• 한국디자인학회:학술대회논문집
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• 한국디자인학회 1998년도 가을 학술발표대회 논문집 디자인 학 연구
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• pp.32-33
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• 1998

• 복식
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• 제56권3호
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• 혜화의학회지
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• 제20권1호
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• pp.25-37
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• 2011

It fuses into culture of the East and the West in use of color ; colors of five direction, which had been from the Five Phase Theory in East Asia. Formative ability of color fields in a formative early Oriental Medicine history as well. Color is a very important factor and a necessary step of visible diagnosis. As a human's body is maintained and alive under the control of spirit and spirit is stored by five viscera, so spirit expresses the change of five viscera and is reflected by color. Visible diagnosis consists of spirit, appearance, Qi and color and movement. The purpose of each visible diagnosis is that we would know states of essence, Qi and spirit in patient's body. To ancient Asia people 'to see' was a kind of insight to the object as a whole. Similarily the activity of seeing the human body was the integral part of making diagnosis of a patient. This was the cause that there was suggested the discussion of the Five color theory in Oriental Medicine as a counterpart to that of the 'Goethe for Zur Farbenlehrer'. The inspection of Oriental Medicine was not a simple gazing of the eye as a sense organ, but the total insight to the internal state of the patient. For that reason, the eye－perception in early Chinese medicine was the reading the signs of the internal body which had have not the visual form but the flux of the internal life.

• 한국패션뷰티학회지
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• 제2권2호
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• pp.107-119
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• 2004

Dan-chung had many great traditional patterns of Korea. By investigating its patterns, which comprise the integral part of the formative features, and analyzing the aesthetic characteristics and formative beauty, the foundation was set to use the patterns as the motives of art makeup works. A focus was made on the basic elements, compositions and symbolic meanings of Dan-chung patterns. The representative patterns that were used a lot in Dan-chung made the motives of the four art make-up designs, which tried to integrate the aesthetic senses of the Dan-chung patterns into the art makeup venues. The four patterns were each based on the phoenix, bat, ghost face, and crane. The major colors used were white, black, red, blue and yellow, which were also the cardinal Five Colors of Dan-chung. They were changed in terms of luminosity and coma and manipulated to make harmony with intermediate colors so that the designs would ooze out the Korean aesthetic senses.

• 한국자연치유학회지
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• 제9권1호
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• pp.13-21
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• 2020

목적: 본 연구는 서울시민 594명을 대상으로 중의체질표 설문지로 검사하여 체질유형 분포를 탐색하고, 체질별로 오색(빨강색, 파랑색, 노랑색, 흰색 그리고 검정색)의 선호도를 조사하여 서울 시민들에게 적합한 검사인지 그리고 체질에 따른 오색의 선호도가 타당성이 있는지를 조사하는 것이 목적이었다. 방법: 연구방법은 중의체질 설문지를 이용하였고 일반오색을 이용하여 조사하였다. 결과: 체질유형 분포에서는 양허체질(31.4%), 음허체질(23.8%), 담습열(11.8%), 화평(10.4%), 기허체질(9.8%), 기울체질(7.4%), 특이체질(6.2%), 어혈체질(3.2%) 순으로 나타났다. 통계적 유의성은 없었다. 이는 중의체질 검사가 서울 시민에 적합하지 않다는 결과이기도 하다. 오색선호도 순서는 파랑색이 184명(31%), 노랑색이 150명(25.3%), 흰색이 107명(18%), 빨강색이 105명(17.7%), 그리고 검정색이 48명(8%)의 순이었다. 파랑색을 제일 선호하였고, 검정색을 제일 낮게 선호하였다. 오색의 분포는 차이는 있었으나, 통계적으로 유의하지는 안했다. 이는 체질별 오색선호 사이에는 유연성이 적다는 결과이다. 양허체질 대상자의 오장질환 중에 위장 질환자의 분포(50.3%)가 반수 이상을 차지하였다. 선호색은 전체적으로는 파랑색(30.9%)이 가장 높은 것으로 나타났다. 이러한 차이는 통계적으로 유의성이 있었다(p<.01). 오장질환 별로 오색의 선호도에 영향을 준다는 결과라 평가한다. 결론: 중의체질 분포조사표로 조사한 서울 시민의 체질을 분포는 9개로 분류되었으며, 양허체질 대상자가 수가 가장 높았고, 습열체질이 낮았다. 또한 체질별로 오색의 선호도에 차이가 있었다. 그러나 통계적으로 유의성은 없었다. 이는 중의체질표가 서울시민에게는 적합하지 않다는 결과이기도 하다. 그러나 체질별 결과는 이 분야의 연구에 중요한 기초자료가 된다고 판단한다.

• 한국자연치유학회지
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• 제9권1호
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• pp.1-12
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• 2020

목적: 본 연구는 서울 시민대상자 594명의 혈액형, 오장 질환, 오미 상태, 환경 및 계절의 변화, 만성질환 대상자의 분포와 이들의 오색의 선호도와의 관련성을 조사하여 분석하였다. 방법: 전통중국의학의 체질검사 설문지를 사용하였고, 일반적 오색(빨강, 파랑, 노랑, 흰색, 검정) 검사지를 이용하였다. 결과: 대상자들의 혈액형분포는 A(38.9%), O, B, AB, 기타이었다. 흡연자(75.6%)와 비흡연자, 비음주자(25.6%)와 음주자의 비율이었으며, 파랑색의 선호도가 높았다. 음주량 별로 선호색이 다양했으며, 유의성이 없었다. 오장질환자 의 비율은 위장(45.3%), 간폐, 장, 심장이었다. 오미는 매운맛(48.8%), 단맛, 신맛, 짠맛, 쓴맛 순이었다. 모두 파랑색 선호도가 높았다. 신장(8.3%)은 적색 그리고 쓴맛은 노랑색을 선호하였다. 심신의 변화는 '심신의 변화가 크지 않다(35.7%)'가 높았다. 오색의 선호도는 다양하였다. 환경변화의 선호는 '추운 곳(32.7%)'을 높게 선호하였고, '건조한 곳'은 낮았다. 선호도가 높은 계절은 '가을(38.6%), 다음이 여름, 장마철이 낮았으며, 파랑색을 선호하였다. '정상인'이 89.9% 그리고 '고혈압'은 5.7%이었다. 정상인은 파랑색(91.8%), 고·저혈압자는 노랑색 선호가 높았으나 유의성이 없었다. '당뇨'는 2.5% 이었고 파랑색 및 빨강색을 선호하다. 모든 항목에서 검정색은 제일 낮았다. 결론: 서울 시민대상자 594명의 건강과 신체적인 이상 유무 등의 설문에서 각 항목별로 다양한 분포를 나타냈고, 오색선호도에서는 거의가 파랑색을 제일 선호하였고, 검정색이 낮았다. 건강 설문지와 오색의 선호도는 관련성은 높지는 않았으나 본 연구결과는 이 분야의 연구에 기초자료가 된다고 판단한다.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.131-139
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• 2013

The purpose of this study is to propose a new direction for color schemes of city signages to provide psychological stability to business owners and improve business value. Types of city sign color schemes and Feng Shui awareness of business owners were examined. Color schemes for signs were proposed, reflecting city landscape colors, color perception theory, and the Feng Shui Sangsaeng Sanggeuk theory. Results of the study can be summarized as follows. First, in order to secure colorscape quality of existing city buildings, signs should be small and consist of only three or fewer colors. Second, existing signage colors and the Feng Shui ideas of business owners have something in common with the five traditional cardinal colors. Thus, it can be interpreted that Feng Shui ideas are deeply rooted in the color use awareness of the Korean people. Third, background colors of signages can reflect the idea of innate Sangsaeng according to the Bonmyeonggung of business owners. The concept of acquired Sanggeuk can also be applied to other design elements such as characters. Fourth, as a second choice according to the function of sign, city landscape or preference of business owner, etc., the background color can remain a color of Sangsaeng, while other design elements such as characters can use a color scheme corresponding to Bihwasaek. Fifth, signs can create a statement and stand out using lightness contrast or saturation contrast theories. A variety of sign color schemes are also possible just by altering the lightness and saturation levels.

• 한국의류학회지
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• 제38권2호
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• pp.201-215
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• 2014

This study explores the kinds and types of dyes used in the Joseon Dynasty. Some literature including "Sanga Yorok", "Gyuhap Chongseo", "Imwon Gyeonjeji" were reviewed for this purpose. The findings are as follows. The colors obtained from the dyes were divided into seven color series, such as red, yellow and orange, green, blue, purple, brown, gray and black. These are practical color categories differed from abstract five cardinal colors [五方色]. The diachronic dyes used during the Joseon Dynasty were safflower and Japanese alder bark for red, indigo leaves for blue, gromwell for purple, chestnut tree bark for brown. The representative dyes used in the late Joseon Dynasty were safflower and sappan wood for red, wild pear tree bark and Pentapetes phoenicea for yellow and orange, indigo leaves for blue, sappan wood and gromwell for purple, mulberry tree for brown, and Chinese ink for gray. Common dyes used both in Joseon and China were safflower and sappan wood for red, pagoda tree blossom for yellow, a combination of pagoda tree blossom (or Amur cork tree) and indigo leaves (or sediment) for green, indigo leavers or sediment for blue, sappan wood and hollyhock for purple, and a combination of indigo leaves and Galla Rhois for gray and black.

• 조형예술학연구
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• 제6권
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• pp.249-266
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• 2004

Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

• 한국의상디자인학회지
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• 제24권4호
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.