• The Research Journal of the Costume Culture
• /
• v.16 no.2
• /
• pp.397-407
• /
• 2008

Recently, influence of color has been expanded in various fields including design field. Among human five senses, visual sense is best for information capturing, and 80% of information judgment by visual sense is from color. Color is emotion and image. Hanbok is marked by its beautiful color combinations. The guiding principle of such color chords was Obangsaek, or the traditional Korean five base colors. The method of this study is to consider concepts of Obangsaek derived from the principles of yin-yang and the five elements and is to investigate application of Obangsaek. And the purpose of this study is to understand traditional colors and is to provide judgment criteria on various color combinations based on Korean aesthetic sense for development of textile design. The degree of nation culture depends on the level of research, analysis and application on traditional colors. Obangsaek, Korean traditional color is splendid and primary color. Also, Obangsaek has symbolic and lucky meanings. These colors are still the primary source of coloring. Obangsaek has been reinterpreted by application on textile design, some into base colors and others into diverse shades. So this study will help in the aspect of development on Korean style design.

• Journal of the Korean Society of Food Culture
• /
• v.29 no.1
• /
• pp.119-128
• /
• 2014

This study attempted to develop a representative mild Korean food, including kimchi, bulgogi, galbi, and bibimbap, while maintaining existing images in order to spread Korean food worldwide. Tangpyeongchae is a mild healthy food with a nutritional balance of carbohydrates from cheongpomuk, protein from beef and eggs, and vitamins and minerals from water parsley, bean sprout, and laver. The food has a history of being favored by the political elite of the Joseon Dynasty and has features in Korean storytelling. Tangpyeongchae is an obangsaek food (five representative colors of Oriental philosophy). This study examined modern recipes of Tangpyeongchae in order to establish a standardized cooking method. Furthermore, the study examined customer interest and marketability of natural pigments to develop obangsaek cheongpomuk (mungbean gel) by adding black sesame, a traditional ingredient in Korea, to the cheongpomuk as well as traditional Korean pigments, chija and omija.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.10
• /
• pp.1629-1639
• /
• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• Journal of Fashion Business
• /
• v.7 no.6
• /
• pp.10-20
• /
• 2003

The object of this research is to develop the designs with aesthetics and function for making the uniforms of specialty restaurants of Korean dishes in pursuit of the image of excellent dignity and its result is as follows: As for designs, this research chose the traditional image as the basic concept and made visual Korean lines, colors, and patterns. As for lines, it made visual the curve of the eaves, the straight line of polls, and the fret of windows and doors represented in architecture and applied them, as for color tones, it chose traditional 'Obangsaek', five direction colors. As for the patterns, it symbolized 4 trigrams( Geon, Gon, Gam, and Yi), the cloud pattern, also it tried to get the formative beauty from traditional patchwork wrapping cloth and windows and doors. The expectant effects on the design of Uniform are as follows: First, it offered basic clothes for male and female employees working in the hall and suggested two kinds of skirt and pants for the latter. It tried to find out both the function of pants and the female beauty of skirts by wrapping on pants to eliminate the feeling of rejection towards the style of them, the use of which have been recognized for man only in spite of many merits of them. Second, it sought for the characteristics of shape on collar, breast-tie, and fold etc. of Korean clothes and designed clothes according to each employee's role and finally emphasized their traditional aesthetics.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.3
• /
• pp.53-59
• /
• 2010

This paper mainly focuses on the Korean Folk Village and Beijing Si-He-Yuan, according to the color theory of hue, value and chroma of Munsell color system to demonstrates the similarities and differences of the traditional upper-class housing between South Korea and China. As the neighboring countries sharing very similar culture and philosophy which owe to the continual communications between China and Korea in the history. The Obangsaek which is derived from the thought of five-elements profoundly and deeply impact on the color selection of traditional housing in both countries. According to the quantitative analysis of photographs, it was found that: 1. The commonly used colors in Korea are Y, YR and neutral color, but in China, people usually used R and GY, especially the high chroma red in Beijing Si-He-Yuan was used as a symbolic color. 2. The chroma preference of traditional housing reveals that people in China used to apply the polychrome and various brightness, on the contrary, the color of low chroma and high lightness were used to be applied in Korea which can give the sense of simplicity and tranquility. 3. Red, one of the Obangsaek affects the color characteristic of Beijing Si-He-Yuan critically but scarcely impact on the color characteristic of Korean Folk Village.

• Journal of the Korean Society of Costume
• /
• v.56 no.8 s.108
• /
• pp.95-112
• /
• 2006

This study examines the Korean traditional and characteristic coloring through the color of Korean traditional embroidery. This research gives the chance to establish the cultural identity of Korea and presents the aesthetic standard of color images. Also, practical use of Korean traditional colors through this study provide opportunities which develope cultural merchandise in the world. were chosen as the references to analyzed the Korean traditional colors through gungsu: court embroidery, buddhist embroidery, everyday embroidery and clothing embroidery. Because this book published in commemoration of '20th General Conference and 21th General Assembly of ICOM' in 2004, which presented excellence of Asian culture. The color of these works were divided by 'Pantone Solid Color Chips' which organized by CMYK color system and categorized by Obangsaek. 'Gungsu' had vivid and splendid color sense which used strong and bright colors and 'buddhist embroidery' had mild and mysterious feelings which used low saturation.'Everyday embroidery' used the red color group frequently and 'clothing embroidery' had brighter colors comparing to other embroidery groups. The 'Chung(blue)' group had diverse color tone rather than one-tone color. This means that Koreans prefer the 'Chung' and used it regularly, also this color symbolized the racial characteristics. Even though 'Whang(yellow)' was prohibited because the color for emperor, in the case of embroidery, there were a variety of yellow colors from 'gold' to pale yellow and grayish yellow. The arrangement of colors in 'gungsu', tone on tone, complementary and bicolore coloring was used mostly which presented a strong and elegant color sense. On the other side, 'buddhist embroidery' used tonal coloring which gave gentle and noble feeling. 'Everyday embroidery' presented separation and accented coloring which was the example of common people's humor and originality. In the case of 'clothing embroidery', there was dominant lightness, separation, tone on tone and camaieu coloring which added gorgeousness in Korean traditional clothing.

• Fashion & Textile Research Journal
• /
• v.9 no.2
• /
• pp.176-187
• /
• 2007

Buddhist paintings in the late Joseon dynasty are characterized by diversification and subdivision of subject matters. Buddhist paintings rapidly declined since 19th century, being miniaturized and showing complicated composition. Figures that identified the shape of shoes in Buddhist paintings of late Joseon dynasty included sacheonwang that were placed in the left and right bottom of Buddhist paintings, sinjung, gwiwang and pan-gwan of siwangtaeng. Sacheonwang, an Indian folk god, was depicted as a noble person in "ahamgyeong", an early sutra, but was depicted as an armored warrior in Mahayana Buddhism world. The style of shoes sacheonwang in Korea were different depending on the times. The shoes of the sacheonwang sculpture in Seogguram of Shilla dynasty are sandal type. The sacheonwang that was drawn on Jijangbosaldo in Goryeo dynasty wears non-showy armor and red yi(履). The sacheonwang that was expressed on Buddhist paintings in Joseon dynasty wears showy armor and decorated hwa. Comparing the yi of Goryeo Jijangbosaldo sacheonwang with the yi of Bodhisattva on the Dunhuang yeolbanbyeonsangdo, Jijangbosaldo sacheonwang's shoes are Korean style in which the sole is flat and the front part has no decoration, but in the shoes of Bodhisattva on the Dunhuang yeolbanbyeonsangdo the sole is not flat, the front part is lifted. The style of shoes of pan-gwan, who is depicted on Siwangtaeng, is hwa. However, unlike the decorative hwa of sacheonwang, its front is not lifted and it has no decoration. It is assumed that the shoes of sacheonwang or pan-gwan represented obangsaek based on the idea of eumyang-ohaeng. Depiction of shoes shown in Buddhist paintings reflected the phases of the social life. In addition, the sandals of Shilla sacheonwang implies that sourthern culture in addition to Buddhism was introduced. Having expressed the shoes of Goryeo sacheonwang with conventional yi implies that Buddhism governed the inner world of the people, and the shape and material of the shoes reveals aristocracy. It is assumed that that an armored warrior wore yi, not hwa implies that the then society was stable. Also, it is assumed that that the shoes of sacheonwang on Buddhist paintings in Joseon dynasty were hwa implies that the role of tutelary god was stressed in the disordered society.

• Journal of Korean Home Economics Education Association
• /
• v.32 no.1
• /
• pp.51-76
• /
• 2020

The purpose of this research was to develop the education program on traditional living culture for home economics(HE) based on the 2015 revised national curriculum. The existing school curriculum for traditional living culture tends to overly focus on the theories about traditional culture and suffer from absence of continuity in learning activities. It can be argued that HE is an ideal subject for dealing with traditional living culture as it aims to develop students' ability to recreate the traditional culture, meeting present needs and trends. This study, thus, attempted to present the practical ways of improving the quality of education on traditional living culture by developing HE education program for high school students. To fulfill the purpose, this research, as a teaching topic, selected the traditional patterns and the "Obangsaek"(Korean traditional five colors) which can commonly be dealt with in the subjects of traditional Korean food, Korean costume and Korean style house. In particular, the program was developed following the ADDE process. In the stage of analysis, this article analyzed the HE curriculum and making activities included in HE textbooks based on the 2015 revised national curriculum, as well as the needs of teachers and students regarding traditional living culture education. In the stage of design, this study developed the instructional model, selecting class topics, tools and materials. In the stage of development, the programs on traditional living culture including costume, food and house were developed. In the evaluation phase, this research conducted the validity test and received the feedbacks from 12 HE educators in order to complete the programs. This study finally suggested that future studies in this area examine the effect of the presented programs on enhancing the students' perception of traditional culture and the will of developing and succeeding the traditional living culture.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.1
• /
• pp.15-31
• /
• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• Journal of the Korean Society of Food Culture
• /
• v.30 no.3
• /
• pp.296-312
• /
• 2015

This study conducted a literature review, field study, and in-depth interview on the build order, cooking method, and origin of 'Donggot-tteok (rice cake)', which was the ritual food for 'Chungjae Gwon Beol from the Andong Gwon clan Jong-ga' in Bonghwa, Gyeongbuk, who deifies Chungjae Gwon Beol as Bulcheonwi. Donggot-tteok of Chungjae Jong-ga is classified as one kind of Bonpyeon (Janjeolpyeon) and 11 kinds of Utgipyeon, and assumes a unique circle build shape. According to the results of the literature review data in 2004 and 2010 with field study data in 2014, the build order, materials, and cooking method were maintained without large changes. With regard to Utgipyeon with which Donggot-tteok is topped, Cheongjeolpyeon, Milbiji, Songgisongpyeon, Gyeongdan, Ssukdanja, Bupyeon, Japgwapyeon, Jeon, Sansim, Jo-ak, and Kkaeguri were heaped in each layer, and the beauty of obangsaek (five colors) was well harmonized. Besides, with regard to the origin of Donggot-tteok, which was presented without elaborating sundry records, we examined the possibility of being introduced from the royal court through old paper and the Jokbo (family tree) that Jong-ga owns.