• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.81-90
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• 2002

There are increasing a foreign visitors since 88 Seoul Olympic game. Uniform is getting increased importance as one of the symbols which represent the characteristic of restaurant as well as gloves good impression to the customers and foreign tourist. This study aims at developing uniform packages (including table cloth, mat, napkin, end so on) that satisfy the customers' need and let foreign visitors recognize the outstanding beauty of Korean traditional pattern. For uniform design, It was selected a sumacsae of a the lotus flower motif and developed a textile pattern design by using CAD system. And then the developed textile design was printed a polyster100% fabric by using the digital textile printing system. Uniform packages designs were developed applying traditional sumacsae motif in order to capture a modern stance of beauty under using blue and pink color and same concept of modern image.

• The Journal of the Korea Contents Association
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• v.11 no.7
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• pp.142-152
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• 2011

The 21st century is an age of design. The design has been developed and changed globally. At the same time, each country tries to find the archetype of its own design which represents its own identity. The object of this research is to show the identity of Korean design through the analysis of dancheong, Korean traditional decorative coloring on wooden buildings and artifacts for the purpose of style. Dancheong is an important clue through which alows us to understand Korean modelling. For the purpose, dancheong of Daewoong-jeon of Mihwang-sa, Haenam, Jeollanam-do, was analyzed. This study shows that, first, dancheong has a cultural value in terms of visual as well as space, symbolic, and figurative aspect. Second, dancheong at Mihwang-sa is an essence of the visual expression which shows the aesthetics of the age. Third, dancheong does not belong to any specific religions or beliefs but shows Korean's design archetype. This study shows that dancheong exists as an archetype of our beauty and it also links national identity.

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.132-153
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• 2009

A lotus flower pattern of the shape of straight and pointed petals has the forms whose lotus flowers are pointed, and is one of the representative forms of lotus flower pattern of Baekjae along with a round and a triangle protruded style. This style of lotus flower pattern was applied to roof-end tiles, halos of Buddhist images, containers of Buddha's bones, head supports, etc. from the Hanseong period to the Sabi period of Baekjae. However most of lotus flower patterns that remain today were used for the tiles of the Sabi period. Many of them were produced under the influence of the Northern Dynasties and the Southern Dynasties of China, and of Goryeo, which implies the active cultural exchange of Baekjae at that time. Among the present lotus flower patterns of the shape of the straight and pointed petals, that of the earliest time is from Gyeongdang district of Poongnab mud castle and belongs to the mid-fifth century. However there is a higher chance that the gradual subsequent excavation and research will find some tiles of the earlier period and other styles can also be unearthed.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.149-161
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• 2008

Since the use of textile has become more extensive and applied for various products, today, the importance of utility, ornament and civilization of textile is emphasized. Textile design should be able to satisfy the designer's creativity and his/her world of art. Moreover, it should be appropriate for the industrial technology circumstances, and taste of consumers. In Korea, traditional culture has been extremely valued, allowing people to be more interested in textile designs derived from traditional cultural. Therefore, designs inspired by the spirit and sense of traditional patterns has been used to develop modern textile designs. Prior research on products, however, show that cultural motive was insufficient, therefore, in this research the purpose is to design textiles and to develop Korean neckties, an essential component of men's attire, by adapting Korean traditional patterns. In order to conduct the research, first, numerous parers on Korean traditional patterns have been studied to select fundamental data about the development of necktie textile designs. Second, Korean traditional patterns were applied while following the target and concept, and two pieces of necktie textile designs have been suggested. Patterns had been designed by hand drawing and CAD system, they have been suggested as a portfolio. As a result, this article suggests new necktie designs utilizing Korean traditional patterns and, attempts to develop particular pattern designs, which have power to accommodate globalization and to express the special qualities of Korea.

• Korean Journal of Heritage: History & Science
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• v.43 no.4
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• pp.56-77
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• 2010

The tortoise pedestal for the memorial monument of Choe Jin-rip(an army officer in the mid-Joseon Period) in Ijo-ri, Naenam-myeon, Gyeongju is known to have been made in 1740. As such, it was originally understood to be a Joseon imitation of a tortoise pedestal made in the Unified Silla Period. The style of the Ijori Tortoise Pedestal differs from other tortoise pedestals dating back to the same period, and bears no resemblance to the Unified Silla pedestals of which it is a copy. Mullu ilgi, a record of the production of the pedestal, explains that the monument was made before the pedestal. Traces show that the two sides of the bottom of the monument were cut off so that it would fit into the smaller space made on the pedestal. It is scarcely conceivable that they made the pedestal and the platform without considering the bottom size of the monument. The record only states that the monument was made at a temple site named Baegundae, without explaining the details of the production process. This leaves some doubt as to whether its production was undertaken systematically. The cloud patterns engraved on this pedestal look similar to the temporal seriation found on the Tortoise Pedestal of the Royal Tomb of King Muyeol and the Seoangni Tortoise Pedestal of Gyeongju. The lotus pattern decorating the square pedestal on the back of the tortoise is one of a number of patterns that were widely used on roof-tiles in the 8th century, the heyday of the Unified Silla Kingdom. The Ijori Tortoise Pedestal, which represents a tortoise moving forward, displays a liveliness the like of which is rarely found in its cousins remaining in Gyeongju. The layout of the patterns in a queue on the tortoise-shell looks much better schematized than those made at an earlier date. It also looks like a more developed form, with the use of space taken into account. Such factors as the style of the patterns, the incongruity between the monument and its pedestal, and what is stated in the historical record indicate that the Ijori Tortoise Pedestal of Gyeongju was made in the mid-8th century(i.e. during the Unified Silla Period), rather than in the Joseon Period(i.e. the 18th century), as an imitation of earlier ones, including changes in the style unique to the Silla Period.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.322-330
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• 2022

With the development of media, modern times are actively exchanging cultures and information around the world. Therefore, product development using traditional material, which are Korean cultural heritages, can be said to be another medium that can promote our unique culture to the world. Therefore, this study attempted to develop a product suitable for the modern lifestyle that combines tradition and modernity by investigating and analyzing Korean roof tiles and applying the formative elements identified as a result of the study. Among the types of roof tiles, a Sumaksai, which is located on the front of the roof and stands out for decoration, was selected as the subject of the study, and it was developed by combining it with lighting and plates as an item for modern people seeking a life full of personality. In product development, we tried to express the traditional style as it is by making the most of the elements of the Sumaksai, and the lotus pattern, which was most commonly used in each era when roof tiles were made, was simplified and applied to the product. As the products developed in this way are used in our daily lives, we hope that users' interest in ours will increase, and that the development of various products through research on traditional material can be activated as a way to spread our culture around the world.

• 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.

• KOMUNHWA
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• no.57
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• pp.113-127
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• 2001

This paper introduces the reverse 'L' shaped roof-tiles discovered in Kyongju and tries to date them on the basis of the manufacturing technology of roof-tiles and associated various kinds of roof-tiles. Furthermore, I examined the characteristics of the

• Conservation Science in Museum
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• v.23
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• pp.1-16
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• 2020

In this paper, Gilt-bronze Standing Avaolkiteshvara (National Treasure No. 293, M355) excavated at Gyuam-ri in Buyeo was observed with a microscope to identify the production technique applied to it. It was also analyzed with XRF and hard X-ray to identify the composition and the surface treatment techniques and casting method applied. In this statue, Avalokiteshvara is standing upright on a lotus pedestal. The lotus designs on the pedestal and those on the shawl flowing down on both sides of the statue are characteristic of Buddhist statues from the seventh century or later. The use of supports to affix the outer and inner molds and traces of injected cast were observed in the interior of the pedestal. The blisters on the arms and pedestal created during the bronze casting indicate the use of lost-wax casting, which was popularly employed for the production of mid- or small-sized gilt-bronze Buddhist statues in ancient times. The composition analysis identified a copper-tin-lead ternary alloy in the interior of the statue that was conventional used in the sixth and seventh centuries. It is likely that this simple alloy was used to facilitate casting and produce clearer expressions of designs and ornaments on the statue. Mercury (Hg) was detected on the surface of the statue, indicating the use of amalgam-plating with gold (Au) dissolved in mercury. This plating method is a common surface treatment technique used for small gilt-bronze statutes in ancient Korea.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.1
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• pp.67-85
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• 2004

Four volumes of the script of the Avatamska Sutra written with golden paste on dark blue papers manufactured in Koryo Dynasty which are collected or deposited in every museum of Japan show specific features on their cover paintings. In general 3 or 4 lotus flowers are wound by arabesque patterns in zigzag on the cover paintings of Koryo scripts, whereas 10 lotus flowers painted with golden paste on the 4 volumes of these scripts are same in their style. Though there is no prayer sentences in 4 volumes of the script, it is possible to know that they should belong to a set of 80 Avatamska Sutra by the results of above studies. In this study the contents of Byunsangwha of the script of 4 volumes of the Avatamska Sutra were discussed at first and their manufactured era should be postulated by the results of style analysis of cover paintings and Byunsangwha. First thing that saint hair of Buddha was painted with cobalt color is same as that of Byunsangwha of Munsuchoisangsungmusenggebueob prayed in Tejeong 3rd year, king Chungsuk 13th year(AD 1326). Second thing that the beads in topknot of saint hair and lips were painted completely with pink color, and ears, face outline as well as bosom outline disclosed through monk's cloth were also painted with pink color, furthermore the last thing is that Buddha's face was coated with golden paste. All of these things are same as shown in the characteristics of Byunsangwha of the scripts of Kanezawa Daishoji, Matsue Tenrinji and Haga Tera collection in Japan. However, since the cloud pattern style of Byunsangwha of the script is similar to that of the Byunsangwha manufactured in reinstatement era of king Chungsuk, it is possible to say that these 4 volumes of script should be manufactured in the reinstatement era of king Chungsuk.