• 패션비즈니스
• /
• 제14권1호
• /
• pp.116-131
• /
• 2010

As our world is becoming more and more globalized, nations tend to turn their interests towards their unique legacy and traditional culture. This research is intended to re-illuminate the Korean beauty through the Lotus Pattern, a traditional factor, from the Chosun Dynasty, and at the same time, analyze how its peculiar representation and figural elements can be reflected in modern fashion designs. The results will be an essential factor in creating exclusive and original designs. Research method was theoretical research from documents and to refer to positive data on preserved relics, and research contents consists of analysis on the use of lotus patterns in artworks that were exhibited during 2000 to 2008 by Korean and foreign artists. Results showed that lotus patterns that were used during the Chosun Dynasty are categorized by shape, composition form, and structural form. Applying these results, a total of 8 works were designed and created.

• 한국의상디자인학회지
• /
• 제6권2호
• /
• pp.63-75
• /
• 2004

The traditional Ukrain costume has been gradually developed and influenced by the climate and political, economical environments. The national costumes has represented the beliefs and understanding of people about the beauty and harmony of the world. Eastern Europe and Northern Asia are considered as the origins of the Korean traditional costume, and the artifacts ranged from over the Black Sea to ‘Skitai’ and Northern Asia to ‘Noinoola’ support this hypothesis. This study is investigate the formative characteristics of Ukrain national costume especially of the nineteenth century and the early twentieth century. In Ukrain, Men wear ‘Rubaha’ (shirts style's upper garment-in Ukrain Sarochka) and trousers, women wear ‘Rubaha’ with vest and a skirt and a head gear were worn. Ukrain is consisted with three group - 1) Dnipro region-included the Kiev region in the center of Ukrain, 2) Polissia region in the northwest of Ukra in and 3) Hutsul-Zakarpattia region in the west of Ukrain. These three groups have there own different formative characteristics of Ukrain traditional costume.

• 한국가구학회지
• /
• 제24권3호
• /
• pp.286-292
• /
• 2013

Space given at home, furniture is an important condition to determine its size. As a method for satisfying outer and functional human needs, ever changing, shaped form has also been developed. Modern people tend to decorate the beautiful living space to the needs of the beauty and space of living. In order to satisfy these requirements, the development of furniture to suit the taste of modern people is required. In this study, we add together the design and contemporary design of traditional Korean and use of raw wood can feel the natural and applied to furniture retro design. It is possible to have a motif characteristic of Hanok traditional to suggest a design where you can feel the sensitivity with retro in the direction of the current design change is large and diverse, and in harmony with the living space of modern it is an object that you study the production lighting and storage furniture with the complexity of the traditional and modern.

• 복식
• /
• 제46권
• /
• pp.109-132
• /
• 1999

The purpose of this research is to get basic data for R&D to activate and popularize the Practical Korean Costume. This research was carried out by theoretical study with literature and practical study with development of model based on the result of questionnaire. 1. In theoretical study the concept of 'Korean-image' of modern costume as well as 'Modernization' of Korean traditional costume has been suggested and 'traditional beauty of costume' which can be evaluated generally was considered. 2. In practical study the results of the questionnaire showed the objective numerical value of the element of Korean design which is firmly recognized by korean people. With the results the methods of development and composition of design have been suggested in the harmony of 'traditional' and 'modern' through the modernization in terms of form composition fabric color. It is expected that development direction of Practical Korean Costume which can be settled in everyday life with more independent cultural identity should be suggested. Additionally the research results will be useful for merchandise planning of costume industry.

• 한국의류학회지
• /
• 제20권5호
• /
• pp.718-727
• /
• 1996

"Saikdong" is a material that represents the Korean aesthetic behavioral pattern of colors. It shows the unique harmony of the color combination with the use of simple combined colors. The objective of this paper is two-folded. First, it is to explore the direction of Korean Design. Secondly, it is to find out aesthetic charateristics and consciousness in Saikdong. 17 traditional costumes made with the designs of Saikdong were selected from three museums in Seoul. The most properly matched color hues selected after comparing each color with the Pantone Textile Color Specifier. The results were shown as follows. 1. Korean design is to recreate the traditional objects considering the contemporary circumstances. 2. Contrast effects in lightness and saturation are very noticeable in Saikdong. Saikdong maintains the same widths of color stripes with the asymmetric balance of hues which give the rhythmical arrangement of colors. 3. Sikdong contains the shamanic wishes that everything is going well and the desire for the beauty. 4. The aesthetic consciousness of Saikdong has turned out to be happiness and harmonizing.rmonizing.

• 대한가정학회지
• /
• 제24권4호
• /
• pp.139-146
• /
• 1986

The purpose of this study was to identify aesthetic concepts of‘Sarangbang’furniture during the Yi-dynasty period and aesthetic descriptions indicating each concept expressed by experts in traditional furniture. The furniture selected for the study includes desks, table bookcases, document and stationary boxes (mungab), letter holders (Kobi) and inkstone boxes (younsang) with lacquer and oil finish on. The respondents were 72 traditional furniture experts; researchers collectors, sellers and artists related to period furniture. The important points of aesthetic descriptors were collected 123 from related literature. From experts' answers, 47 representative descriptors were selected. Data were analyzed with the SPSS using frequency, Percentage mean, factor analysis, t-test and C2. The results were as follows; 1. The aesthetic concept of sarangbang furniture during the Yi-dynasty can be categorized into 9 aspects; appearance of beauty, stability the interior space, naturalness, nobleness/harmony of lines, detail/refinement, simplicity, diversity solidity and surface division. 2. The characteristics of the Korean traditional furniture can be described using 47 descriptors explaining 9 concepts mentioned above.

• 한국주거학회논문집
• /
• 제10권4호
• /
• pp.83-90
• /
• 1999

This study is concerned on the decorating design and method of handrail of the old residential houses. The method of studying is proceeding to select and survey the houses identified as the cultural properties that have the value of heritage in the handrail design. The conclusion as following ; Handrail play not only functional part but embellished part. The wood Handrails can be classified in two styles ; One "pyung"(평) style, another "keja"(계자) style. The former is composed of straight lines which looks simple. On the other hand, the latter contains the elavorated decoration which gives solid beauty. In conclusion, the characteristic of the handrail in Korean structure is found in the changing the sense of the lineal and curve beauty into the symmetrical line, and is fund in the variety of the high qualified details. Over its esthetic senses, the residents'hope and need for the goodness such as good omen, rich longevity and getting boys and formed as passive symbolic world, and the auspicious signed letters and the geometric and natural forms of plants, are expressed upon the decorating design of handrail. design of handrail.

• 한국의상디자인학회지
• /
• 제11권3호
• /
• pp.17-25
• /
• 2009

The purpose of this study is to help understanding of abstract patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The summary of this study's results is like followings. Formative characteristics of abstract pattern in 2000's fashion are Impromptu, Anti-mechanism, Superimposing, Disorder. First, Impromptu is rebounce against uniformity, mechanism, man-created beauty Second, Anti-mechanism represents unfinishing, unbalance, inaccuracy and relates with each traditional of nation or ethnic group. Third, Presupposing transparency Superimposing offsets each patterns. So Their images are ambiguity, ununiformity, unequality, incompletion, uncertainty and so on. Fourth, Disorder breaks and ignores physical balance, rule, order and so on. These images represent uncertainty, freedom, naturality. From this result, I can interpret that these images are representing of humanism reacting about uniformity, mechanism, man-created beauty, completeness of modernism since the Industrial Revolution.

• 대한가정학회지
• /
• 제50권3호
• /
• pp.15-24
• /
• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• 복식
• /
• 제15권
• /
• pp.121-130
• /
• 1990

This study is focused on the swinging and trembling effect expressed in Korean costume from ancient days to the present. The swinging is a term standing for gentle movements that are created and implied by the long ties, strings, tassels, pendants and hanging ornamentations. These attatched elements of the costume move as the wearer moves. Trembling is a term expressing small vibrating movement which is created by the tiny decorative motifs attatched to Korean costume. This little decorative elements were attatched to the royal crown, earings, necklaces even the sole of the metalic shoes for a change and to draw viewers attention. The Swinging and Trembling have been used mainly to express the decorative desires. The Swinging on shaman costume is a expression of the aesthetics of evil's eye, while the Swinging shown on the costume of a schalor is expressing the beauty of personality and nature. In General during the Choson Period, the Swinging of the tassels, ribbons, string belts is a expression of the beauty of nature. Consequently the Swinging and the Trembling are the typical examples of the "Meot"(멋), Korean traditional aesthetics.