• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.

• International Journal of Costume and Fashion
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• v.6 no.2
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• pp.11-27
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• 2006

The purpose of this study is to develop highly valued fashion cultural items using Korean face and human images to enhance global competition. The methods of this study include: historical study on the face/human images which appear on the dress; design by stage according to Lamb & Kallal's apparel design process; development of products using digital textile printing technology; and case study by objective evaluation through Grant's alpha-beta model. The procedure and the results of this study are as follows: First, in the problem identification stage, the need to develop fashion cultural products of Korean face/human images which are symbolic, aesthetic, and functional was recognized in order to enhance global competition. Second, in the preliminary idea stage, the fashion cultural products and the components that meet the above 3 standards for design were determined and first design was drawn up. The source of the design was extrapolated from face/human images, which appeared on the murals of the ancient Korea, the portraits and custom paintings from the Chosun Dynasty. From these images, a total of 7 design series of T-shirts with an "ULGUL" logo, scarves, and artwalls were developed using "obangsaek" which are five Korean traditional colors including red, blue, black. white, and yellow on cottons and silks. Third, in the design refinement stage, based on the preference survey, more varying design methods were used to develop 25 new designs. Fourth, in prototype development stage, based on the preference survey conducted on fashion professionals and general public from the previous stage, which showed preference for T-shirts and scarves, 3 designs on T-shirts and 2 designs on scarves were printed and produced using the DTP (Digital Textile Printing). Fifth, in the evaluation stage, Grant's alpha-beta model was used to perform comparative evaluation on the symbolic, aesthetic, and functional criteria of the new designs over the existing ones. The new designs received excellent results in all three criteria and a special recognition was given to symbolism of the new designs.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.154-164
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• 2012

The purpose of this study was to investigate the modernizations of traditional Saekdong by analyzing the magazines from the 1955 to 1995. The application of Saekdong extended during the 1950s. Before, Saekdong was only used for children; however, women were wearing it during this period. With the advancement of the fabric industry in the 1960s, a great popularity of Saekdong was witnessed and its application extended even further. During the 1970s, the Saekdong was applied in westernized clothes; however, the 1980s was a time of renaissance for Saekdong as the awakening of national identity movement began. The application of Saekdong in westernized clothes became more popular during the 1990s as the widespread of industrial designing was inspired by the tradition. The functional aspect of Saekdong such as recycling the leftover fabrics decreased over the years whereas the decorative aspect increased. The form of Saekdong became more variant. The Saekdong was applied either as a part or whole of the clothes. With the development of the mechanically woven Saekdong, various widths and forms of Saekdong, not only vertical lines but also diagonal and wave lines, appeared. The colors also changed. During the 1990s, low chroma and gradation methods were applied. Gold and silver threads also were woven together. The motifs were created and gilts were printed on Saekdong.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.3
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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.

• Korean journal of food and cookery science
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• v.31 no.4
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• pp.448-455
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• 2015

This study evaluated the awareness and recognition of Tangpyeongchae by university students in Chungnam province. A total of 416 questionnaires were analyzed using the SPSS software program (version 21.0). The results were summarized as follows. The students compared of food and nutrition majors (59.4%) and non-food and nutrition majors (40.6%). This survey was performed from May 20 to Jun 8, 2015. More food and nutrition major students got better impression after eating Tangpyeongchae than non-food and nutrition majors. Among the students, 59.4% was not aware that Tangpyeongchae was derived from Tangpyeongchaek, and 57.7% didn't know that it was a Korean royal cuisine. Food and nutrition major students knew more of the background story for the dish than non-food and nutrition major students. The corresponding level of recognition for Tangpyeongchae as a dish representing the image of Korea with a combination of the 5 cardinal colors, known as obangsaek was high, at 4.27 and 4.17, respectively out of 5. Over 60% of the students answered Tangpyeongchae's image with the taste of Korea, followed by healthy food, harmony, nutritious food, diet food and tasty food. These results suggest that may have great potential for globalization as a traditional dish with the image and taste of Korea.

• Journal of Haehwa Medicine
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• v.12 no.1
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• pp.79-102
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• 2003

It has been believed that the human body can be effected by color, sound, smell, and taste - each of them is based on the original character. Out of these elements, the color can be a mediation that absorbs energy into human body and adapts it to the creatures whose life are definitely based on the solar energy. This thesis makes a study of the possibility of applying the color to the oriental medical science by researching the color psychology and therapy which are studied in the west medical science, the recognition and application of color developed from orientalism, and the opinion of color in the oriental medical science. Color therapy is one of the psychological treatment techniques that are able to recover and maintain the health with the rays of the sun rays and the color. The light and the color have its energy that may relax, harmonize, encourage, or excite a human being. This is because the wavelength and the vibration of each color will take effects to human body. The core energy of absorbing and distributing the color vibration is made in the 7 "chakras" in the body, which are the pith and marrow of bio-energy directly connected with the center of the nervous system. There are several methods in the color therapy - the treatment of solar ray, the color-bath, the water-therapy using color energy, the inducement of the solar energy into the body, the acupuncture, the therapy of crystal and jewel, and the self-suggestion dependent upon the color. The color therapy can help us to keep our balance by changing the emotion into the positive energy that will cure the disease with color. As a result, this method not only must be useful to cure physical disease, or develop into good health but also will be used in conforming itself to the mental disease. The color therapy mainly uses the eight colors, which are made by mixing Red, Yellow and Blue basic colors in the field. They are never used in the treatment, but they will go along with complementary colors. This rule is closely connected with the theory of yin and yang which lies at the root of oriental philosophy, and with the treatment principle of oriental medical science whose field is focused on the balancing the body mentally as well as physically. In the East, it is the Obangsaek - the color of blue, red, yellow, white, and black in the theory of yin and yang and the five elements that have been used in helping people having trouble with their health for a long time. In the view of the oriental medical science, these five colors attached the theory of five-elements have been very useful to the physiology, the pathology, or the diagnosis, and been applied to the medical treatment, combining themselves with a five-taste in medicinal herbs. Since the study of color and human physiology has been made in some different interest and fields these days, it goes to prove that the different function of color we couldn't have got before becomes very useful to the medical science. The color must be worth researching the diversity for applying itself to the oriental medical science.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).