• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.184-191
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• 2022

Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

• Korean Journal of Culture and Social Issue
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• v.15 no.1
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• pp.81-94
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• 2009

Present research is conducted for understanding the happiness of Korean people. In psychology, the happiness has been studied as subjective state which an individual perceives such as wellbeing(SWB) and satisfaction of life(SOL). However, the perceptions of people would be effected by their own culture, so the happiness has to be considered as a cultural concept. "Haengbok(幸福)", the Korean traditional concept of happiness has to be considered in various viewpoints. Many conditions will be needed to experience the feeling in Korea. However, in many cases, the "Haengbok" is formal expression. The practical term to express the feeling of happiness might be "Shinmyeong". Shinmyeong is one of the Korean unique positive feeling. The term Shinmyeong has been used widely in the context of celebrating happy life in Korean culture. According to former studies, Shinmyeong has influence not only on people's self esteem and self resiliency but on their SWB and SOL. The features and meanings of Shinmyeong is introduced and discussed to extend the discussion about happiness and culture.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.645-650
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• 2007

Three hundred of women between twenty and over seventy living around Andong, Sangju, Youngju and northern part of Kyungsang Province replied consumer research on industrialization of traditional clothing products in that area. An age distribution of the women is 60 people (20.0%) between 20 and 34 years old, 147 people (49.1%) between 35 and 54 years old, 93 people (27.9%) over 55 years old and the subject of study included in middle-aged and old-aged is 77.0%. A direct questionnaire and enclosed questionnaire are used to measure. The questions consist of questions about current circumstances of traditional clothing production, features of natural fabrics in the northern part of Kyungsang Province, distributive process, features classified by kinds, directions of development and economic conditions of natural fabrics. Andong has a traditionally unique culture throughout Korea. If Andongpo are developed as clothing fabrics harmonized beauty of tradition with modern characteristics, fashion business in the northern part of Kyungsang Province will be improved. In addition, encouraging majority of the young to participate in this movement is regarded as beneficial for the reinforcement of competitiveness against other regions and public relations of the region. As one of the solutions to development of this traditional clothing business, its own program made by industry-academic cooperation for the development of clothing products which is suitable for traditional fabric in Andong should be implemented.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.828-839
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• 2006

These days, by the accelerated developments of science and industries and the menaces of war and terror, humans have come to have instinct to recur and nostalgia to nature and thereby many art works and designs with natural objectives have begun to be produced. Also the design in 21st century requires creative products based on cultural speciality of the countries. As the examples, we may easily find the images of the countries from visual expressions or products when we get in touch with the products of so called advanced countries in design i. e. U.S.A. Japan, Germany, France, Italy, countries of Scandinavian peninsular. This study, in such stream of the times, was to express our culture's own originality on clothing design with butterfly that is one of natural thing as the material but limited the boundary to realistic butterflies in folk drawings of the times of Chosun. As for the technique of expression, used digital textile printing for best expression of the fine lines, realistic shapes and peculiar colors of the butterflies in Chosun folk drawings and used diverse materials as materials for printing for diversity of the designs. Thereby this thesis is purposed to grope the products with superior competitiveness in the world market by presenting the realistic butterflies in Chosun folk drawings as motives with cultural value native to Korea and applying them to clothing designs.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.212-213
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• 2004

Since the advent of man there has been a constant struggle to define social pattern, and understand ways of cultural thinking. Every culture has it's own limitations and freedoms, problems and expectations. For centuries now anthropologist, ethnographers have worked on mapping and defining these differences. These findings instigate the designers to formulate new design theories and research methodologies for drafting cultural specific solutions. The question arises 'in a cross cultural application how effective and applicable are the basic research methodologies'? Quoting one such example the 'Privacy' issue seems to be a very strong component in the Japanese culture but is often a deterring factor in allowing the 'home ethnographic study to take place effectively'. However in countries like India similar studies could have a more welcoming reaction owing to the adaptive social culture. Similarly, the high rate of 'Illiteracy' in rural India closes many doors for 'form filling' user surveys. This leads to the scope of research for understanding specific cultural traits that may effect adaptation and re-improvisation of these existing methodologies. Quite often the cultural traits of a country may lead in forming new research methodologies.

• Journal of the Korea Furniture Society
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• v.24 no.2
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• pp.148-155
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• 2013

Appear on the furniture design concept of the Joseon Dynasty Pung-hyel design was developed that is imaged by implication. Was enough of our culture, tradition and the wisdom of our ancestors to the development of a design that reflects the traits to fit the purpose of each form to proceed. Based building materials, technology, and how to identify and develop products as competitive PE fence, and at the same time to develop an international product design is based. Was designed with functionality and mass production to be faithful as a function fence productivity. Formative elements where you can rub shoulders with the modern urban environment alive excavated features leads in the traditional culture, aesthetics, design emphasized a new sense of harmony. Improvements were becoming increasingly aware that traditional culture of Korea's own traditional forms of social concern of modern design. Other products and take advantage of the traditional pattern, with figurative motifs and differentiation, and faithful to its original function as a fence brings out the basic elements of the visual motif has a distinctive beauty.

• English Language & Literature Teaching
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• v.15 no.3
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• pp.283-300
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• 2009

The purpose of this paper is to suggest a model for an English learning web-site using Korean folktales to stimulate the interest of beginners learning English, (elementary and early middle school ages) and suggest an integrated way of teaching 4 skills. The study first reviews the theoretical and historical backgrounds of storytelling using Korean folk tale, WBI (Web Based Learning), and learner-centered learning. Storytelling using Korean folk tale is an interactive way of teaching English through the use of words and actions from Korean traditional culture. The students can take pride in their own culture while learning a foreign language since they are familiar with the stories and the culture. Nowadays multicultural education is one of the big features of global education. Therefore there are benefits of studying English through Korean folktales. The websites can help students learn English ubiquitously with a learner-centered focus. For the study, we analyzed several digital English storytelling websites. The paper concludes that digital English story books need to improve their interactive ways of teaching for more effective learning. The authors created an integrated English learning website model using Korean folktales for beginners. We hope to introduce this type of learning through the website for higher level students in middle school. Further study should be conducted in order to make the websites more meaningful and useful for Korean students learning English.

• Journal of the Korean Society of Costume
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• v.24
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• pp.103-120
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• 1995

The Xinjiang Uighur Autonomous Region to from the most of Eastern turkistan is located at North-wetern part of China, and it is the center to form the famous silk-road historically. In th exinjiang Uighur Autonomous Region there are 47 nationalities. In this study, the researcher studied the historical background, and the traditional culture about dress sand ornaments of 4 nationalities (that is Uighur, Kazakh, Kirgiz and Tajik). The results of the present study are as follows : In the basic structure of traditional costume by races, there is not big difference. Then , in men , the trousers and the shirts of funic type become the basis with the style which is convenient to act. And , to wear vest , or jacket , or chanban, over it makes a little difference . In women also, same structure shows with the form to wear vest or outerwear, on the basis of one piece. But , in a small hat, heat wear, color contrast, and decoration element etc. , strict difference is showing. After all, they show very similar clothing life culture basically in natural environment, religion , and life habit etc. But, the discrimination is made in the detailed side. So , it can be said that they show the conservative nature of nationalities, and have preserved the unigue identity of their own culture.

• Journal of the Korean Society of Costume
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• v.44
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• pp.215-233
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• 1999

The Miaos have their own peculiar and luxurious transtional culture a they have experienced repeated fusion into and resistance againt the Han Race or the chinese in their long and old history. And the traditional culture of the Miaos is abundant and diverse in several respects. Because it has taken root in foundation of their simple and native environment. it is embracing abundant and diverse contents. They largely used as the theme of patterns factual materials such as natural objects easily accessible in the natural environment. those related to marratives reflective of ethnicity, animals and plants symbolic of auspicious omen, peace, happiness and good harrest with prosperity and abundance. And they not only crossornamented natural patterns and geometrical patterns by combining them but also geometric patterns alone. It can be seen that Miaos represented patterns with exaggerated formation, overlapping and modification and the comprehensive, fomation of natural forms, abstract formation etc. Seeing the ethnic costume of Miaos investigated in these several respects by the standard of contemporary beauty it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristic of almost perfect costume.

• Archives of design research
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• v.13 no.2
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• pp.81-86
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• 2000

From the ancient civilization, Japanese have maintained a homogeneous domestic culture while they have constantly received external ideas. They have received many conflicting and contradictory ideas and phenomena and surprisingly, they blend them successfully into their own culture. For them, the series of impacts from other civilizations have dissolved each equivalent individual elements for their successive culture. The introduction of Portuguese arquebus in the mid 16th century was a monumental event of Japanese technological development based on military initiatives. In terms of the Japanese import of western civilization from the time onward, the Meiji restoration could be explained the extension of the process modernization. Modern Japanese design is a unique case created through the close relationship between industry and cultural traditions. Such a role of traditional values and an alliance between political decision and economic program in post war years show two-fold implications