, to indicate social status and stages. 2.The origin of the oriental embroidery started in Persia. was It greatly developed in Iran and was introduced in Korea via China. We are reminded of the oriental embroidery of China. China is the original place of oriental embroidery. Oriental embroidery has developed the peculiar embroidery according to each climate, custom and nationality. On the basis of these, the practical use of the oriental embroidery on modern fashion is presented through patterns, skills and colors which leads Korean designers use. Even though the oriental embroidery is not very popular among people owing to a great deal of cost and a demand for labor, the patterns and colors of the embroidery has been already familiar with the contemporaries A more profound study on the oriental embroidery will supply a great deal of material and ideas to the fashion industry. Moreover, an effort to raise self-pride in traditional culture will be also in need.