• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• Journal of Korea Multimedia Society
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• v.19 no.2
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• pp.487-494
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• 2016

This study aimed to visualize a pig character targeting the golden pig in Geuknakjeon of Bulguksa Temple. As for a pig, it is included in this list of the 12 Chinese zodiac animals and controls Haeshinjang. Today, the characters market is enjoying rapid growth due to diversification of platforms. However, we do not see many characters made out of Korean traditional cultures and customs. This study first looks into significance of pigs that are often observed in Korean traditional culture and then offers possibilities of their being transformed into contemporary characters. In order to achieve the research goals, the study shed new light on the golden pig in Bulguksa Temple. As making contemporary applications to , the study proceeded with work of visualization. As for a face of a character, the study focused on that of the pig but regarding a body, the study applied a man's body. After all, the study came up with this SD character in a second-proportioned figure. This study discuses formative characteristics of existing Buddhist cultural assets and uses the character for improving understanding on Korean traditional culture. In the future, the study will propose ideas on animation contents development targeting infants and children.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.22-32
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• 2008

The purpose of this paper is to compare and analyze the national brand strategies between Korea and Italy and the ragional brand strategies between Jinju in Korea and Como in Italy. The study is conducted via periodicals and publication of related institutions, reports of various newspapers and academic journals, and interviews of Jinju Silk Research Institution and Tessile di Como. This study then examines the implication of the success of Italian national and regional brands to the Korean textile products and the adoptability of Italian brand strategies for Korean textile brand. Our findings suggest that the Italian brands have been successfully developed in terms of product quality and brand marketing based on their traditional products. The findings also indicate that the Korean traditional textile products have the potential to be the world wide products but lack the consist and brand strategies supported by the central government as well as the regional government. This paper further suggests that it is necessary to study the development of brand strategy based on the traditional textile products and its implimentation.

• Food Quality and Culture
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• v.2 no.1
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• pp.20-26
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• 2008

Color is one of the most important attributes determining the purchase of food products by consumers. Therefore, the purpose of this study was to identify consumer color preferences for songpyun, a traditional Korean rice cake, by a consumer acceptance test and using coated Pantone color chips. Color evaluation tools for the study were developed accordingly. From the results, the songpyun sample designated as product E was given the highest color acceptability score, and was 'slightly liked' (p<0.05). The color of product E was 'very pale red-purple'. All the evaluated pink-color songpyun products were based on this red-purple hue, however, they had differences in tone. The consumer panel favored a pale tone over a bright tone. The color concept for traditional songpyun within the pink color category was identified as 'very pale red-purple', using coated Pantone color chips. This result for the conceptual color preference was consistent with that of the consumer color acceptance test. Thus, color chips could be an effective tool when applied for color standardization in traditional foods production. From the overall results, it seems consumers are perceiving color trends and are willing to adapt to such changes in food applications.

• The Korean Journal of Food And Nutrition
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• v.34 no.3
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• pp.272-288
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• 2021

Mealworm is the most widely used edible insect in Korean traditional food. In this study, the quality characteristics and antioxidant activity of Garaedduk containing different proportions of powdered mealworm (0%, 3%, 6%, 9%, and 12%) were evaluated in order to enhance the utilization of mealworm. The results revealed that moisture content decreased while pH and starch elution increased, with increasing amount of mealworm. Furthermore, the amount of total amino acids, essential amino acids, and non-essential amino acids increased with increasing amount of mealworm. Regarding chromaticity, the L value decreased while the a and b values increased as the amount of mealworm increased. The addition of 6% mealworm showed slight differences in the pore size and surface smoothness as compared to plain Garaedduk. Texture, hardness, chewiness, and gumminess increased, but cohesiveness decreased with increasing amount of mealworm. The preference test evaluating the appearance, flavor, taste, texture, and overall preference showed that 6% mealworm additive group had the highest preference. In addition, antioxidant activity of the newly developed Garaedduk increased with increasing amount of mealworm. In conclusion, Garaedduk enriched with 6% mealworm showed promising results for developing rice cake with improved nutrition and antioxidant activity and excellent overall preference and quality.

• Archives of design research
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• v.16 no.3
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• The Korean Journal of Food And Nutrition
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• v.25 no.1
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• pp.32-49
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• 2012

This paper reviews 14 studies of the Joseon Dynasty(1392~1909) to examine the traditional Korean foods in Korean festivals. A total of 12 studies mentioned Seollal, Daeboreum, Dongji, Nappyeng as festivals involving. Traditional foods 10, Yudu, 9, Sambok and Junggujeol, 8, Chuseok and Seotdalgeummeum, 7, Samjinnal, Chopail, and Dano, 5, Jungwon, and 4, Hansik. In terms of the types of traditional foods, 13 studies mentioned red bean gruel, 12, Yaksik, 11, Tteokguk, 10, sudan and dog meat, 8, the custom of cracking the outer shell of different types of nuts, 7, Guibagisul(an ear-quickening wine), rice cakes(azalea hwajeon, zelkova rice cake, bean and turnip rice cake), 6, a chrysanthemum cakes, 5, Songpyeon, charunbeung(wagon-wheel rice cake), chrysanthemum wine, and sparrow meat, 4, Gangjeong, red bean grue, wine and snack, Jeonyak, 3, rice cakes, the making of soy sauce, Nabyak, roasted hare meat, foods for guests during, New Year festivities and rice cakes. The most frequently recorded festival foods were rice cakes and wine in various forms. This paper's review of ancient documents from the Joseon Dynasty provides a better understanding of Korea's folk customs, particularly traditional foods. In addition, this paper's findings are expected to help sustain Korea's traditional customs and foods and facilitrate the spread of Korea's food culture worldwide.

• Journal of Society of Preventive Korean Medicine
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• v.17 no.2
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• pp.17-28
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• 2013

According to "The Annals of the Joseon Dynasty", we know that korean ancestors confuse tea prescription with green tea. It makes cultural misunderstanding Tea doesn't mean green tea but tea prescription. It is caused that tea prescription has been called tea habitually in Korea. Korean don't drink green tea much. Instead, they have had a habit of drinking decoction of medicinal herbs and they called it tea. This habit has developed into Korean traditional tea culture. In the palace in the Joseon Dynasty period, Ginseng tea was used in the tea ceremony. When the king had poor health or had a disease or was even on the eve of death, a royal physician tried to cure him by tea. They used about 30 kinds of tea according to "The Annals of the Joseon Dynasty" Such as ginseng tea, astragalus tea, ginger tea. Tea in korea is not a drink but the way to cure a disease. Korean people usually get to drink decoction of other herbs instead of green tea. This became the basis of korean traditional tea culture. We need to change a definition of Korean tea like this way and study about it much more. With this research paper, korean tea culture should be studied on more various ways and established itself as original and unique tea culture. On the basis of this studies, Korean tea brand can be famous in the world like Chinese tea or Japanese tea.

• Journal of the Korean Society of Costume
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• v.20
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• pp.191-201
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• 1993

As a part of study examining Korean costume remaining in Yanbian China, this study explored changes in ceremonial clothing for marriage worn by Korean(Chosun race) in Yanbian China. About one hundred years ago, Koreans moved to Yanbian China and had worn traditional clothing for marriage ceremony until before 1940. Data were collected by true interview and field observation while staying in that area. Samo and Dalyung for bridegrooms, Wonsam and Jockdoory for bridegrooms, wonsam and Jockdoory for brides were usual costume for wedding ceremony, however, for couples in inferior conditions of life, Bazy and Jeogory for bridegrooms, yellow Jeogory and red Chima for brides were accepted for ceremonial costume. As western culture came to this area in about 1940, bridegrooms wore western style suit, while brides dress in white Chima, Jeogory and Neowool. To date, Korean brides have worn traditional Chima and Jeogory for marriage ceremony though slight change has occurred in clothing material and in the forms of Chima, Geogory and Neowool. As the pratice reflected the fact that Korean in Yanbian China as established and sustained traditional China as established and sustained traditional costume and Korean identity even in hush socio-cultural environment.

• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.