• 복식
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• 제59권2호
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• pp.143-153
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• 2009

The purpose of this study is to provide color information in order to planning and merchandising in china fashion through the color of Beijing opera. In objective study, we collect total 302 Beijing opera images. The collecting method of source data is to extract digital color data by color picker. We transform RGB color data to H V/C, CIE L*a*b and analyze the attributes of color and tone, three-dimensional analysis. The results of this study are as follows : 1. The color distrbution of Beijing opera is R(26.9%)>YR(18.2%)>PB(11.6%)>Y(9.6%). Traditional preference color, red is most popular color as 26.7%:, the practice of vivid tone red is numerous. 2. The tone distribution of Beijing opera costume is P(16%)>It(13.9%)>d(11%)>5(9.6%)>4kg (8.2%)>b(7.1%:). The value o# Beijing opera costume distribute medium and medium-high and the chroma of those distributes low. 3. High chroma yellow is restrictive color as the symbol of emperor in china but medium-low chroma yellow is very frequently used. 4. Blue is often used in china costume. Especially in Beijing opera costume blue is symbol of bravery, dignity, cruel character 5. White in Beijing opera costume is much used for symbol of righteous loyalist. Black is less used than white in Beijing opera costume and black is authority color for symbol of the prime minister.

• 한국의류학회지
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• 제32권10호
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• pp.1629-1639
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• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• 복식
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• 제57권9호
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• pp.88-96
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• 2007

The purpose of this study is to present examples for modern application with traditional color on ceremonial costume of Korean folk belief which is regarded as representative research material standing for Korean cultural archetype. The arrangements of color on the ceremonial costume of Korean folk belief were selected from 11 items specified as an import intangible cultural asset. These color arrangements were composed of fundamental colors from the viewpoint of modern color sensation, but had a excellent harmony in Hue. Therefore, not shifting Hue of color arrangement on ceremonial costume, traditional color arrangement was apply to contemporary it by shifting tone. Brilliant and deep chromatic tone that belong to 3, 4 area was converted into toned light grey, light clear, dark deep, toned dark grey, and greyish chromatic tone that belong to 1, 2 area or 5, 6, 0 area or 2, 7, 9 area. The plan that applies arrangement color with brightness contrast of traditional fundamental colors on a modern color harmony was presented from that. Like this, we can combine traditional color into modern color sensation, stylize and apply it on a production of character, logogram design, fashion design for characters in animation or game. From this, we'll be able to be close to the color arrangement sensation including our racial emotion in the everyday life.

• International Journal of Costume and Fashion
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• 제5권1호
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• pp.42-58
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• 2005

This study examines the color image of the early 20th century and compares the work of designers' who represented fashion and trend at that time with cinema costume which made after 1990's. This shows the relationship and differences between the color of the past which is presented through designer's works and present which is visualized through cinema costume. The result of this study shows that the color which is reproduced through cinema costume is decided according to the story, time period, scenery space and character of the film rather than being a genuine attempt at reviving the color of the past time period. The color is exaggerated or limited to manipulate the effects of character and story creating a stronger impression to the audience.

• 복식문화연구
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• 제7권1호
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• pp.82-99
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• 1999

The purpose of this study was to investigate the traditional costume colors in ancient Korea. The results of this study can be summarized follows : The traditional costume colors in ancient Korea was affected on Chineses goverment official\`s costume colors, specially in Tongil Silla Dynasty. Goverment official\`s costume colors were purple(紫), red(赤), yeoolw(黃), blue(靑). The traditional Korean colors for clothes were devided in the white costume for low class and the colored costume of high class. The traditional Korean colors for colthes became fixed in the later Chosun dynasty, According to developing of dyeing technic, the prohibition of red costume for low class made for wear red undercloth. And on account of costume color in sumptuary law occured the transition of costume color. As transition of costume color, yellow(黃) changed in light in light yellow(松花色), purple(紫) did in dark green purple(茶割) Also it was found that the traditional Korean color for clothes was many kinds of soft, deep, natural colors out of red(紫)·yellow(黃)·white(白)·black(黑)·blue(靑).

• 한국의류학회지
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• 제33권3호
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• pp.457-466
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• 2009

The purpose of this study is to research the similarity and difference of color application in culture of Korea and China. The subject of this research is the costume color of Changgeuk and Beijing opera. First, a bibliographical inquiry includes the attributes of cultural color in Korea and China and the costume attributes of Changgeuk and Beijing opera. Second, this survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone by extracted color data. The results of this study are as follows: 1. The cultural color factors of Korea and China are classified geographical factor, internal cultural factor and external cultural factor. 2. Changgeuk costume much more used high value and medium & low chroma for korean temperate climate. But Beijing opera costume prefers high-medium value and low chroma color, various ranges of color because of China huge land and various climates, as geographical factor. 3. Changgeuk costume much more used YR color(no-dyeing color) because of korean white robe preference. Beijing opera costume much more used R color than Changgeuk costume because of traditional preference of R color, as infernal cultural factor. 4. Changgeuk costume and Beijing opera costume show the practical use of ascetic cole. like as jade green. Ojungsaek much less used than Obangsaek by the theory of exponents of the five elements doctrine, as external cultural factor.

• 복식
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• 제54권4호
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• 복식
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• 제58권3호
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• pp.123-130
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• 2008

Symbolizing holiness, wealth and power, golden color was most effective to express the absolute power of royal family and aristocratic society as well as the beauty of magnificent and brilliant authority. Such golden color was understood as the artistic color formed in the dictatorial society as well as the society under the rule of absolute monarch. Thus, it has been used in the costume that symbolizes nobleness, holiness, brilliancy, ethnicity and future-oriented property. In this sense, the image of golden color shown in contemporary fashion was analyzed as follows in this research: First, showing the future-oriented image, golden color expresses avant-garde, cyber and cosmic future-oriented image by using diverse new materials which introduce the state-of-the-art technology sense in addition to metallic textile. Second, getting hint from the ethnic costume of many countries around the world such as brilliant embroidery using golden-thread, ornament with exaggerated technique such as gold foil, mark and character in peculiar tint, the ethnic image of golden color expressed the peculiar color or materials of ethnic costume, handicraft details, etc in golden color. Third, since golden color is expressed in ostentatious image to which elegance and luxuriousness that looks like the work of haute-couture costume of royal family or sensuality that voluptuously expresses the beautiful body line of women are added, the viewers are enchanted or attracted.

• 복식
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• 제57권6호
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• pp.62-70
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• 2007

The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.