• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.103-122
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• 2007

Fashion have been expressed by a face through various a period, social change, and various culture changing. Human expresses as "Transformation" by applying these needs of changing to the fashion. A origin tribe expressed its own self by using direct body transformation and extreme decorations in the past. However, human express creative and esthetic desire based on shape, material, and transformation method in the present time characteristics of the body. Exceptional transformation breaking a existing fixed idea appeared frequently due to dissolution through transformation which is positive expression method in the fashion from 20th century. As a results, followings are obtained in this study. First, human body transforms by using a tool or intermediation in investigation of aesthetic meaning for human body. The object, Transformation, is stably transformed by disintegration, distortion, exaggeration and simplification reduction, as design's sensitivity. Second, transformation from relation of clothing composition is expressed by extension, reduction, simplification, and dissolution. In transformation from original tribe's sensitivity, past decorative desire lead to transformation of human body. To give variable change from past to present fashion, external formative will is introduced. Then, extreme expression is made by direct transformation of clothing type. It seems to be accomplished that human body's expression method is continuously changed into extension, exaggeration, reduction, and dissolution from transformation method as described before. Transformation of modem fashion is expression method by creative supervision. Extreme transformation substituted body's each part is based on immanent play and representative satisfaction. Through these transformation, it is judged that variety of creative type is achieved.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.116-128
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• 2006

The purpose of this study is to investigate Seon expressed in the costume of Chinese Song. For the purpose, this researcher classified types of Seon, found in the Chinese costume, in terms of composition method, decorative technique and used materials. In addition, the researcher attempted to analyze formative characteristics of Sean in accordance with the range and post of use, pattern and color combination. Seon expressed in the costume of Chinese Song can be classified into standard, decoration, application and Buseon in type. When the typical distribution of Seon expressed in the costume of Chinese Song, standard type was highest in percentage, especially different color type. Looking at the range of use, Seon was mainly used for outfits, especially Jikcheol(直?) and Hakchangeui for men and Baeja(背子) for women. Looking at the post of use, Seon was mainly used to edges of costume and sometimes also to seams. In regard to materials of Seon, they were selectively used depending on the existence or non-existence, size and brilliance or non-brilliance of pattern employed in the texture of Seon. The most commonly used pattern of Seon was single-type pattern, especially the pattern of plant. Pattern arrangement was most often filling in type. Concerning the color combination of Seon, men's dress most often used black-white combination, followed by different color combination while, women's dress most often employed complementary color combination, followed by different color combination.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1255-1263
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• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.9
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• pp.1430-1440
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• 2009

This study is on the abstract expressionist techniques among the art activities variously expressed in modern fashion. Its significance lies in making fashion artistic through the combination of fashion and art in contributing to the development of creative fashion culture. In terms of method, documents are used to characterize the concept of abstract expressionism, the works of representative artists, and the panting techniques in relation to modem art based on existing literature. Fashion-related anthology, domestic, and foreign fashion magazines were used to analyze the abstract expressionism applied to modern fashion since 2000. According to the findings, the abstract expressionism applied to modern fashion showed artistic expressions with the abstract beauty by chance, using only the images or techniques similar to those in abstract expressionism. Expressionist works had abstract and dynamic images, as they were given a third dimension through the process of being worn on the human body. Second, details or decorative factors were excluded to ensure the maximum space for expression, modem images were displayed using the simple forms such as silhouettes (spacious or dense) and the beauty of harmony was shown that had beauty emphasized by the expression effects of textile design, the division of space, and the composition of colors. Third, the action painting techniques in modern fashion were used for textile designs printed on the surface of clothes, and the dynamic character of the design was shown by the duplication and juxtaposition of stains created by chance. The color field abstract techniques were shown through printing, texture, and dying, in addition the intense and pure abstract images were displayed by treating clothes like large screens.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.113-122
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• 2023

This study was conducted on the premise of the development of cultural products using relic assets of traditional culture in a knowledge and information society led by culture and soft power. It was conducted in the context of exploring the possibility of cultural content products of Wa-Dang relics excavated from traditional architecture in the Unified Silla Period and expanding the scalability of commercialization motifs that are highly useful in jewelry design. First, the original form, material, use, size, meaning, and formative aesthetics of Wa-Dang were identified through literature and media research. Among the considered Wa-Dang, 10 types of Wa-Dang which represent the category and have values in modules and patterns were selected, and, then, circular images were extracted and modularized with a "formal simplification technique." Based on the "mathematical symmetry analysis technique," which is a method of systematizing pattern composition arrangement format. we derived a planar formative element that can be used in the development of the cultural content industry and jewelry design. In order to expand its usability in the jewelry industry in the future, it was presented as a 2D digital image. In the future, we hope more studies on the various cultural content industry utilizing the traditional culture will be carried out.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.33 no.6
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• pp.234-243
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• 2023

Zinc crystals of ZnO and SiO₂ in glaze raw materials, developed according to composition and firing requirements, are preferred because of their high decorative properties. However, most zinc crystal glazes have a high firing temperature and a narrow firing temperature range, making it difficult to use them as commercial glazes in ceramics. Therefore, in this study, it was expected that the firing temperature of a typical zinc crystal glaze could be lowered to below 1270℃ by using the eutectic effect through mixing frit, the main raw material used in manufacturing zinc crystal glaze. As a result, not only was the formation temperature of zinc crystals lower in the mixed frit glaze, but also the firing temperature range was widened to 1230~1270℃, making it possible to develop a glaze that produces crystals stably. The firing temperature was lowered to 1230~1250℃ and the holding temperature during cooling was lowered to about 950℃, resulting in the development of an economically effective glaze. When using a combination of frit, it has been shown that the holding temperature during cooling affects the recrystallization of zinc crystals depending on the composition of the glaze, and the crystal structure can be adjusted at this time. Additionally, the amount and shape of crystals can be controlled by using a nucleating agent.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Conservation Science in Museum
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• v.17
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• pp.69-84
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• 2016

Yuso is the term for decorative tassels of a braided string which hangs a scroll painting. This study, drawing on extant research concerning the yuso made for Joseon period portrait scrolls of kings and meritorious retainers, focuses on the yuso created to hang literati portraits. Concretely, It examines yuso of seven portraits in the collection of the National Museum of Korea in order to characterize their appearance and determine their material composition. The study found that most of the yuso are sixteen-strand strings braided into a rounded cross-section(dongdahoe). The seven yuso, of which six are red and one indigo-blue, reflect the popular style associated with Joseon period literati portraits. The yuso for the portrait of Yun Geup(duksu 3503) is made from gilded paper. Analysis showed Fe particles present in a red pigment underlying the gold layer, suggesting the presence of red ochre(seokganju), an iron oxide mineral. The yuso of the portrait of Shin Im(duksu 4846) is used a paper which contains gold as well as traces of Pb, Hg and Ag. The paper in the yuso for the portrait of Yi Seongwon(bongwan 10122) mainly consisted of Ag, indicating silver paper having been used in its fabrication. The inner paper in the yuso of the portrait of Yi Seogu(sinsu 1065) is a leather combined with Ag, Fe, and Br, according to chemical analysis. The FTIR of the leather sample reveals that the spectrum in the fingerprint region is nearly identical to that of sheepskin, indicating the yuso was made from gold-coated sheepskin.

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