• Archives of design research
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• v.3 no.1
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• pp.34-70
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• 1990

Recently the tourism industry has achieved rapid growth and thus stands out as a means for the improvement of international payments and the acquirement of foreign currency. In particular, the hotel and major tourist travel industries have been developed for the inducement of foreign tourists. However, the manu-facturing and sales indust\ulcornerries of tourism folklore haven't developed. The reason is that the endeavor to attract tourists has been more emphasized than the development of tourism folklore which includes chief shopping items and indust-rialization. Tourism folklore plays a great role not only as material evidence of a tourist's visit to a country or region but also as a gift and a souvenir. Also it represents the image and the degree of the industrial development of the nation, so it should be congruent with the nature and the images of the region. Nevertheless, our tourism folklore has been merely mass produced by specific companies that do not represent the region's image and nature in their products. Tourism folklore development can raise the image of Choongnam and serve as a catalyst to induce tourists. Also, it can be an avenue for com$$\mu$ity publicity and industrialization. Thus, this study has examined and analyzed original products made with textiles and metal materials whether can be developed into tourism folklore. Also this study presents the example of developed tourism folklore works in a foreign country. It tries to give the unique symbolic image of Choongnam by developing the original products with Choongnam' s own materials. However, this study has shown that the actual conditions of tourism folklore development in Choongnam are seriously inferior to other industries. The producers are limited. Moreover, the product items are coarse. Many problems are being brought up which should be improved. Hereafter, to develop Choongnam's own tourism folklore, it should be carried out with financial and political support from the government, design development by industrial circles, professional design training and marketing research by the sellers.

• Journal of the Korean Institute of Rural Architecture
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• v.16 no.1
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• pp.9-16
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• 2014

It is very hard to find out water mill and water mill house installed nearby a streamlet to use water to polish cereals by pounding like a visage of its old days. It plays an important part in folkloric, hydrographical and architectural aspects as important folklore material in Korea. The purpose of this study is to analyse the folkloric, hydrographical and architectural features of water-mill and water-mill house itself so that to find the way how to build and fabricate the materials and frame members. Therefore this study has been focused on the composition principle and fabrication method of water mill and water millhouse on the side of architecture.

• Journal of The Geomorphological Association of Korea
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• v.26 no.3
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• pp.43-52
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• 2019

Place names or toponyms including Gosan, Busan and Buraesan can be very important and interesting storytelling subjects in terms of geomorphology and folklore studies also. Several studies done by folklorists, those sixty five mountain-moving stories with similar names can be grouped into several categories through formation processes and origin, transport media and imposition of tax. Geomorphological studies can focus on transport media. They can be classified into six different categories; 1) flood from upstream through river, 2) voluntary walk of mountains, 3) by wind, 4) upwelling from underground, 5) involvement of mythical beings such as Mago Granny or Dokkaebi (kind of goblin), or 6) migration by ocean current.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.347-357
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• 2013

The nursery active-wear uniform designs of Internet shopping malls are simple and similar; however, the latest children's wear trends (mostly composed of training jumpers and pants) do not reflect these qualities. Children's folklore plays (widely used in child education) have an instructive value for the emotional and intellectual development of a child. Nursery active-wear uniform designs applied to children's folklore's plays could be positive for the emotional development and specialized cultural education of children. We designed three nursery active-wear uniforms with three different design concepts (casual, semi-formal and sporty) regardless of sex. The main color of the three nursery active-wear uniforms was yellow. We used three different chroma and values of yellow through three design concepts: Design I of a nursery active-wear uniform (a training suit style with a good activity), Design II of a nursery active-wear uniform (a semi suit style), and Design III of a nursery active-wear uniform (a sportswear style that reflected a sport wear trend). We expressed children's folklore plays in the pattern of a nursery active-wear uniform. The pattern was characterized as a pair of bears flying kites. This pattern was utilized in three nursery active-wear uniforms with the logo and name of the nursery. We modified the designs of active-wear nursery uniforms based on an evaluation of 33 special panels. We made three nursery active-wear uniforms for five-year olds.

• KOMUNHWA
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• no.33
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• pp.35-51
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• 1988

This ethnographic study is aimed at clarifying the religious aspects and socio-cultural meaning which appeared in the beliefs and symbols of the Dangsanje rites. Paekam village is located in Chilbomyon of Cheongeup county in North Cheolla province. Villag

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.17-28
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• 2001

The purposes of this study were to arrange and analyze the Oriental Mode in 20th century fashion and to clarify that Oriental dress and its ornaments appearing as the main subject of Occident fashion gradually The results were as follows : First, Oriental Mode in 1900-1950s was prescribed as the 'Orientalism' to be expressed Occidental imperialistic viewpoint. Therefore, the Orient was used as the simple recording mark of the imperialism product or commercial motive and it was reflected in fashion. Second, it was explained in 1960-1970s as the 'Folklore Orientalism' that focus was moved into the folklore costume of Orient. Third, in 1980s, 'Ethnic' was conspicuous that reflected the traditional costume in the area of non-christianity. Especially, it was the decade that the Middle East attracted attention. Fourth, Oriental Mode in 1990s appeared as the 'Fusion' that Oriental and Occidental elements were mixed and compromised on equal terms. Fifth, it was expressed as a word 'Zen' that had natural fiber, moderate color and silhouette to be most basic and concise about human body at the end of 1990s. This study could confirm that the center of fashion was being converted into the Orient gradually. This may be understood as the pluralistic culture phenomenon. Namely, eclectic principle to recognize mutual style and individualistic nature and to utilize and mix was made, and this brought the conversion into Oriental sense of value.

• Proceedings of the Costume Culture Conference
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• 1996.08a
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• pp.1-3
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• 1996

• The Journal of the Korea Contents Association
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• v.10 no.9
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• pp.220-231
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• 2010

The object of this study is to find ways of the modern succession of folklore by attempting the creation culture contents and looking into the aspects of using 'Jangjamot Legend'. Folk tale which has been handed down among people for many years is that story contents that are enjoyed by anonymous many people. The original narration and the cultural elements of 'Jangjamot Legend' which show the origin of a certain pond and rock can be used for creation of culture contents. The legend has been created the video contents or used the origin of the village ritual and festival in different areas. If the festival and the contest related to the legend is activated, more contents of the original narration will be created by the folklore or tourism. The preservation of the original narration will be easily accessed by the mass about 'Jangjamot Legend'. The cultural elements which are inherent in the legend shall cause the creation of consistent and effective contents. Through these contents creation, folklore will be passed on to the next generation with the obtain of universality in the modern times.

• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• Journal of Digital Convergence
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• v.17 no.9
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• pp.343-347
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• 2019

As an important branch of decoration of blue and white painting, folk blue and white painting not only has a very long history, but also has a very distinctive folklore and artistry. During the Ming and qing dynasties is an important period, in the development of the folk blue and white painting, the folk craftsmen through long-term study and practice, constantly familiar with drawing technique to master the method, combining folk life form, and folk painting decorative expression aesthetic demand, thus make the painting MinSuXing and artistic expression continuously into the blue and white porcelain painting in the process of development, become an important and indispensable component of ceramic decoration.