• Journal of Fashion Business
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• v.19 no.2
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• pp.149-170
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• 2015

The purpose of this study is to link the Yi tribe's traditional patterns to bag design. Yi tribe is a minor ethic group in China, whose traditional pattern has a high artistic value in that its shapes are diverse and each one has peculiar elegance. Traditional patterns are also indicative of spiritual dept or symbolic stories, rather than being indicative of simple formative beauty. Thus, reorganizing these patterns and applying them artistically to design- in terms of resource utilization- would be significant. Out of all of the Yi tribe's traditional patterns, the cherry blossom_(马樱花), water wave_(水波), sky father and earth mother_(天父地母), pomegranate blossom, triangle, sheep' horn, wisteria vine_(藤条), square and diaper_(四角菱形) and the zigzag_(曲折) patterns were chosen for use during the development of a bag design. This study is based upon document study, including research papers and internet web sites, the point of which was to investigate the form of the traditional patterns, and the creative design process. The design procedure includes these sub-processes: selection, arrangement and color-scheme. In the selection process, the form of the pattern was edited using Adobe Photoshop. The pattern was freely arranged to reflect various emotions. In terms of the color-scheme of the patterns, the colors used by Henri Matisse(1869-1954) in his work were selected and adapted when dyeing the patterns. Subsequently, the final design resulting from these design development processes was applied to the actual production of the bag by using canvas fabric and leather, after which the bag image was proposed using computer simulation. In conclusion, six bag designs were created using traditional patterns from the Yi tribe. Through the processes explained above, this study confirmed that traditional patterns could be widely applied as design motifs and that more sophisticated, modern, and creative designs could be developed based on traditional patterns.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.185-205
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• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.124-144
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• 2008

This study is taken as the part of the cultural research on the Kaspian coastal region, which has a great significance as the start of human civilization and in the history of cultural exchange. This study is focused on the Achaemenid dynasty of the great Persian Empire that Iranians have established on the Parsa region, south of Iran on 6-4th century B.C. This research limits to the tribute-relief illustrated on the stairs of Apadana Palace in Persepolis during the age of Achaemenid dynasty. The objective of this research is classify and analyze Persians and its neighboring tribes, their dresses and the detailed elements of the dresses to complete the typology of the dresses in that period and use this to categorize the features of nomadic and agricultural tribes of costal areas of the Mediterranean Sea to Northern India and study the cultural exchange and its effects. Furthermore, we aim to use the above typology to revise the typology of the Korean traditional dresses that were formerly just sorted as a type of coat-trousers that classified as a nomadian Scythian dress type. The results of above analysis are as follows: The clothing of many tribes living in the coastal areas of Mediterranean Sea to the Northern India in the Achaemenid dynasty of Persia on 6th century B.C. shows that the typology of the dressings have close relationship with the region they live in. Such typology is displayed differently from tribes east and west of Iran. The tribes west of Iran showed characteristics of an agricultural tribe and the tribes east of Iran displayed features of a nomadic tribe. In addition, uniformed styles of dressing were displayed amongst many tribes sharing a common lineage. Such inference came from the fact that similar styles of dressings were identified not only in tribes east of Iran but also in tribes west of Iran.

• Journal of Science of Art and Design
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• v.7
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• pp.128-149
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• 2005

Zou Si Cong is a very significant female artist from the period when China was forming its modern arts and culture. Zou Si Cong, who was influenced by China's political and social upheaval, was born in 1939 and died in 1996. Her actual work period was after China's 'Cultural Revolution' and lasted only 13 years, from 1978 to 1990. Her passion for art never stopped, even when she was suffering from severe arthritis with its torturing pain. There were big changes that occurred in her work; 'Early Work', 'Realistic Work', 'Mine Worker Painting', 'Yi Tribe' Painting', 'Lotus Paintings'. 'Mine Worker Painting', which represented a new figure by abandoning traditional techniques, dividing picture space, and changing and distorting forms, was the one that had the greatest impact of all on a lot of people and strongly influenced modern Chinese figurative painting. The characteristics of Zou Si Cong's work are in its 'Traditionalism', 'Realism, and 'Historical' aspects. Zou Si Cong developed her uniqueness, along with Western expressions, based on traditional Chinese painting techniques. Realism, through realistic rendering, appeared in her figurative paintings during the Cultural Revolution Period. 'Yi Tribe' paintings lively illustrated their lives. She creatively reinterpreted history in the composition of Mine Workers, which is based on the historical record of Chinese barbarity.

• Cartoon and Animation Studies
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• s.15
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• pp.151-164
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• 2009

The discussion on folk painting (minwha) has been continued till recent in various ways. MinWha is applied by painting artists and also utilized as a basic material of design. These are the attempts approved by the viewpoint of the 'Korean beauty'. In saying so, minwha symbolizes for typical types of Korean painting, and is articulated as an aspect of forgotten spirit. However, despite the fact of Minwha's frequent application, and its evident originality, it remains only the thread of the existence. Although minwha has a lot of commonalities and similarities with the characteristics of cartooning, a decisive attempt of cartooning is hardly shown through. Therefore, this paper is aim to classify creative paintings by the distinctive features of minwha, such as exaggeration and abridgment, sarcasm and current affair aspect, common technique of art drawing, caricatured element, expression of an ideal world, various techniques from artist's different comprehension, etcetera and to make opportunity to constructively apply these features in cartoons. The types of minwha are mostly classified by the contents of the painting. However, since the purpose of this thesis is to find caricatured aspects in minwha, it will be largely classified by the elements of animal, plant, human, insect species, finny tribe, feathered tribe, and nature phenomenon. This classification takes advantage of accessibility to understand the characterization of the object, and leads to take a positive approach.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.138-150
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• 2005

Phrygia headgear has an important meaning from the perspectives of costume history and cultural exchanges in ancient times. This study is to investigate the prototype of Phrygia headgear through analysis of its manufacturing methods and styles on the basis of prior studies on ancient sculptures and literatures conducted by European researchers and to examine its history and meanings. In these ways, this study will be helpful in understanding the importance of Phrygia headgear in cultural exchanges between the East and the West. Results of this study can be summarized as follows: Phrygia headgear was orn by eastern tribes, so it was a symbol of those from the east in ancient times. Phrygia headgear is frequently found in Greek artistic works of 5th to 4th century BC that depicted eastern tribes. Also, this headgear can be observed in artistic works for Mithras, Attis, or other gods. Since Phrygia headgear's shape is similar to that of Homer's helm, many researchers believe that it might be originated from Homer's helm. This headgear made of oxen scrotum(stierbeutel) or its surrounding skin has a long end at the top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we top. This long end is round and drooping toward the front side. From such unique shape, we can draw a conclusion that Phrygia headgear was made of oxen scrotum and its surrounding skin. Dependingy on drooping patterns, there are various shapes, such as the round, tightly swollen one worn by Mithras, the tongue-shaped one found in Basilika S. Apolinare Nuovo's mosaic depicting three wise men, the balloon-shaped one frequently found in Greek vases depicting Scythian, and the one drooping to the side depicted in Alexandersarkophag. Further, some Phrygia headgear has covers for neck and ears. For example, Phrygia headgear worn by Persian Satrap tribe has such covers attached to the head part. Meanwhile, Phrygia headgear worn by Amazone tribe does not show such separate covers, Rather, one piece of oxen skin was tanned and finished to make such covers. Wearing Phrygia headgear can be interpreted in several ways. Use of animal's skin for wearing things is a unique aspect in ancient societies because they believed that wearing animal skin would give them power of the animal. Further, Phrygia headgear made of oxen scrotum was a symbol of reproductive power to women.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.81-99
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• 2012

This study aims to find out the trouser types of the ancient tribes after analyzing various types of trousers discovered on the reliefs of the Achaemenian period of Persia. Then use the results of the analysis as basic data for a study on the Korean trousers type during the ancient times. For this, a theoretical background on the ancient tribes is developed by referring to the literature documents of literature, and European archeologists' papers and photo data are collected and analyzed as well. In addition to the above data, the data, which have been collected by researchers through a field study are comparatively analyzed. In terms of width, the trousers of the ancient tribes have been divided into three types: narrow, average and wide. Each type has diverse forms. The trouser types varied depending on the tribes, the regions and the manufacturing dates of the reliefs. The narrow type was popular among Median, Scythian and Kappadokian, while the average type was frequently worn by Bactrian and Sogdian who lived in the highlands in the northeastern part of Iran. Lastly, the wide type was mostly found in the southeast of Iran(Arachosia, Aria and Drangiana). The fact that trousers were discovered together with boots has been useful in guessing the lifestyle of ancient tribes. Also, even within the same tribe, the form of the trousers and how they were worn changed depending on the time period.

• Journal of the Korean Society of Costume
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• v.17
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• pp.221-245
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• 1991

The purpose of the study is to search for the existene mode of the modern cosmetology by not only understanding generally but also looking into the fundamental mental base and the aesthetic senses reflected in the literatuers and remans concerned with the traditional Korean cosmetology from anient times to modern times (1910). What are characteritic of in the systemetic study are summarized as follows : Chapter I The purposes and methods are systematized and the scop of study is specified. Chapter II The definition of cosmetology and osmetic indicates that the traditional cosmetology is a sort of whole deoration with costume. Chapter III It can hypothesized that since the Koreans were the northern nomadic tribe, in the beginning the cosmetology might have had a practical usage to protect themselves from the cold weather, and then gradually become to have a decoration meaning, and finally, with the development of various social culture, undergone the transition reflecting some characteristic of each era. Chapter IV While the female cosmetology had been much likely to accomodate the spirit of the times under the male, most of the male cosmetology had been done as a means to exhibit his social position, the tendency which had been prominent in the Yi dynasty. Chapter V Sinece beauty kits which were made of raw materials had been selg-supplying only to meet the small demand, their size were relatively small and had been given a menaing of a luchy omen or exorcism. Chapter VI Buddhism introduced bathing and incense, Confucianistic view of womanhood differentiated the cosmetology between Kissang and daughters of respectable citizens, and thin make-up was recomended. In addition, there many thoughts to have influence on the traditional cosmetology culture : body-and-soul unity, exorcism, naturalism, and short-lived beauty. Chapter VII Since the on-going movement of makeing use of the traditional cosmetic materials in order to apply to modern cosmetic may be a king of counter-vertical cultural phenomena to incorporate our own tradition with the modern cosmetology culture efficiently, the hope is that the findings of the study may contribute to the said efforts. In short, the study on the traditional cosmetology culture may be heloful in Looking into the existence of the modern cosmetology through its clarification of the nature of the traditional cosmetology culture.