• Journal of the Korean Society of Costume
• /
• v.67 no.1
• /
• pp.56-73
• /
• 2017

The purpose of this study is to categorize the lotus patterns of traditional Korean fabrics. This study collected 169 fabrics of Korean lotus flower patterns and then made a list of era, configuration of pattern, type of artifact, findspot and holding institutions. It analyzes the characteristics of 251 kinds of lotus woven on 169 Korean fabrics, 251 kinds of lotus on 169 fabrics divided into Realistic Type, Design Type, and Abstract Type. They consist of 213 kinds of Design Type(84.8%), 21 kinds of Realistic Type(8.4%), and 17 kinds of Abstract Type(6.8%). The largest part of lotus patterns is Design Type. Design Types are subdivided into 14 types. This result contrasted with the conclusion of the research paper about peony patterns in Traditional Korean Textiles. The largest part of peony patterns was Realistic Types. Realistic Types of lotus patterns in Korean textiles are subdivided into 6 types. Korea has more diverse forms and a higher ratio of Realistic Types than China and this can be interpreted to reflect that there is a tendency in Korea to prefer natural patterns. Besides abstract Types are subdivided into 3 types. When the lotus flower patterns of Korea and China are categorized and similar types are compared, there are some unique patterns that appear only in Korea or China. Not only that, similar types display differences in pattern arrangement methods and portrayal among the two countries. If such study results are utilized, they can be grounds for distinguishing the production area of lotus flower textile fabrics when they are newly excavated in the future.

• Journal of the Korean Society of Costume
• /
• v.58 no.5
• /
• pp.87-101
• /
• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.8
• /
• pp.959-967
• /
• 2011

An importance of design that considers the characteristics of fashion that plays a role of a medium that communicates with customers (and is not simply clothes or products by adding the particular culture factors of a local country to the development of glocalism) is discussed. While the cultural consumption becomes a core key word, the survey of customers is conducted to develop a party-wear design that applies a Korean image suitable for the party culture industry magnified by the young generation's cultural trends. Based on it, we suggest a party-wear design that applies Dancheong's lotus and derive the followed results. The first, one-piece and accessory coordination was the highest by 49.3% for the party-wear coordination and design. In addition, Dancheong was the highest by 16.5% for the traditional pattern (thought to be representative for Korean image). Among the traditional patterns, for a pattern suitable for party-wear, the case applying flowers such as the Japanese apricot flower, lotus flower, and peony was the highest. The second, among the several patterns used Dancheong that was represented by a Korean image of a lotus flower pattern because of the characteristics of strong vitality and blooming in dirty mud was often used for the pattern of clothes. The third, under the motive of the results of the survey and Dancheong's lotus flower pattern, we developed 2 methods of one piece and accessory coordination, 2 methods of top and skirt coordination, and 1 method of jacket and one piece coordination as the party-wear.

• Fashion & Textile Research Journal
• /
• v.10 no.1
• /
• pp.22-29
• /
• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

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

• Fashion & Textile Research Journal
• /
• v.10 no.5
• /
• pp.762-770
• /
• 2008

The purpose of this study was to examine of the flower patterned fabrics used for the Shrouds during 15~18th century in Chosun Dynasty. The Shrouds at that time could be classified by the garments for the dead(殮襲衣) and the utensils used in religious services(殮襲諸具). And we looked into the types and the compounding methods of the flower pattern used for the utensils used in religious services(殮襲諸具) as well as the Shrouds accounting to the uses. Results of this study are as follows. 1) The flower patterned fabrics weaved as the uses of the garments for the dead(殮襲衣), item by item, were divided into the upper garment, the lower garment and men's Po(coat). 2) Seeing Jeogori, mixed various flower patterned fabrics, among the upper garment, there were focused on the various good meanings such as longevity, integrity and prosperity etc. 3) The flower patterns in men's Po(coat) were used a lot in Jangui and Dahnryoung. Cheollik, Dappo, Jeonbok, etc made of the flower patterned fabrics, were of small number but we can feel an aesthetic sense of men at that time. 4) The flower patterned fabrics weaved the lower garments, were used much more in the skirts than in the trousers, for reasons of the wrapping a dead body. 5) Seeing the flower pattern used the utensils used in religious services(殮襲諸具), the pattern of Lotus and Arabesque, among the types of flower pattern, had a majority.

• FLOWER RESEARCH JOURNAL
• /
• v.17 no.1
• /
• pp.15-22
• /
• 2009

This study was conducted to examine characteristics of rhizome growth and flowering of white lotus (Nelumbo nucifera) plant in Muan Hoesan-lake for collecting the basic data on the cultivation and the flowering which is growing in Muan Hoesan-lake of Jeonnam province in Korea. We have planted from the seeds and the enlarged rhizomes of the white lotus which were planted in the plastic containers on April 20 and May 4, 2008, and cultivated under rain shelter condition. Rhizome growth pattern and the flowering characteristics of the white lotus were examined on September 4, 2008. Main rhizomes of the white lotus propagated by the seeds and the enlarged rhizomes were branched by 10% and 15%, respectively. Numbers of nodes in the bloomed and non-bloomed rhizomes of the white lotus were over 14 and below 11, respectively. Flower was not observed in the white lotus when propagated with seeds, however, flowers came out up to 80% by the enlarged rhizomes. First flowers were bloomed from the late July and to the early August, and the number of flowers were 4.0~4.4. The first flower stalks without branching of the main rhizome were emerged in 8.8th node, however, that with branching were 8.0th node. Time to flowering from the emergence of flower stalk on the above-ground parts were required 16 days. White flowers from the lotus were 15.3 cm in height and 28.2 cm in width, their longevity was 3.3 days and the averaged flower fresh weight was 29.2 g. The results conclude that optimum number of nodes on the main rhizomes for blooming the white lotus flowers should be over 8 nodes before the rhizome enlargement.

• Journal of the Korean Society of Costume
• /
• v.52 no.7
• /
• pp.1-11
• /
• 2002

The shape of floral Pattern in the Period of Baroque could be divided single. bunch and vine. The style of representation was stylized, abstract and realistic. the most of style was stylized. The type of composition was fullness, independent and scattered. Floral patterns were shaped simple and complex and components of design could be classified into flower and leaf. flower and fruit. flower and band. bunch of flower, flower and geometry. flower and pot, flower and animal. flower and crest. Kinds of flower were tulip. common marigold, lily, carnation, small bel]flower. lotus, acandus leaf, pomegranate, strawberry. pine cone and abstract anonymous flower which were unfolded by repeat. Characters of floral Pattern were classical elegance, taste of royalty and lively and damask, velvet, brocade which made with gold and silver so, those were a very brilliant and gorgeous. Characters of design were illustrated plane style and stylization where developed arranged on front by repeat or repeat symmetric of vertical. Art, costumes and textiles in this era were a very rich and colorful. The result of study on Baroque's floral pattern will be used to develope a various textile design and chance to be adopted classical pattern into aesthetic value in our time.

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

• Fashion & Textile Research Journal
• /
• v.6 no.2
• /
• pp.135-143
• /
• 2004

In an information-oriented and internalized society of the future, the quality and price of goods made by each country will be equalized. That eliminates competition. But the design and appearance of products is an important factor in international competition. Indeed, design symbolizes a country's culture visually, and it can show the cultural identity and originality of a nation in international society. And that will play an important part that can contribute to creating added value. It is necessary to revive our people's old lyrical stories which are far away from our memory, and we badly need design development to revive traditional cultural merchandise through visual modernization. Among various Korean cultural inheritances, lotus is often seen in tiles, porcelains and folk stories. In this study, I chose lotus as the subject material of textile design development, and my intention for this study is to reflect Korean traditional cultural value as much as I can, and to develop textile design of Korean images by adding modern scenes. For that, first I researched lotus pattern materials and examples of cultural merchandise.