• Journal of Conservation Science
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• v.27 no.2
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• pp.191-199
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• 2011

A study was done to compare the properties of artificially deteriorated silk with ultraviolets for reinforcing of loss area of paintings on silk. Deteriorated surface of raw silk irradiated by long-wavelength ultraviolet(UV-A) than short-wavelength ultraviolet(UV-C) was similar to naturally aged raw silk. UV-A irradiation raw silk was slowly decreased in tensile tenacity and elongation and lowered in yellowness index than that of UV-C. Water content of UV-A irradiation raw silk than that of UV-C was higher. UV-A irradiation raw silk had no problem in dyeing and inpainting for conservation because of low yellowness index. UV-C irradiation raw silk was brittle, but UV-A irradiation raw silk was seemed to tough and similar to naturally aged raw silk. Korean painting conservator estimated that UV-A irradiation raw silk was more proper for reinforcing of loss area of paintings on silk than that of UV-C.

• Archives of design research
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• v.17 no.4
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• pp.15-26
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• 2004

After 19th century of Chosun Dynasty Gilsnagmunja-do such as longevity, good fortune, health, well-being which was explosively prevalent and Hyojemunja-do which was panoramically decorated with eight characters of filial piety, fraternal devotion, loyalty, trust, courtesy, commitment, integrity and humility for enlightment of the public under the name of political ideology are consistency or same origin in traditional concept of Orient. Therefore, in view of Western standard, they are showing an illustration and a photograph of characters in design. There are some differences in way of expressions. They were considerably popular not only in Chosun Dynasty but in China, Japan and Vietnam where belong to the cultural territory of chinese characters. Though, Hyojemunja-do which was built-up in the late period of Chosun Dynasty and developed fro chinese mode is a very peculiar iconography and mode of Chosun Dynasty. Hyojemunja-do is also classified from Chinese Nianhua designed for supply of Conficianism ethics or Folk Painting designed for practical use in chinese cultural territory. In the late period of 19th century, Hyojemunja-do which was re-built with creative modeling has been developed in peculiar mode in the province of Kyunggi, Kangwon(Kwan dong region), Kwanseo region, Jeju island and Namdo region by the diversified level of painters.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.29-43
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• 2010

The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

• Archives of design research
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• v.15 no.2
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• pp.187-196
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• 2002

This article is a study on modern wall painting of Korea. The system of wall paintings in Korea is studied in the first chapter. It contains the function, the painters'peculiar character, the psychological basis and the subjects of wall painting. The most popular subjects are the Lee dynasty's folk custom and visual symbols of this period. The second chapter sees the study of these subjects in Lacan's psychoanalytic view. The representation of Lee dynasts custom in this post modern society reveal that the Korean lives in the realm of the imaginary in visual level. That is the projection of their desire to be in the perfect community which is believed to be existed in Lee's dynasty. However the visual circumstance in Korea is the symbolic which is constructed of the Western symbols. This visual confliction reveals Korean Habitus and the lack of independent visual expression method. For conclusion, it is proposed that the relation of Korean Habitus and design must be studied to create proper visual circumstance.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.229-244
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• 2010

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the $21^{st}$ century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly 'folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.

• Journal of Korean Society of Environmental Engineers
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• v.27 no.7
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• pp.677-685
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• 2005

Life Cycle Assessment(LCA) and Design for Environment(DfE) method were applied to design the environmentally sound manufacturing process of f31k lift in this study. Not only external movement of LCA and DfE method in the legal and systemic phase, but also active researches of those in the development phase of case study and application to the industrial field, have been going on. In concretely, the manufacturing processes of the folk lift generating the most environmental impact were examined by applying LCA method, and the environmentally sound manufacturing process was designed by applying, DfE method to the processes. As the results of LCA, environmental impacts for the eco-toxicity and human toxicity of seven major environmental categories were in high value, and so be in the cutting & welding process and painting process among the manufacturing processes. High solid paints, increasing the solid content of the existing solvent paints used in painting process, were developed to reduce the environmental impacts generated in the painting process. By utilizing the high solid paints, about 20% of environmental impacts (as environmental index of LCA) could be reduced.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.85-95
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• 1986

Sonia Delaunay(1885$\~$1979) was one of great pioneers of abstract art, who looked at clothes and fabrics with a plastics eyes. In Association with her husband Robert Delaunay, they were instrumental in founding the movement of Orphism, she proceeded to mix strong and bright colors into her art and had a brilliant influence on the decoration and women's fashion of the 1920's. Having a strong sense for dramatic and decorative color derived in part from childhood remembrances of Russian folk art she initiated a total revolution in which she created her first simultaneous dress with multi-colored samples of materials. She extended the principle of color's simultaneity to the field of fashion, fabric design and applied art. She was interested in the dress for ballet and opera. Fashion designer Paul Poiret asked her to design the fabrics and she created the geometric and abstract patterns with her strong color. It seemed that her design was revolutionary and avant-garde. Always she desired not only art of seeing but also art of living. The purpose of this study is to recognize the influence she had upon the history of modern fashion and fabric design. It was remarked that her paintings served as a basis for later developments in Kinetics Art and had influences on 1980' s abstract patterns for silk dress. Finally, the concept 'simultaneity' of her art signifies endless rhythmes in space and time.

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.5
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• pp.865-879
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• 1997

Journal of the Korean Society of Clothing and Textiles Vol. 21, Nt. 5 (1997) p. 865∼879 The purpose of the study is to identify a historical change about the women's underwear and trousers this nation of ours until an ancient times to modern ages. Because the record of the women's trousers exist scarcely anything, the study refers to several documents, for example, the literatures of the Chinese and the Chosun Dynasty, the Koryu's fresco, the Tou of Shinra, the painting of the rock face, the archaeological dresses and genre pictures, and The folkways methods through the residents is used to collect and to arrange of an enlightened age and modern times. Originally, the women's trousers appeared for the nomadism and the hunting in the northern distric and the northeastern provinces. Male and female, old and young wear the trousers which are the clothes native to Korea. The trousers which are originally narrow trousers are influnced by Chinese wide trousers. The trousers at the time of Samsuk hand down until Korea. The Skirt on the trousers is nothing but a courtesy. But gradually, it is distinguished only the trousers, and then, there are exchanged an underwear which not only the protection angainst the cold but also the beautiful. Therefore, the form of skirt is diminished, and the underwear is simplified as the increasing status and the activity of woman in the age of civilization. In a way, the reform trousers and Three-kingdom era trousers appeared and the Dansogok and Sogok disappeared at present. There are confirmed in my investigation of folk customs.