• Journal of Korea Multimedia Society
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• v.24 no.5
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• pp.736-743
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• 2021

Due to COVID-19, the non-face-to-face content market is growing rapidly. However, most of the non-face-to-face content such as webtoons and web novels are produced based on the traditional culture of other countries, not Korean traditional culture. The biggest cause of this situation is the lack of reference materials for creating based on Korean traditional culture. Therefore, the need for materials on traditional Korean culture that can be used for content creation is emerging. In this paper, we propose a generation model of source data based on traditional folk paintings through the fusion of traditional Korean folk paintings and AI technology. The proposed model secures basic data based on folk tales, analyzes the style and characteristics of folk tales, and converts historical backgrounds and various stories related to folk tales into data. In addition, using the built data, various new stories are created based on AI technology. The proposed model is highly utilized in that it provides a foundation for new creation based on Korean traditional folk painting and AI technology.

• Journal of Fashion Business
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• v.23 no.2
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• pp.124-139
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• 2019

The purpose of this study was to examine the characteristic expression of Korean traditional costumes shown in the Korean paintings by Kim Hyun-Jung. The study analyzed the paintings by Kim Hyun-Jung to find out the characteristics of the contemporary Korean paintings and the expression of Korean traditional costumes. The characteristics of Kim Hyun-Jung's works are as follows: 1) The paintings are drawn by using Korean traditional painting methods and finished with Korean traditional paper, hanji. Moreover, they show the Korean traditional costume as main subject material. 2) They use modern painting methods, such as collage, and show pop art characters by use of contemporary popular products. 3) The artist communicates with the public through SNS and YouTube, and shows characteristics of popular art through commercial art products and advertisements. The characteristics of the Korean traditional costume in Kim Hyun-Jung's works are as follows. 1) The hanbok shown in the paintings is a traditional style with tight jeogori and wide chima. Chima is drawn in thin coloring with Korean ink and jeogori is expressed with semi-transparent hanji in various patterns and colors, which shows the subject 'coy'. 2) Various kinds of Korean traditional accessories and modernized flower shoes with high heels are shown as subject materials. The art works by contemporary Korean artists are expected to be the route to give valuable information to the public about Korean traditional costumes as well as the trendy Korean culture.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.689-702
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• 2022

Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people's satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.38-48
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• 2006

Paying attention to the fact that Korean traditional ink and color paintings are different in their use of colors this paper was intended to demonstrate outcomes from the difference in their painting style through specific paintings and thereby categorizing a broad range of oriental paintings into 4 types(Indian ink light color, middle color, deep color, present color) in accordance with the method of using colors, suggest directions that oriental color paintings should move toward in the future in the diversity of modem Paintings. Due to the characteristics of materials, oriental ink paintings, in style, are light in color within lines, which in return makes colors confined to a complimentary role in an overall picture, not having their unique color identity Nevertheless, there are some paintings that use dark colors, which is called moderate saturation. For such dark-color based paintings, colors play a key role, together with the characteristics of materials of color painting, as colors are used to express the most part of a picture. This study, thus, discusses the difference in the use of color depending on style on one hand, and examined the diversity of modem color paintings through specific works on the other hand, since a number of color paintings similar to western Painting in style have been created today. In such diversity, works that are being currently created should contribute to taking over the tradition and further develop oriental colors with modem aesthetic sensitivity. This paper is aimed to help to do harmonious works with traditional and modern paintings by studying and classifying varieties of colors

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.918-927
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• 2012

This study identified the aesthetic characteristics of the face description in late Joseon Dynasty beauty paintings. A total of 24 beauty paintings were selected as representative of the late Joseon Dynasty genre of painting works. The paintings were analyzed by the shape, color, and physiognomy of beauty trends from the components of women's faces expressed in the works of artists. The results of this study showed that the shape of the face components expressed a round, curved and thin line. Colors were expressed through Obang-sack (a traditional Korean color). Also the physiognomy of the late Joseon Dynasty's women was soft, wise, economical and brilliant. A round-forehead meant that economical and virtuous housekeeper, thin crescent shaped eyebrows denoted women of wisdom and excellent sensitivity. Single long thin eyelids and implied a women of longevity. A round curved nose were eager tobe a wise mother and a good wife. Small concave lips were desired eagerly by gentle and intelligent women. A curve face implied a subjective women of insight and good memory. In conclusion, the late Joseon Dynasty beauty paintings expressed a traditional Korean beauty face and a modern baby face. The data are useful for the aesthetic standards of modern through meaning of Korean traditional beauty.

• Korean Journal of Child Studies
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• v.23 no.1
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• pp.105-119
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• 2002

This study of child-rearing practices and daily activities of children during the Chosun dynasty was conducted through analysis of 91 traditional paintings of the period. Genre, figure, folk, and landscape paintings were included in the analysis. Findings were that child-rearing was strongly focused on the family. Generally, the mother was shown as the primary caregiver of the child. Grandmother, father, and grandfather also played a role in raising the child. The daily activities of the children consisted of helping with household chores, assisting the elderly, doing small jobs, studying, playing, performing for family members, and participating in family rituals and community events. Differences in child-rearing methods and contents of daily activities varied by gender and socio-economic status.

• Journal of Korean Ophthalmic Optics Society
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• v.15 no.2
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• pp.131-136
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• 2010

Purpose: Evaluating the possibility of Korean traditional folk paintings in the development of eyewear accessories. Methods: Esthetic values with vivid colour and layout of Korean traditional folk painting was evaluated. Reevaluation of those values was applied into eyeglass cleaners and eyeglass case with modernized fashion. Those accessories had an advantage of suitable space to represent visually images of the paintings. Results: Currently, Korean traditional folk paintings receives attention as an international cultural contents. Therefore, it would be possible to enhance cultural consumption of the product whose image was changed with cultural image of the paintings. Conclusions: Utilization of esthetic values into eyeglass makes a positive effects of eyewear accessories, which can be resulted in an expanding international market of eyewear accessories.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.15-31
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• 2023

This study aimed to propose a fashion design development method using the external and internal characteristics of the flower and bird paintings in traditional Korean folk paintings. As a research method, external and internal characteristics of folk paintings were examined through previous studies and literature research, and folk painting patterns were developed into digital textile designs. Five 3D digital fashion designs were proposed using the CLO 3D program. The external characteristics of folk paintings were as follows: simplification and planarization of object representation, diversification of viewpoints, ignorance of perspective and symmetrical enumeration, strong colors and contrast effects, and the simultaneous representation of time. The internal characteristics of folk paintings were as follows: symbolic meaning, the beauty of free humor, modest aesthetics, complexity of reality and fantasy, and desire of shamanism. The results are as follows. Firstly, the flower and bird painting was a decorative painting style that emphasized decorative beauty and was suitable for developing fashion designs with Korean originality because of the symbolic and internal meanings. Simple layouts and bold free-spirited representations were effective ways to fill the screen with objects and gave the pattern a decorative effect. Secondly, developing a virtual clothing prototype based on digital design method using the external and internal characteristics of folk paintings and producing realistic fashion designs suggest the integrated use of science and technology, embodying modern fashion through the combination of digital fashion content and traditional cultural content. Thirdly, as a result of the development of 3D digital fashion designs, an eco-friendly and sustainable fashion design methods with virtual clothing can suggest a design development method that saves time and cost in the fashion design process while considering the environment.

• Journal of Conservation Science
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• v.11 no.1 s.14
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• pp.38-51
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• 2002

The first priority we face in the conservation of wall paintings, is the conservation of painting layer. The 'painting layer' is sometimes called the pigment layer, and refers to the painted surface. For the consolidation of this painting layer we use 'fixative'. Fixative is a common adhesive which has been used in various field and conservators have made up for the weak points in the consolidation of wall paintings. In my thesis, I will summarise the range of use, standards of selection, and results of research on the use of fixative in the conservation of European paintings. In addition, I will describe various kinds of our traditional fixatives. As synthetic resins have proved that it is not ideal as a fixative for wall painting, conservators have studied to find an alternative. Same as European conservators, Asian scientists has researched to find alternative fixative which is more suitable to the wall paintings in Asia based on their traditional techniques and materials. Therefore, 1 have studied to find an adequate fixative for our own wall paintings and I could conclude that we can consider traditional fixative which is made of 'seaweeds' as an alternative and it is very important to proceed research and experiment on this material.

• SUVANNABHUMI
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• v.2 no.2
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• pp.1-28
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• 2010

This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries' folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.