• 복식
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• 제59권9호
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• pp.71-86
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• 2009

This study examines plant patterns expressed on the fabrics during the Goryeo Dynasty and many countries in the Chinese continent and analyzes their symbolism and formativeness. This study deals with clothes which is one of the most fundamental aspects in a culture and plant patterns on them; it examines the overall formativeness of plant patterns in East Asia from the 10th century to the 14th century by studying plant patterns in the Goryeo Dynasty and the contemporaneous dynasties in the Chinese continent - Five Dynasties, Song Dynasty, Western Xia Dynasty, Liao Dynasty, Jin Dynasty and Yuan Dynasty. The plant patterns of each country were categorized by the type of plant. The composition and expression of plant patterns were examined and statistically analyzed. Small flowers were found in Goryeo fabrics twice more than other types that could be clearly identified, and peony was the most popular flower used in Chinese fabrics. In terms of composition of plant patterns, both Goryeo and Chinese fabrics had plant only patterns more frequently than the patterns mixed with animals or jewels. Regarding expression methods of plant patterns, the most common one in Goryeo fabrics was the petal-type, while the branch-type is the most common one in Chinese fabrics. The plant patterns of the Goryeo Dynasty show beauty of simplicity with minimalism and simplification while expressed with brilliant sold threads on dark background, such as purple or light green, so the overall feeling of fabrics was simple yet nobel.

• 한국의류산업학회지
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• 제10권4호
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• pp.479-488
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• 2008

The purpose of this study was to re-interpret the traditional patterns in modern point of view and connect them to the apparel textile design to use them widely in our real life. For this, a documentary research on the traditional patterns and arabesque patterns was made first, and then, through the manual and photoshop workings, two apparel textile designs were suggested. As a result, the followings were acquired: First, the arabesque pattern, which is a traditional pattern of Korea, has a continuous life power and a natural formative characteristics. In its pattern, there is an abundant possibility of change. So, it has a wide usability regardless of time and space. As the symbolic image of the arabesque pattern is connected with the instinctive beauty sense of human beings, it has shown the more adhesive affinity that any other materials. Second, two kinds of textile design were suggested. The motif of work 1, "Fragrance of Woman," was the richness and the harmony, and so a lotus arabesque pattern was selected to present its concept, "Classic Elegance." The expression technique was to use a manual work and cloths to make it a voluminous one. The motif of work 2, "Green Field" was to show the clean beauty with a lotus arabesque pattern. Its concept was the "Natural Elegance," and the expression technique was to repeat the motif by using the Adobe Photoshop to complete the work.

• 복식문화연구
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• 제23권6호
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• 한국자원식물학회지
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• 제14권1호
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• pp.48-52
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• 2001

작약 생육기간중 관수가 생육과 수량에 미치는 영향을 구명하고자 시험을 수행한 결과는 다음과 같다. 1 지상부 생육은 생육초기(5월1일∼6월12일)관수한 처리구가 경장 79.4cm, 경의 굵기 6.5cm로서 자연 강우나 대조구에 비해 각각 13.6∼7.4cm, 0.5mm씩 더 크거나 굵었다. 2. 지하부 생육은 생육 초기 관수가 근장 34.0cm, 근수 43.6개/주로서 자연 강우보다 각각 6cm, 5.5개/주 크거나 많았으며, 수량도 2,349kg/10a로서 자연 강우나 대조구에 비해 각각 13,8% 증수되었다. 3. 상품수량은 생육초기 관수가 2,045kg/10a로서 자연 강우의 1,708kg/10a, 대조구의 1,776kg/10a에 비해 각각 20, 15% 향상되었다.

• 한국의류학회지
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• 제35권8호
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• pp.959-967
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• 2011

An importance of design that considers the characteristics of fashion that plays a role of a medium that communicates with customers (and is not simply clothes or products by adding the particular culture factors of a local country to the development of glocalism) is discussed. While the cultural consumption becomes a core key word, the survey of customers is conducted to develop a party-wear design that applies a Korean image suitable for the party culture industry magnified by the young generation's cultural trends. Based on it, we suggest a party-wear design that applies Dancheong's lotus and derive the followed results. The first, one-piece and accessory coordination was the highest by 49.3% for the party-wear coordination and design. In addition, Dancheong was the highest by 16.5% for the traditional pattern (thought to be representative for Korean image). Among the traditional patterns, for a pattern suitable for party-wear, the case applying flowers such as the Japanese apricot flower, lotus flower, and peony was the highest. The second, among the several patterns used Dancheong that was represented by a Korean image of a lotus flower pattern because of the characteristics of strong vitality and blooming in dirty mud was often used for the pattern of clothes. The third, under the motive of the results of the survey and Dancheong's lotus flower pattern, we developed 2 methods of one piece and accessory coordination, 2 methods of top and skirt coordination, and 1 method of jacket and one piece coordination as the party-wear.

• 한국약용작물학회지
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• 제9권2호
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• pp.150-155
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• 2001

작약 비가림 재배시 생육 특성과 수량에 미치는 영향을 구명하기 위해 시험을 수행한 결과는 아래와 같다. 비가림 재배시 노지 재배에 비해 맹아기와 개화기가 각각 9일, 15일빨랐으며 경장, 경수 등도 더 크거나 많았다. 병발생은 녹병, 탄저병, 횐가루병, 뿌리썩음병은 비가림 재배가 노지 재배에 비해 현저히 감소 되었으나 점무늬병은 비슷하였다. 근장, 근수, 근경은 비가림 재배가 노지 재배에 비해 생육이 양호하였으며 뿌리 수량도 비가림 재배가 10a당 2,395kg으로서 노지 재배의 2,201kg, 1,892kg에 비해 27%, 9% 증수 되었다. 품질면에서 뿌리 색도는 비가림 재배가 노지 재배에 비해 더 양호하였으며 상품 수량도 향상되었다.

• 한국약용작물학회지
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• 제7권1호
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• pp.27-30
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• 1999

작약 수확후 건조과정중 양질의 약재 생산을 위한 기초자료를 얻고자 뿌리약초 박피기를 이용하여 껍질제거시 박피시간을 달리하여 시험한 결과를 요약하면 다음과 같다. 작약근의 기계박피시 표피 부분만 제거하고 피층부분의 수량손실과 paeoniflirin 함량의 손실을 방지하기 위한 적정 기계박피시간은 1회에 $10{\sim}30$분이 었다. 작약근 부위별 paeoniflorin 함량은 박피시간이 길어질수록 감소하였고, 상위부>하위부>중위부 순으로 노두부분과 인접한 상위부가 가장 높았다. 건조 작약 절단 전에 수처리시 박피 및 수침시간이 길어질수록 paeoniflorin의 유실량이 많았고, 색도 변화는 박피시간이 길어짐에 따라 적갈색의 표피 부분이 제거되어 명도가 증가하고 총 색도가 감소하였다.

• 복식
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• 제59권8호
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• 복식
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• 제59권8호
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.