• 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.

• 한국의류학회지
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• 제34권12호
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

• 한국콘텐츠학회논문지
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• 제17권5호
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• pp.174-181
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• 2017

일상생활에 있어서 인간의 감정을 자극하는 색채는 애니메이션제작에 있어서 중요한 요소 중 하나이다. 색채 연구는 주로 애니메이션 제작에 있어서의 중요성 및 속성에 관련하여 활발하게 이루어져 왔다. 그러나 민족적 특성에 따른 색채에 대한 선호도 연구는 매우 드물다. 본 연구에서는 한국과 중국인의 전통색채에 대한 선호도 차이를 확인하고자 설문조사를 통해 SPSS 통계 패키지를 이용하여 실증적 분석을 실시하였다. 그 결과 한국과 중국 두 집단 모두에서 전통색채인 오색 중 빨강색이 다른 색보다 선호도가 높았으나, 한국과 중국인들이 빨강색을 선호하더라고 빨강색에 대한 선호도의 정도가 다름을 보였다. 또한 10가지 빨강색 중에서 한국인과 중국인의 선호하는 빨강색이 다르게 나타났다. 이러한 결과에 따라 중국 애니메이션 제작에 참여하고자하는 한국과 중국의 애니메이션 제작자는 애니메이션 시장과 관객의 특성을 고려하여 색채를 선택하여야 함을 시사한다.

• 패션비즈니스
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• 제15권3호
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• pp.51-66
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• 2011

The purpose of this study is to investigate the effect of the traditional color sentiment on the contemporary clothing color by studying the pictures of street fashion of Dalian in China, in view of the clothing color of women in their 20-30 years of age having highest purchasing power, along with traditional Chinese color. The clothing color is various in frequency depending on the items in street fashion. Due to the seasonal impact of summer, the most frequent item was one-piece dress with the Multi of various color patterns, followed by White, Black, PB, R and B category. In the top color, the White was most prevalent color due to the seasonal factor, followed by Black, Grey, Multi, R, Y, RP category. Achromatic color is more dominant with the ratio of 7:3, comparing with its counterpart, which consists of R and Y category of V, B, P, VP tone. In the bottom color, Dp tone of PB shows most high frequency, followed by Black. This results illustrate that Chinese women prefer blue jeans and to be looked as slimmer by using of the dark colors. In the accessories, colors of bags and shoes show different results. The bag colors show the high frequency of Dk tone, YR category, and the chromatic colors are little bit dominant than achromatic ones with the ratio of 5.3:4.7. On the contrary, the shoes colors show the highest frequency in Black, the achromatic colors are more dominant than chromatic ones with the ratio of 6.6:3.4. These results somewhat diverge from the international color trend. Color trend in Dalian street fashion in which the high frequency of V tone is observed through all the colors of the items followed by P, VP, Lgr tone in sequence. In the light of Chinese traditional color preference, this result denotes that the traditional color preferences of red, yellow are still affecting the contemporary color choices of clothing in Chinese women. The high incidence of PB category in the bottom and one-piece dress does not seem to have its origin form traditional Chinese color sentiment.

• International Journal of Advanced Culture Technology
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• 제11권3호
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• pp.172-181
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• 2023

Dunhuang murals are one of the most outstanding achievements in the art of traditional grotto painting in China, and are known as a "Wall Museum". As a representative of the heyday of Dunhuang murals, an in-depth exploration of Dunhuang murals from the perspective of color will help researchers understand the laws and connotations of color in Dunhuang murals during the Tang Dynasty and fully grasp the art of Dunhuang murals. The color system of the traditional Chinese "Five colors" concept expresses the cultural attributes and emotions of the Chinese people and has distinctive national characteristics. This thesis provides a theoretical grasp of the traditional Chinese "Five colors" view of color system, the Dunhuang murals of the Tang Dynasty, and the color configuration of the color composition principles, and uses the modern design principles of color composition to conduct an in-depth analysis of the configuration of the Dunhuang murals' use of color. Explore the unique characteristics of Tang Dynasty Dunhuang murals, and help modern designers master richer color application techniques by learning from and studying the harmonious patterns of Dunhuang murals to provide a new path for the dissemination of excellent Chinese traditional culture.

• 패션비즈니스
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• 제15권5호
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• pp.161-177
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• 2011

The purpose of this research is to analyze the effect of the traditional color sentiment on the contemporary clothing color by researching the street fashion of 2010 Winter season of Dalian in China, in view of the clothing color of women in their 20-30 years of age, along with traditional Chinese color. This is the 2nd paper following the paper no. 1, focusing on 2010 Summer season, so the research method is same as the paper no. 1. As a result, Black and deep tone PB color most frequently appeared. The vivid and strong tone of R, YR, Y color showed high frequency of clothing colors. This results illustrate that the clothing color choices of Chinese women was affected by Chinese traditional color sentiment rather than the international color trend. Characteristically, in winter season, frequency of R and Y color categories were higher than in summer season, specially in the top and accessories color, those colors showed higher frequency than the other colors. These were the important points in dealing with winter color trend, so that the fashion company and brands should take it an important points when they are planning winter clothing colors. The achromatic colors show the high frequency in both seasons. The bottom color shows high incidence of Black and deep tone of PB color categories as in the previous researches. That means consistent color trend existed in Dalian city, however it does not seem to have its origin from traditional Chinese color preferences. This kinds of regional and seasonal research might contribute to finding the basic informations about the design and marketing strategies to launch into the Chinese fashion market.

• 한국의상디자인학회지
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• 제24권4호
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• 유통과학연구
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• 제11권11호
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• pp.13-18
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• 2013

Purpose - This thesis aims to increase the success of Korean fashion brands in the Chinese consumer market by providing basic items in fashion colors preferred by women in their twenties and thirties, having the highest purchasing power, in Beijing and Seoul, in the summer of 2012. Research Methodology - The street fashion color data were retrieved for the case study by taking pictures and recording videos at the famous fashion streets in Beijing and Seoul. The WINDOWS SPSS 18.0 program was applied, to determine the frequency of street fashion colors. Results - The results might be ascribed to the tendency of Chinese women to favor the symbolism of traditional colors. Conversely, women in Seoul have more attachment to international fashion color trends than to the traditional color symbolism. Conclusions - This study suggests that Korean companies should consider the differences in street fashion color preferences when planning to launch a fashion brand in the Chinese consumer market. To gain the long-term perspective, further research on the local Chinese area might be essential to help Korean fashion companies and brands launch into the Chinese consumer market.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2003년도 춘계학술발표대회 논문집
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• pp.82-87
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• 2003

Nowadays' culture' is an important topic of conversation and rigorous researches have been done about the cultures of our neighboring countries such as China and Japan. It is expected that studies concerning applications of each traditional culture in modern design will be made rigorously in the near future. In this context this study chose five-star hotel restaurants located in Korea and investigated how the Korean, Chinese and Japanese cultures are incorporated into their modern interior design. The data were classified by space and design elements. The results show that colorful Korean identity(or Koreanity) was applied in Korean restaurants rather than the simplicity and naturalness of traditional space. As for Chinese restaurants, a large scale of space which Chinese traditional space reveals was not adopted because of their location too, but brilliant patterns and colors were used consistently. The typical Japanese style of simple lines, colors and materials were reflected in Japanese restaurants.

• 복식문화연구
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• 제31권6호
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• pp.806-823
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• 2023

The aim of this study was to analyze the design characteristics of Chinese fashion designer Feng Chen Wang and interpret their implicit meaning from a neo-deconstruction perspective. A review of domestic and foreign literature, outlined the develop- ment of deconstruction and neo-deconstruction, with neo-deconstruction's aesthetic features termed 'traditional fusion', 'positive playfulness', 'open communication', and 'multiple inclusiveness'. These features informed an analysis of Feng Chen Wang's fashion design. Four key findings emerged. First, 'traditional fusion' combines traditional Chinese colors, items, handicrafts, and patterns with modern design to break down boundaries between past and modern, tradition and fashion. Second, 'positive playfulness' promotes creativity and fun, using bright colors, exaggerated accessories, and playing withthe composition of traditional clothes to create a positive atmosphere. Third, 'open communication' emphasizes design that combines practicality and creati- vity in response to consumer needs, incorporating the thoughts arising from individual experiences and interest in social phenomena. Fourth, 'multiple inclusiveness' breaks down boundaries of sexuality, hierarchy, and body shape, embracing various ideas of beauty and respecting uniqueness through design that are seen as available to all. Using a neo-deconstruction perspective, Feng Chen Wang provides novel product planning ideas for Chinese fashion brands and reflects the values and meaning of modern design pursued by contemporary Chinese designers.