• 복식
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• 제56권8호
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• pp.35-44
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• 2006

The purpose of this study was to comparatively analyze the characteristics of traditional costume colors of Korea China Japan with quantitative methods. The range of this study was limited to the costume colors from 16th to 19th century. For this study 1333 color samples were collected by measuring with a spectrophotometer. The results of this study are as follows: Red, Yellow Red, Yellow and Purple Blue had been used in common for the traditional costume colors of Korea, China and Japan. Yellow of Korea, Purple Blue of China, Yellow Red of Japan showed the high frequency. Red, an asian preference color, had most frequently used in korean traditional costumes. Pale toned Yellow and Yellow Red, high saturated Red and low valued Purple Blue had been preferred for korean traditional costumes. The preferences of high saturated Red and low valued Purple Blue were based on the Five Element theory and the pale toned Yellow and Yellow Red were used with the preference of White and natural colors. In China the traditional costume colors had used with the Five Element theory also but they had preferred Purple Blue, deep & strong toned Red to Yellow Red and Yellow, Yellow Red, Purple and grayish colors had been frequently used in japanese traditional costumes. In the results of color distributions in $L^*a^*b^*$ color space, korean and chinese traditional costumes colors concentrated in some areas like Yellow, Yellow Red, Red and Purple Blue. Japanese costumes colors showed the even distribution with the diverse toned colors. Korean traditional costume colors corresponded with the Five Element theory rather than China and Japan. Japan had used the costume colors with the racial sensibility rather than conceptual color theory.

• 복식문화연구
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• 제7권1호
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• pp.82-99
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• 1999

The purpose of this study was to investigate the traditional costume colors in ancient Korea. The results of this study can be summarized follows : The traditional costume colors in ancient Korea was affected on Chineses goverment official\`s costume colors, specially in Tongil Silla Dynasty. Goverment official\`s costume colors were purple(紫), red(赤), yeoolw(黃), blue(靑). The traditional Korean colors for clothes were devided in the white costume for low class and the colored costume of high class. The traditional Korean colors for colthes became fixed in the later Chosun dynasty, According to developing of dyeing technic, the prohibition of red costume for low class made for wear red undercloth. And on account of costume color in sumptuary law occured the transition of costume color. As transition of costume color, yellow(黃) changed in light in light yellow(松花色), purple(紫) did in dark green purple(茶割) Also it was found that the traditional Korean color for clothes was many kinds of soft, deep, natural colors out of red(紫)·yellow(黃)·white(白)·black(黑)·blue(靑).

• 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.

• 한국가구학회지
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• 제26권3호
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• pp.286-290
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• 2015

The wood veneers were clearly rainbow-colored with natural dyes. As shown through Korean-style jacket with stripes of multi-colors beyond traditional obang colors (red, blue, yellow, black and white colors), eco-friendly coloring methods representing Korean colors familiar from old times could be used nobly by coloring natural wood veneer being raw material of wood products. In terms of industrialization, the study to manifest korean color, substituting chemical stains such as dye and pigment, would be necessary. In order to realize this purpose, the study about economical dyeing materials and characteristics, that is, mordant, dyeing and drying techniques showing environment-friendly coloring and high coloration level ought to be followed. In addition to this, investigating discoloration transition by fading test for interior and exterior uses would have to be carried out.

• 복식
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• 제56권6호
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• pp.16-32
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• 2006

Perceived meaning of color uniquely forms and is being highlighted as an element of creative design in the modern design industry as well as traditional culture. It is necessary to compare the perceived meanings of color and clothing color of Korea and Japan in order to find out the model of Korea's original color. The purpose of this study Is to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of the both countries and comparing them depending on contemporary times. The scope of study is limited from the ancient times to modern times (about BC.IC-early20C). In the methodologies, the literature and the empirical study focus on both counturies' literature, including art history, ethnology, and the history of clothing; and their paintings and relics, which are all related to clothes. The perceived meaning of color of Korea was prominent with the beauty of nature and gorgeousness throughout the history. The colors were mostly white colors, light colors, and single colors such as obangsaek, which are high pure degree colors by which color is changed depending on darkness and lightness, while that of Japan featured clothing colors combining various colors and middle colors.

• 복식
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• 제56권8호
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• pp.95-112
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• 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.

• International Journal of Costume and Fashion
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• 제7권1호
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• pp.49-61
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• 2007

The subject of study concerns the color characteristics of clothing/accessories from �Chosun�a nd modern Korea. It particularly focuses on the colors of the �Jeogori? traditional jacket) which represents Korean traditional clothing. Color data were collected from 353 woman�s �Jegori�s from �Chosun�a nd modern Korea and divided into the predominant colors & sub colors, and analyzed with HV/C and PCCS. According to the analysis, the representative the predominant color of 'Chosun Jeogori' for woman is YR, Y and side one is R, YR. The p, dp, sf, ltg colors are frequently found and the freshness of most of them is medium or low which shows a calm-feeling. The p, and ltg tones are often found as a the predominant color and p, dp are also often found as a the side color. In the 'Chosun Jeogori' for woman, the predominant colors and the side colors spread in a similar frequency and most of them have medium or low freshness of the color that shows a calm-feeling. The side color is one of the R colors and it shows characteristics of traditional coloring such as �Jajoo Goreum? Among the �Jeogori�f or modern women, the R, YR, Y, and B colors are often used for the single-color �Jeogori? the Y, GY, N, G colors are for the colorful �Jeogori? The P, lt, and b tons of the color are often used for a single-color �Jeogori�a nd the p, lt, and W are for the colorful �Jeogori? For the colorful �Jeogori? the side color have a high freshness which shows that a strong image was used frequently as the dp, s, dk tons of the color were often used. According to an analysis of the coloring, the predominant color and the side color of �Chosun Jeogori�a re applied to create a harmony of analogy & contrast in one aspect of Moon & Spencer�s view. It is found that the predominant color and the side color are similar or contrasting in one view of the color harmony, except that the traditional the �Jeogori�i s colored by ideological and symbolic meanings. The predominant color and the side color of modern the �Jeogori�a re complementary colors which are applied to the indistinct relationship or contrasting harmony in one aspect of Moon & Spencer�s view of the color harmony. The characteristics of the color as above show that traditional the �Jeogori�r egards the side color as both the harmony of the colors in general and also of symbolic meaning, while modern the �Jeogori�f or woman has a tendency toward a cultural transition and is mixed with new colors focusing more on its the predominant color than on the general harmony and character of ideological & traditional coloring.

• International Journal of Advanced Culture Technology
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• 제12권3호
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• pp.52-56
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• 2024

The ancient ancestors of Korea believed that the five directions of east, west, south, and north were important, and that there was a god in charge of each of the five directions, and that he was in charge of the universe, nature, and life. In Korea, the traditional colors follow the Yin and Yang Five Ceremony. The five elements were placed in the bearings symbolized by wood, fire, earth, iron, and water, namely east, south, center, west, and north, and the symbolic colors were called blue, red, yellow, white, and black according to their connotations. These colors should be the five element colors. In studying the colors of the five elements, this researcher found that the five element colors were inconsistent in each of the existing studies. Therefore, the characteristics of the Yin and Yang Five Elements were carefully examined, and the Five Element Colors pursued by the ancestors were identified, and the Five Element Colors were defined to fit the present era. According to modern color standards, the three primary colors of color, cyan, magenta yellow, and the five colors of pure black and pure white, can be said to be the colors that most correspond to the Yin and Yang Five Symbols.

• 유통과학연구
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• 제15권3호
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• pp.39-47
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• 2017

Purpose - The purpose of this study is to measure the effect of brand awareness by color marketing to purchase and revisit intentions in Traditional Markets. Research design, data, and methodology - For this study, 5 point Likert-scale was used based on previous research. Used SPSS ver.22, factor analysis and Cronbach's alpha, regression and correlation were tested. 254 samples were used for the analysis. Results - The three attributes of color marketing(symbolism, identifiability, association) exerted significant effects on brand awareness of traditional marketing explained 38.7% of the variance. Thus, , , and were supported. However, was not supported. Conclusions - Colors play important roles in establishing new images in consumers' minds. The visual sense affects emotions and attitudes and most of the visual sense is affected by colors. Colors that we see move people's heart and induce atmospheres thereby greatly affecting humans' physical and mental activities. To increase traditional market brand awareness, it is necessary for traditional markets to display a level of attractiveness through the use of colors and visuals. So to use color marketing in traditional market is very important for brand awareness which can cause purchase and traditional market revisit intension.

• 한국의류학회지
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• 제18권1호
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• pp.121-129
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• 1994

A study focused on the implication of the blue and black colors in Korean traditional costume is presented. The presented study shows that the blue color in most of literatures regarding Korean traditional costume implies not only green and blue colors, but also dark blue and black colors. In a broad sense, the blue color implies a color category which includes green, indigo, blue, dark blue and black. On the other hand, the color includes blue, dark blue and black in a narrow sense. The rotor black, however, should not be interpreted as blue and dark blue because it has two bypes of black colors with and without reddish tone. Four reasons that the color blue was understood as the color black were discussed in this paper. The fundamental reason was that the blue color looked like black because of dark shadows. Secondly, there was a difference of color awareness between the color blue in Korea and in China. Thirdly, there was a color difference related to the type of textiles. Finally, other substitutes were used because of the lack of blue dyes.