• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.402-411
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• 2002

The objective of this study was to investigate sensibility images of Korean traditional motifs cognized by college students in U.S.A. The subjects consisted of 217 male and 351 female undergraduate students. The experimental materials used in this study were 48 stimuli and questionnaires, composed of 7-point semantic differential scales of 15 bipolar adjectives. Twelve motifs selected from 3 groups of Korean motifs were used as motif stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data were analyzed by factor analysis, ANOVA, Duncan's multiple range test. The major finding were as follows: 1. Four dimensions were emerged accounting for the dimensional structure of the images of Korean traditional motifs. These dimensions were ‘quality’, ‘simplicity’, ‘cheerfulnees’, and ‘modernity’. Among them, ‘quality’and ‘simplicity’were the major dimensions. 2. Category, interpretation type, composition type, and application object had significant effects on the images of above-mentioned dimensions. The interpretation type had a significant effect on ‘quality’image, the composition type on ‘cheerful’image, and the application object on ‘modernity’image.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.214-225
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• 2000

The objective of this study was to investigate images of Korean traditional patterns. The subjects consisted of 369 male and 356 female undergraduate students. The experimental materials used in this study were 48 stimuli and questionnaires, composed of 7-point semantic differential scales of 23 bipolar adjectives. Twelve motifs selected from 3 groups of Korean patterns were used as motif stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data was analyzed by factor analysis, ANOVA, Duncan's multiple range test. The major findings were as follows: 1. Four dimensions were emerged accounting for the dimensional structure of the images of Korean traditional patterns. These dimensions were 'simplicity', 'quality', 'interest', and 'modernity' dimension. Among them, 'simplicity' and 'quality' were the major dimensions. 2. Category, interpretation type, composition type, and application object of motif had significant effects on the images of above-mentioned dimensions. The application object had a significant effect on 'simplicity' and 'modernity' image, and the composition type on 'quality' and 'interest' image.

• Korean Institute of Interior Design Journal
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• no.28
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• pp.25-32
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• 2001

The purpose of this study is to investigate the types and meanings of the motives shown in the traditional houses. Research methods to achieve this purpose are review of literature, field survey, and contents analysis. Traditional houses were divided into 3 parts such as architectural elements, interior elements and decoration elements, and total of 163 motives were collected out of it. As a result, it was founded that roof of the architectural element, and doors and windows of the interior elements are shown the most of the motives. Motives were divided into two types, realistic motives and imaginative motives, and both types are shown evenly. Meanings of the motives are classified into 'protection', 'good-luck', 'long-life', 'ideology', and 'decoration', and the motives of meaning of good-luck showed the most variety.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.58-65
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• 2015

Compared to pavement of Chinese palace gardens, those of private gardens in south part of the Yangtze River(長江) in China shows variety of patterns. In order to figure out what causes the difference in paving pattern, this article focuses on the traditional Chinese ideologies during the all time. An analysis on 'Classical Gardens of Suzhou', which has been designated as UNESCO World Heritage, was used to determine how ideologies have influence on paving pattern of Classical Gardens. As a result, various Chinese ideologies such as Nature worship, Totemism, Confucianism, Taoism, Buddhism, and Folk Culture were found in paving patterns of the private gardens. Pattern of sun in the Retreat & Reflection Garden(Toisawon) is an example of Nature worship among primitive beliefs of ancient China. Phoenix pattern of the Couple's Retreat Garden(Ouyuan, Liuyuan) reflects Totemistic beliefs. Confucianism is the underlying philosophy of Eight Square pattern, Six Square pattern, and Cross Square pattern. These patterns were mainly used to pave large area and easily found in many gardens. Patterns reflect Taoism are "Wufu holding life" pattern(the Five blessing holding life, 五福捧壽), Flat peach pattern, and Alluding Eight Immortals pattern. Paving patterns related to Buddhism are patterns of 'Eight treasures' and Endless knot pattern appears most frequently since it expresses concept of reincarnation well. Paving patterns shows folk culture and beliefs of the time in China are bat, butterfly, dragonfly, frog, carp, and coin(ingot).

• Archives of design research
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• v.17 no.2
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• pp.311-322
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• 2004

The purpose of this study is to ascertain pattern design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. The basic assumption underlying this study is that these northeastern Asian states have been developed a unique inter-cultural ties over long periods of time in history, culminating in their respective design cultures. Undoubtly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean pattern design element. In the West, the pattern is appreciated by an aesthetic level, but the East Asian pattern is a symbolic alphabet deeply rooted in religious and folk beliefs. The difference of the respective country comes from the expression style of the pattern the Chinese express the magnificent pattern with various color, the Korean do the moderate pattern with harmonious color with the nature and the Japanese do the stylized pattern with the material color. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China, and Japan is as the following : It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas 'and 'confucianism'. But the representation style of the design element is differed from the country.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.841-851
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• 2008

The purpose of the study was to examine the effect of motif categories and motif colors on evaluating sensory image of fashion materials with the gestalt theory as the background. The research was conducted on a quasi experimental basis, with subjects numbering 187 male and 207 female college students. Data were collected in the period from march 19th to march 31st, 2007. A set of fabric stimuli and semantic differential scales were developed. The stimuli were thirteen fabric species(each measuring 12 by 13cm). Variables included; (a) motif colour(white, grey, pink and blue) (b) motif categories(plain, paisley, flower, stripes and zebra effect). The semantic differential scale to measure sensory image of fabric stimuli included 23 sets of bi-polar adjectives. The data were analysed by factor analysis and ANOVA and the major finding were as follows. 1) Four sensory dimensions emerged of importance: salience, attractiveness, comfort and softness. 2) The motif category effected on the four sensory image dimensions while the motif colour effected on salience, comfort and softness sensory dimensions. 3) An interaction effect was founded between motif category and motif colour. 4) Motif category showed significant effects on the preference and liking of the fashion, however the motif colour did not show any significant effects on the preference and liking. As a whole the results supported the gestalt theory and the results can be used for the marketing strategy for developing fashion fabrics.

• Science of Emotion and Sensibility
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• v.3 no.1
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• pp.53-62
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• 2000

본 연구의 목적은 (1)꽃문양 스카프 디자인의 레이아웃 변인이 소비자의 감성에 미치는 영향을 본 연구의 제 1보의 결과 및 전통적인 디자인 이론들과 비교하고, (2) 소비자 감성분석을 기반으로 하여 꽃문양 스카프 디자인을 위한 레이아웃 프로토타입을 제시하는 데에 있다. 이를 위하여 두 종류의 꽃 모티브를 세 가지 레이아웃 변인에 따라 컴퓨터 시뮬레이션하여 총 20개의 자극물을 개발하였다. 또한 44개의 형용사쌍으로 구성된 7점의 의미미분척도를 개발하여 세 가지 레이아웃 변인에 따른 소비자의 감성효과를 측정하였다. 피험자는 편의표집된 110명의 20대 여성 소비자였으며, 이들에게 자극물을 제시하고 응답척도에 감성반응을 응답하게 하였다. 총 100부의 데이터를 사용하여 주성분분석, 다변량분석, 삼원변량분석 및 다중비교검정을 실시하였다. 본 연구의 결과를 요약하면 다음과 같다.: (1) 꽃문양 스카프 디자인에 대한 소비자의 감성은 ‘호오(좋아함-싫어함)·심미감’, ‘액센트감’, ‘온화함’ 그리고 ‘리듬감’의 네 가지 하위차원으로 구성하였으며, 이는 제 1보의 결과와 일치하였다. (2) 제 1보와 2보의 결과에 따르면, 꽃 모티브의 크기가 큰 비반복배열의 디자인이 다른 디자인들보다 더 ‘온화감’있게 느껴졌다. (3) 제 1보와 2보의 결과를 종합하여, 두 세트의 꽃문양 스카프 디자인의 레이아웃 프로토타입을 제시하였다.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Cartoon and Animation Studies
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• s.50
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• pp.349-382
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• 2018

China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.98-119
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• 2021

This thesis aims to examine when the petroglyphs of Cheonjeon-ri, Ulju were carved and their nature. To achieve this, the relations between rituals and rock carving motifs are examined besides the nature of the archaeological monuments with carved petroglyphs. The investigation revealed that the figurative motifs on the petroglyphs of Cheonjeon-ri, Ulju, may have been carved during the Korean Bronze Age considering other examples of figurative petroglyphs from that period. It is reasonable to assume that the figurative animal motifs on the petroglyphs of Cheonjeon-ri, Ulju were used for rituals of fertility and rebirth as a subsistence ritual during the Korean Bronze Age. The Geomdan-ri Archaeological Culture Type is a strong candidate, having used both petroglyphs of Cheonjeon-ri and those of Bangudae, Ulju, since the Geomdan-ri Archaeological Culture Type has a higher proportion of hunting and fishing and lower proportion of rice cultivation in its subsistence than in the subsistence of the Songguk-ri Archaeological Culture Type. In contrast to the figurative motifs, the abstractive motifs, including the geometric designs on the petroglyphs of Cheonjeon-ri, Ulju, are generally accepted to have been carved during the Bronze Age. Although there have been some disputes over the symbolic meanings of concentric motifs, lozenge motifs, and other geometric motifs, they may be related to rituals for sun worship, ancestor worship, and fertility cults. Their meanings have been continuously reinterpreted.