• Journal of the Korean housing association
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• v.13 no.5
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• pp.43-50
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• 2002

The purpose of this study is to find the types and symbolic meanings of the pattern shown in the Korean traditional houses. The major findings were as follows, 1) The patterns shown in the Korean traditional houses are classified into the types of the animal, plant, good-luck geometry according to the Motifes 2) The patterns of the Korean traditional houses were expressed in the fences, gates, chimneies, walls, windows and doors, railings, roofs. 3) Korean traditional patterns are expressed the meanings of the protection, long life, good-luck, good meaning, decoration in the fences, gates, chimneies, walls, windows and doors, railings, roofs.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.1-15
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• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• The Research Journal of the Costume Culture
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• v.15 no.6
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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.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.131-146
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• 2022

The purpose of this study is to implement the textile design applying the floral pattern shown in Korean traditional fabrics and the New-Hanbok Chulic Dress in 3D through a virtual fitting system. As a research method, first, we analyzed the floral pattern types of fabrics in the literature related to traditional Korean textiles. Second, we developed textile designs of traditional flower motifs using 13 extracted flower types. Third, we applied the floral textile designs to the 3D original form of new-Hanbok Dress produced based on design preference survey results. The findings derived through this study are as follows. First, among Korean traditional patterns, the type of flowers used in textiles were blossom of chrysanthemum, orchid, camellia, apricot, peony, peach, pomegranate, hydrangea, narcissus, lotus, plum, chinese rose, and rosa rugosa. Second, this study found that the value of traditional culture can be further increased by using traditional flower patterns as an infinite source of creative design. Third, it was confirmed that the new-Hanbok can be developed endlessly as a clothing design that combines various morphological modifications and patterns without departing from traditional designs. In the future, if the research on costume design using various items of traditional clothing and the development of textile designs based on traditional culture continues, the development of new clothes design that leads to the development of Korean traditional clothing culture and meets the sensibilities of modern people will be endless.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.325-335
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• 2013

This work develops a motif design integrated with geometrical patterns in traditional ddeoksal and that can be applied to a scarf design so that traditional elements unique to Korean culture can be developed further for a modern application to various design fields. For the research method, literature reviews on op art and traditional ddeoksal were conducted with Adobe Illustrator CS3 and Adobe Photoshop CS3. As for the motif combination, such applications were taken as five pieces from the works of Victor Vasarely and some traditional ddeoksal shapes such as oblique line pattern, taegeuk pattern, and geometrical pattern. Abstract and geometrical images were borrowed from op art and ddeoksal for image expression. The total number of works selected was eleven. To realize the applied scarf design, a motif layout was performed with the scarf center or rim highlighted so that each design feature could be remarkable based on the motif combination. With the function of scaling, rotation, opacity control, filtering effect, the changed images were shown through motif distortion. In addition, this work applies a single combined motif to products for a possible transformation into handkerchiefs and boutique scarfs in the case of smaller sized scarfs.

• Fashion & Textile Research Journal
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• v.10 no.4
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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.

• Journal of Korean Ophthalmic Optics Society
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• v.13 no.4
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• pp.13-17
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• 2008

Purpose: Study the method to attach to traditional pattern for the demands of eyeglasses' function which is becoming extended to cultural psychological and social aspects. Methods: To understand the symbolic characteristic of traditional pattern, especially through using palmette, embroidery, and practicing it on glasses' temple and cleaner. Results: Globalization stimulates crossing-consumption cultural trend rapidly. Thus, new glasses pattern involving Korean ethnic feature is a new source that could well adapt to this tendency. This report presents new aspect which corresponds to the demand of modern consumers. By modernizing Traditional pattern and method, we could discover the cultural value of glasses design. Conclusions: Glasses imply social position of users and became a measure that reveal a part of style that presents modern psychological language. Thus, the glasses design using traditional pattern makes a chance to change the beauty sense from western style to oriental one. And it achieves the desire of cultural consumption through glasses design.

• The Journal of Korean Medicine
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• v.19 no.1
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• pp.271-298
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• 1998

During these days of new understanding, western medicine has developed remarkably and a revaluation of traditional medicine has been achieved. This appears to have resulted from the sound criticisms of what western medicine has achieved up to now; excessive subdivisions of clinical medicine, severe toxicity of chemical drugs, lack of understanding about patients complaints which cannot be understood objectively, and etc. It is thought that the role of traditional medicine will be more important in the future than it is now. Someone said that the research methods of traditional medicine depends on the way of experimental science too much. That there was no consideration of a system for traditional medicine and the critic also went so far as to assert that in some cases the characteristics of eastern ideas is to permit irrationalism itself. In view of this thinking, the term traditional medicine seems to have been used somewhat too vaguely. However, traditional medicine is a medical treatment which has existed since before the appearance of modern medicine and it was formed from a traditional culture with a long history. One form of traditional medicine, oriental medicine based upon ancient Chinese medicine, was received in such countries as Korea, Japan, Thailand, Vietnam, Tibet, and Mongolia. Oriental medicine then developed in accordance with its own environment, race, national characteristics, and history. Although there are some simultaneous differences between them, three nations in Eastern Asia; Korea, Japan, and China, have especially similar features in their clinical prescriptions and medical literature. These three nations are trying to understand each others unique traditional medicines through numerous exchanges. Even though many differences in their ways of studying have developed over history exist, recent academic discussions have been made to explore new ways into oriental medicine. Therefore a comparative study of oriental medicine has gradually been thought to be more important. In Korea the formation of a new future-oriented paradigm for oriental medicine is being demanded. The purpose of the new paradigm is to create a new recognition of traditional culture which creates an understanding of oriental medicine to replace the diminished understanding of oriental medicine that was brought about by the self-denial of traditional culture in modem history and cultural collisions between oriental and occidental points of view. Therefore, to make a new paradigm for oriental medicine which is suitable for these days, and fortifies the merit of oriental medicine while compensating its defects, the author has compared the characteristics of oriental medicines in Korea, Japan, and China. The conclusions of this research are as follows: 1. The fundamental differences of the traditional medicines of these three nations are caused by the differences in the systems of Naekyung and Sanghannon. 2. The pattern-identification of illnesses is generally divided into two categories; the pattern identification of Zang-Fu and the pattern identification of prescription. 3. There are many differences in the definition of terms, such as Yin and Yang, Deficiency and Excess, and etc. 4. Chinese traditional medicine has some new concepts about pattern identification and epidemic febrile disease. 5. Japanese traditional medicine has some characteristics about pattern identification of the whole bodys condition and signs of abdominal palpation. 6. In terms of the effects of herbal drugs, Chinese traditional medicine attaches great importance to the experiential efficacy of the herb, and Japanese traditional medicine is taking a serious view of the effects of experimental medical actions.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.56-73
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• 2017

The purpose of this study is to categorize the lotus patterns of traditional Korean fabrics. This study collected 169 fabrics of Korean lotus flower patterns and then made a list of era, configuration of pattern, type of artifact, findspot and holding institutions. It analyzes the characteristics of 251 kinds of lotus woven on 169 Korean fabrics, 251 kinds of lotus on 169 fabrics divided into Realistic Type, Design Type, and Abstract Type. They consist of 213 kinds of Design Type(84.8%), 21 kinds of Realistic Type(8.4%), and 17 kinds of Abstract Type(6.8%). The largest part of lotus patterns is Design Type. Design Types are subdivided into 14 types. This result contrasted with the conclusion of the research paper about peony patterns in Traditional Korean Textiles. The largest part of peony patterns was Realistic Types. Realistic Types of lotus patterns in Korean textiles are subdivided into 6 types. Korea has more diverse forms and a higher ratio of Realistic Types than China and this can be interpreted to reflect that there is a tendency in Korea to prefer natural patterns. Besides abstract Types are subdivided into 3 types. When the lotus flower patterns of Korea and China are categorized and similar types are compared, there are some unique patterns that appear only in Korea or China. Not only that, similar types display differences in pattern arrangement methods and portrayal among the two countries. If such study results are utilized, they can be grounds for distinguishing the production area of lotus flower textile fabrics when they are newly excavated in the future.