• 한국의상디자인학회지
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• 제14권4호
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• pp.63-72
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• 2012

In this study, Characteristics of colors on Chinese traditional costume in Tang, Song, Yuan, Ming, and Qing Dynasty were compared. And general colors of Chinese traditional costume and the viewpoint of them were considered. The purpose of this study were to apt colors of Chinese traditional costumes to the sensory appetite of modern people for new things, and make the recreation inspired by new senses be applied into the fashion industry effectively. The results were as followed : Firstly, colors distribution of 5 dynasties were different. In the Tang, R(red) was highest, YR(yellow red) and Y(yellow) followed. In the Song, YR was highest, Y and R followed and PB(purple blue) was increased, In the Yuan, R, YR, PB, B were concentrated at low rates, and other colors were increased, In the Ming, Y, R and B were concentrated at low rates orderly, and other colors were increased, In the Qing, PB was highest and Y, R, YR, B, P(purple) were increased. Secondly, tons distribution of 5 dynasties were different. In the Tang, L(light) was highest, P(pale) and Lgr(light grayish) followed. In the Song, P(pale) was highest, Lgr, Gr(grayish) and Dl(dull) followed In the Yuan, Dp(deep) was highest, P and Lgr followed, and other tones were increased, In the Ming, S(strong) was highest, DI and V(vivid) followed. Thirdly, The general colors of 5 dynasty were R, YR, Y, B, PB colors with vivid, deep and light tones. Forth, the viewpoint of color on Chinese traditional costume was based on the Yin-Yang and the Five Elements theory. Based on results of this study, the successive researches will be carried out about the unique colors of each nation and application traditional colors to modern fashion industry in order to the unique cultural sense.

• 한국의상디자인학회지
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• 제23권3호
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• pp.23-42
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• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• 한국의상디자인학회지
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• 제19권2호
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• pp.29-37
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• 2017

Due to the pursuit of individuality by modern consumers, the day has come when it is hard for design to be sustained solely by external beauty. Accordingly, products with the psychological value and brand stories are appearing, so that products that reinterpret traditional crafts are now being appreciated for their merits. Handmade goods defined as new luxury goods or products of high-quality craftsmanship are being used to enhance the consumer's individual image, and has created an unprecedented consumer stratum structure. Japan is one of the countries that actively applies traditional crafts to contemporary design and this study aims to investigate cases that are being reinterpreted in modern fashion in the theme of Boro, which is not as well known among Japanese traditional crafts. The purpose of this study is to offer basic data for designers by investigating the cases of the reinterpretation of traditional crafts. In addition, in reinterpreting traditional crafts into other fields, it is regarded as a meaningful way to contribute to a variety of other ideas. As the research method, first, the definition and kind of Boro were investigated utilizing the related literature information about the traditional fabric of Boro, which is the starting point and basis of the research. Second, Japanese aesthetic sense defined in the previous research was classified and the relationship of the anti-decorative aesthetic sense and Boro investigated. Third, after classifying the reinterpretation cases of Boro that have appeared in four major fashion collections and designer brands from 2011 to 2016 by the selected aesthetic sense, its characteristics were investigated. The search for examples of the reinterpretation of Boro uses the results of the keyword search of Boro and Boro Fashion via the internet search engine Google from April 2016 to December 2016. In addition, the search results were selected on the basis of whether the designer specified borrowing from Boro or whether Boro on the collection order was included or not. In addition to introducing an unknown fabric craft, this study also raises the methodological problems of the reinterpretation of traditional crafts. Products containing psychological value are expected to come into the spotlight in the upcoming consumer market. Therefore, as a follow-up study, it is suggested to research examples in which various crafts are being applied as products before one knows, how this creates new originality, and the limitations involved in this.

• 한국의류산업학회지
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• 제5권5호
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

• 만화애니메이션 연구
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• 통권51호
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• pp.129-158
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• 2018

1950년부터 중국은 민족적 특색을 표현한 우수 애니메이션을 제작하기 시작했으며, 대표적으로 <산수정(山水情)>, <대요천궁(大?天?)>, <나타요해(???海)> 등의 작품은 국내외에서 많은 상을 받았다. 그러나 오늘날 대부분의 중국 애니메이션은 일본과 미국 애니메이션을 모방하고 있으며, 중국의 다양한 전통문화를 표현한 애니메이션은 극히 일부에 불과하다. 중국의 민족적 특색을 표현한 애니메이션이라 하더라도 관객들의 마음을 얻은 애니메이션은 현재까지 없다고 할 수 있다. 중국의 민족적 특색을 담은 애니메이션을 제작하기 위해서는 표면적인 중국식 그림이 아니라, 중국 전통과 민족 예술에 대한 깊이 있는 이해가 필요하다. 본 논문은 중국 애니메이션이 스타일과 색상 방면에서 다른 나라의 애니메이션과 달리 독특한 특징을 가질 수 있는 방법을 제시하기 위한 중국 전통의 오색관과 애니메이션에 대한 응용 연구이다. 중국 전통 오색관은 자연과 사회에 대한 중국 조상들의 사상과 인식이자, 홍(?), 황(?), 청(?), 백(白), 흑(黑) 등 5가지 단색(?色)을 바탕으로 오랜 시간 생활과 문화가 축적되어 끊임없이 발전한 색상 관념(?念)이다. 또한, 중국 전통 색상 체계의 이론적 기초이자, 중국의 역사와 문화, 철학, 종교의 이론을 종합한 학설(??)이다. 이를 기반으로 상하이 애니메이션 스튜디오(上海美??影制片?)가 제작한 컬러 장편 애니메이션 <대요천궁(大?天?)>에 등장한 손오공(?悟空)과 옥황상제(玉皇大帝)의 불교적 의상 색상과 그 상징적 의미에 대한 분석을 진행하고자 한다. 색상은 첫 번째 시각적 언어이며, 캐릭터의 내적 심리 상태와 지위, 선악(善?) 등을 표현하는 색상의 의미는 자연스럽게 관객들의 감정과 행동, 관점에도 영향을 미친다. 이렇게 중국 전통 오색관이 상징하는 그 의미는 오랜 역사를 지나면서 중국인들에게 점점 더욱 깊은 영향을 주어 왔다. 따라서 중국 전통 오색관의 색상 이념과 상징적 의미를 적용하여 중국식 애니메이션에 등장하는 캐릭터와 색상을 조합한다면, 중국 특유의 캐릭터 특징과 감정을 더욱 효과적으로 나타낼 수 있을 것이다. 본 논문은 이런 중국 전통색의 특성을 애니메이션 작품에서 찾아보고, 그 의미를 오색관에 의거해 분석함으로써 중국의 전통문화 활용의 한 방법을 알아보고자 한다.

• 한국전통조경학회지
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• 제32권2호
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• pp.148-158
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• 2014

본 연구의 목적은 문헌고찰을 통해 중국 청나라 소설 "홍루몽"에 등장하는 가상 정원인 소상관의 의경을 분석하는 것이다. 결론을 요약하면 다음과 같다. 첫째, "홍루몽"에 묘사된 가상 정원은 실제로 재현이 가능한 것을 확인할 수 있다. 둘째, 소상관의 의경 분석을 통해 "홍루몽"은 정원 식물들의 의미를 많이 활용하여 의경을 연출한다는 것을 이해할 수 있다. 셋째, 소상관의 주요 조성 이념은 사법자연(師法自然)이며, 대표적인 공간 구성 원리는 곡경통유(曲徑通幽)와 차경이라고 할 수 있다. 넷째, "홍루몽"과 "원야"에 나타난 전통정원의 조성 이념이 기본적으로 일치하는 것을 발견할 수 있다. 본 연구는 중국 청나라 소설 "홍루몽"에 나오는 소상관의 의경 분석을 통해 정원 의경 분석의 틀을 제시하였고 향후 정원 의경을 분석하는 데 유용한 정보를 마련하였다. 연구 결과를 통해 "홍루몽"은 중국전통정원 연구에 매우 유효한 자료임이 확인되었다.

• 한국의류학회지
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• 제25권9호
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• pp.1571-1582
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• 2001

한국 전통 의상인 한복 치마의 형태는 천의 특성에 크게 좌우된다. 이에 본 연구에서는 직물의 물성과 착장시 한복 치마 형태의 관계를 규명하고자, 8가지 직물을 선택하여 물성을 측정하고, 비접촉 3차원 인체계측시스템을 이용하여 , 치마 착장시의 5개 수평단면, 2개 수직단면을 작성하였다. 수직 단면에서는 실루엣을 나타내는 각도, 수평단면에서는 단면의 부피감과 드레이프의 형태를 나타내는 노드 간격, 거리, 각도를 측정하였다. 첫째, 경연도, 신장률, 실 두께, 직물 무게의 직물물성요인에 따라 실험 직물은 4집단으로 분류되었다. 둘째, 직물의 물성과 노드의 형태의 관계를 살펴본 결과, 직물이 뻣뻣하고 가벼울수록, 치마윗부분의 각도가 커지며 , 부드럽고, 신축성 이 있고, 무겁고, 두꺼운 실로 짜여지면, 튜블러 형태 의 실루엣을 나타내었다. 셋째 , 수직 단면도상 치마 위쪽과 아래쪽의 퍼짐각도 및 수평단면상의 둘레, 노드간의 거리, 가장 긴 파고와 같은 단면 계측치는 직물물성에 따라 추정 이 가능한 것으로 나타났다.

• 한국의류학회지
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• 제25권1호
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• pp.37-49
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• 2001

The purpose of this research was to investigate the influential factors to wear or not to wear \"Hanbok\" in Korean society. Twenty six individuals who wear Hanbok relatively often, and twenty seven individuals who dont were purposively sampled and interviewed for the study by structured depth-interview method. A domain analysis, a method of qualitative study, was employed to find out the influential factors from the results of the depth-intervews. From the analysis, fifteen encouraging or discouraging factors to wear Hanbok emerged and were categorized into five domains, which included \"interpersonal relationship\", \"life-style\", \"image\", \"practicality\" and \"decorative function\". The personal involvement in traditional culture, tradition-oriented family background, good images related to Hanbok, and affordable life-style appeared to be encouraging factors to wear Hanbok. Meanwhile, social norm and role-expectation adjusted to westernized criteria, unaffordable life-style, ill practicality of Hanbok and negative cues associated with Hanbok were the factors influencing people to turn away from Hanbok. The study also revealed complex interactions between these factors explaining individuals choice of wearing or not wearing Hanbok in industrialized modern society of Korea. Some suggestions to promote wearing Hanbok were made based oh the results of this study.wearing Hanbok were made based oh the results of this study.

• 복식
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• 제60권4호
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• pp.146-161
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• 2010

The purpose of this study was to analyze the characteristics and images of costume colors in Korean Masque Drama. For this study, 242 color samples were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to HV/C and the attributes of color and tone were analyzed. Color images were analyzed with the IRI color image scale. As a result, neutral, red, purple blue, and yellow were found to be the most frequently used colors in the Korean Masque costumes. In the ton analysis, white tone showed high frequency and next orders were dp, s, v, b, sf. In the hue & tone, the most frequent color was white, followed by R(v), PB(dp), R(dp), YR(s), GY(s) and mGY. Color images were focused on dynamic, gorgeous, and natural images.

• 한국멀티미디어학회논문지
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• 제22권1호
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• pp.70-78
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• 2019

The smart festival costume developed in this study maximizes the design elements by attaching electronic device to clothing, and uses voice, movement, and light sensor to utilize as expression elements. In addition, as a way to maximize cultural exchanges between Korea and China, smart festival costume was developed by applying smart clothing technology to the traditional costumes of both countries. and it was exhibited for 10 days at the 'Andong International Mask Dance Festival 2018'. The smart festival costume has the effect of multiplying the dynamism and excitement of the festival by the use of colorful lighting and it has been evaluated that the experience of wearing traditional costume of both countries contributes greatly to promote international cultural exchange. However, since smart clothing is inconvenient to wear due to the use of electronic products, meticulous research for consumer safety is required for practical use. Smart devices is expected to utilize for the development of traditional culture resources and the fashion industry in the future.