• Journal of the Korean Society of Floral Art and Design
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• no.42
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• pp.63-96
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• 2020

The flower arrangement that human beings interact with the natural plants have characteristics according to their historical background and ethnicity and different aspects of culture related of the flower arrangements have been created by human inspiration and formative ability. The Korean flower arrangement is a product of civilization which originated in the natural environment of the four seasons. As background with the natural unity ideology, the Korean Flower Arrangement makes the life and philosophy of the naturalistic nature that flows in the mind of our nation to the relaxing beauty suited on cultures of ages by the Virtue, the Will, and the Vitality. The Literary Flower Arrangement is, based on the higher human personality and poetic sentiments as ideologies of our traditional oriental philosophy, the formative art made for aesthetic implications of philosophy by consisting plants' characters and tastes without expression of technical skills. In this study, focused on pine tree, in order to clarify that the flower arrangement of our spiritual culture is the Literary Flower Arrangement, make Identifying aesthetic characteristics through, the backgrounds and sources of being expressed by the Literary Flower Arrangement, poetic feelings, symbolism, metaphor, the formative form of flower arrangement, decoding of the flower arrangement genes, and the same time deduce the record of literary work and classify it each era, and establish the Literary Flower Arrangement theory which is the essence of Korean flower arrangement.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.61-92
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• 2019

We attempted to find the style of flower arrangement from the drawings of Uigwe and paintings of folding screens for the royal ceremonies of the late Joseon dynasty. In the pictures of the Uigwe and folding screens, we could see the linear, circular, and oval types Junhwa used to decorate the left and right sides of the throne placed in the center of main parish at the national banquet. There were also identified the Sanghwa which was used to decorate food on it, Jamhwa which was used to decorate head to be worn on the caps or hats, and Hwaga which was used to decorate the style supporting the large awnings at the national banquet. Hwaga was found, in the Musin Jinchan Dobyeong. In 1795, it was found that decorations on the floor, which are quite similar to the table decorations and modern space decorations, and flower shoot presented by king and flower decorations which were bound to the stick which was presented by king to country old men from Wonhaeng Eulmyo Jeongri Uigwe and Hwaseong Reunghaengdobyeong

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.7
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• pp.921-928
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• 1999

The purpose of this study were 1) to find out impression dimensions of the dress wearer with various motifs 2) to evaluate the impression effects of motifs in Korean traditional dress for women. The research method was a quasi-experimental with the between subjects design. The experimental materials developed for the study were a set of stimuli and response scale. The stimuli were consisted of 12 drawings with full factorial design of 3 independent variables : motif sorts (2:flower animal) motif types(2: realistic stylized) motif arrangements(3: all over the traditional to modern) The stimuli consisted of color photographs and color of clothing and motifs was controlled the blue. The response scales were consisted of 30 bi-polar adjectives. The subjects were 333 undergraduate college students of Taejon. The data was analyzed by factor analysis MANOVA and Duncan's multiple range test. Results were as follows: 1. The wearer's impression were consisted of the 3 different dimensions : attractiveness · dignity dimension. Interaction effect among motif sorts motif types and motif arrangements was significant on the same dimension. Interaction effect between motif sorts and motif arrangements was significant on the visibility dimension. 3. The motif arrangements were a significant variable on the attractiveness·dignity and the evaluation dimension. The traditional arrangement and the modern arrangement showed more faborable impression and the all over arrangement showed less favorable impression on the attractiveness·dignity dimension. The all over arrangement showed positive impression on the evaluation dimension and the traditional arrangement and the modern arrangement showed negative impression on the same dimension. There were no significant difference between flower sort and animal sort and also no significant difference between realistic type and stylized type in their impression effects.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.11-21
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• 2004

This study examined the kinds, shape, technique, and arrangement of pattern for the Korean traditional women costume between 1995 and 2002. The sources used this study were collected from the magazine “HANBOK, ONGOJISHIN, BEAUTIFUL OUR DRESS” Results were as follows 1) In the kinds of pattern, the most pattern of use was the flower pattern, and the geometric pattern showed the trend of increase. these results mean the use of pattern lately is progressed by the new direction. 2) In the shape of pattern, the style shapes were decreased gradually and the geometric shapes were increased. these results show that the modern beauty is chased. 3) In the technique of pattern. the results viewed that the embroidery technique used in the meantime decreased and the JOGAKBO technique increased. 4) In the arrangement of pattern, the modern arrangement was most superior in the most of year. That is estimated the arrangement of pattern have been chased the modern beauty than the others of pattern.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.999-1010
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• 2005

The purposes of this study were to investigate used patterns in Hanbok and to find out a classification and a characteristic of motifs. The data made use of 111 pictures constituted Gegory(a Korean jacket) and Chima(a skirt) in photographs collected in wedding magazine(Wedding 21'). The data was analyzed by frequency, contents analysis. Pattern's use or not in Hanbok and a sort, a arrangement, a way of expression of patterns using frequency Classified and characteristics of motifs were analyzed contents analysis. The results of this study were as follows. First, a sort of patterns was lots of flower motifs of the plant pattern. An arrangement of and expression of patterns used mainly a partial arrangement and embroidery expression. Second, the subjects classified using criterion of classification of a external feature, forms of expression, and simplicity/complexity of line. Third, the motifs classified into plants, an animal, geometry, abstraction, and a natural object. The plant motifs were perceived the focus of flower, a combination of a flower and a stem in the plant motifs. The subjects perceived as a simplicity/complexity of flower and a drawing line of a flower and a stem.

• Journal of the Korean Society of Floral Art and Design
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• no.45
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• pp.57-76
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• 2021

Sanghwa (Table flower) style, the flower decoration of food table, was found in the paintings of Joseon Dynasty's event and civilian life. On the court event paining, there was always Sanghwa decorating the food, and it was found that the types of Sanghwa and the ingredients used were different depending on the status of the participants. The Uigwe recorded the type and number of Sanghwa, and the number of decorations was different depending on the purpose of the event or the status of the person being treated, and the Sanghwa was pre-loaded and transferred. In civilian life, Sanghwa was found to have been decorated not only on top of the food but also on top of the food table.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.56-73
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• 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 Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.705-725
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• 2015

A Beoseonbongip is a pouch that holds patterns for making Beoseons. This study aimed to identify the aesthetic and symbolic contents of the embroidery patterns by analyzing the kind, combination types, expression and arrangement types of patterns. In total, 140 Beoseonbongip artifacts, which were mostly made in the Joseon Dynasty, were quantitatively and qualitatively analyzed. The results indicated that about 83% of the total had flower patterns. Various kinds of embroidery patterns used for Beoseonbongips were newly identified. About 73% of the total had different kinds of patterns. Pattern combination types were identified by the kinds of patterns, the number of paired patterns, and the traditional painting styles used. The patterns of Beoseonbongips were expressed schematically more than realistically or abstractly. Beoseonbongips with different patterns on the four triangle tips of the front face and Beoseonbongips with the same/similar patterns on two opposite tips of the front face were observed more than the other types. On the back face, the embroidery patterns were symmetrically arranged, showing various division structures. It was inferred that wishes (e.g., marital harmony, fertility, good health and longevity, happiness, and wealth and fame) were expressed through the symbolic patterns embroidered on the Beoseonbongips. In terms of Korean traditional beauty, the union with nature, the harmony of yin and yang, symmetric balance, and neatness were also emphasized as a esthetic characteristics of Beoseonbongips.

• FLOWER RESEARCH JOURNAL
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• v.18 no.2
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• pp.125-135
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• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.