• Journal of Fashion Business
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• v.20 no.6
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• pp.79-93
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• 2016

Since the development of patterns using tessellation is applied to a wide range of fields such as clothing, architecture, environment, and products, etc. and its expression principle is also found in various fields such as mathematics and science, etc. However, this pattern is mostly used as a math material with little studies on fashion and culture. In addition, it is thought that Korean traditional culture products need more various and modern design development methods and pattern through preliminary investigation which is simple copy of traditional items, simple copy of Korean Alphabet, Chinese character, and folk paintings. Therefore, it will present the method to make more design cases using Tessellation. Tessellation that combines mathematics and art will be the infinite form of designing of designers as well as creative training way to understand the composition principles of old culture and to raise sense of modern design. Tessellation of regular triangle, regular square, and regular hexagon was performed on the patterns which have meaning of wealth and prosperity of Korean traditional patterns. As the concrete method, first, each side of the regular triangle is developed symmetrically with patterns of fish, turtle, and cicadas. Second, rotational movement after symmetry movement about middle point of one side ${\times}$ 1 symmetry movement about middle point ${\times}$ 1 using crane and cloud, of the regular triangle was performed. Third, the regular square was tessellated parallel movement ${\times}$ 2 with "Da(multi)" and dragon pattern as the source image. Fourth, the sitting tiger was tessellated with symmetry movement about middle point ${\times}$ 2 and parallel movement ${\times}$ 1. Fifth, three bat patterns are tessellated by again rotational movement of two sides after rotational movement of one side and rotational movement of the other side. In addition, It developed traditional culture product design of the scarf, umbrella, aprons, neckties.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.670-687
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• 2014

This study focused on Jungchimak (coats with side slits) which was typically worn by men in the mid and late Joseon Dynasty. It was done research by examining the case of wearing Jungchimak centering on literature and paintings and analyzing its changes in terms of its form based on the relics that have been found in order to suggest the standard for the evaluation of the period of Jungchimak. Results are as follows. First, men who wore Jungchimak were the king, crown prince and Aristocratic under the official uniform or other robes or as ordinary clothes and shroud. Second, Jungchimak for king was mostly made of Dan (satin damask) and mostly jade green & navy in color, and it commonly used dragon pattern, cloud and treasure pattern, or grape pattern. The fabric used to make Jungchimak for crown prince was Dan & Ju (coarse-finished silk) and puple, green, jade green & navy in color. The fabric used to make Jungchimak for Aristocratic was Ju and indigo or white in color. Third, 251 relics have been announced until now. Most of them were made of silk fabric and had cloud and flower patterns. Fourth, Jungchimak showed changes through time in terms of collar and sleeve shapes, the ratio of armhole to sleeve opening, Geotseop (panel sewn on front opening for overlapping), Dang and Mu (side panel), the ratio of the total length of outer collar to the length of side slits, and the ratio of chest size to the width of lower end.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• International Journal of Human Ecology
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• v.9 no.1
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• pp.29-40
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• 2008

This study clarified the classifications of Vietnamese traditional patterns and analyzed the symbolic meanings that reflect the emotional and cultural background of the Vietnamese. The type and symbolism of Vietnamese traditional patterns were analyzed through research on the history of Vietnamese costumes, the history of Vietnamese arts, the history of Vietnamese traditional culture, and a Vietnamese museum survey. The results of this study were as follows: 1. Animal patterns are diverse and include dragons, unicorns, tortoises, phoenixes, cranes, lions, bats, tigers, and buffalo patterns. 2. Dragon patterns are the most utilized pattern for practical purposes. They are often used in royal costumes, Vietnamese traditional dresses, mandarin boots, bamboo fans, silk, satin, ceramics, and other detailed decorations. 3. The patterns symbolized fortune that meant good luck and longevity so people can live long and happy. Then the symbolic meanings of patterns were followed by prosperity, nobleness, apotropism, prolificacy, and wealth. 4. Since the most of animal patterns have symbolic meanings of fortune and longevity, animal patterns can be utilized as the source of traditional patterns of design inspiration for the development of Vietnamese modern patterns and the application on Vietnamese fashion products.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.87-96
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• 2009

Dangui is a formal dress of the wives of high officers and royalty in Chosun Dynasty and it was worn as a day dress in palace and a semi-ceremonial dress in upper-class households. Among the remains of Dangui a double-layered Dangui was found in which two sets of Dangui were combined to be worn as a single piece. The double-layered Dangui consists of an Over-Dangui and an Under-Dangui. The results of the examination of the remains for the Over-Dangui are as follows. As lone as the colors of the remains are identifiable, all of the Over-Dangui were green, whereas the Under-Dangui and lining materials were red. The textile was mostly in woven silk with pattern and it was frequently decorated with golden wefts or foils. A breast embroidery with phoenix and a dragon embroidery were also found. Such Dangui was worn mostly by the high members of the king's palace including the queen, crown princess, bastard princess, and monarch. There were two exceptions of wearing Dangui outside the king's palace. A simple Under-Dangui was made to enable a comfort fit of the two sets of Dangui and the suture was partially sewn. With three doth strings and cuffs, two pieces of Dangui were eventually assembled into one piece of clothing. Differences between the remains and the documents were also found in regards to textile and wearers of Dangui.

• Journal of architectural history
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• v.25 no.6
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• pp.81-88
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• 2016

The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu P avilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu's crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung P alace. With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Journal of Dental Rehabilitation and Applied Science
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• v.27 no.3
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• pp.293-304
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• 2011

The purpose of this study was to investigate the displacement and pattern of stress distribution on periodontal ligaments of maxillary first and second molar, and on orthodontic mini-implant (OMI) surface, according to three different insertion angles to the bone surface of OMI using Dragon helix appliance, which is a newly introduced scissors-bite correcting appliance. OMI were placed between second premolar and first molar with three different insertion angles (45, 60, 90 degrees). Displacement and maximum stress distribution area (MSDA) were analyzed by finite element analysis. When the insertion angle to the alveolar bone surface was 90 degrees, maxillary first and second molar both exhibited MSDA at the palatal root apex. Maxillary first molar did not show any significant displacement, while the second molar exhibited intrusive and palatal displacement. On the OMI, as the insertion angle decreased, the MSDA shifted towards the tip, and the amount of displacement had increased. When the OMI was inserted at a 90 degree angle, anchor loss was minimized and scissors-bite correcting effect was maximized.

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.97-109
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• 1997

Sean means a narrow cloth added to the edge of costume or cushion. At the beginning, Seon was originated to prevent from fraying warp of cloth or wearing out of cloth. However, with the progress of clothing culture, it is used to satisfy the human desire of decoration and enhance the function of costume. The Seon appeared on costumes of Ming dynasty was simple compared to that of the period preceeding it. The position of Seon was mostly at neckline, end of sleeves and hemline. The width of Seon also was quite monotonous and lacks of varieties. The patterns of Seon were limited to ax, cloud and dragon and cloud and chinese phoenix. And the colors used were also limited to four colors, namely Blue, Red Crimson and Black. In Ming dynasty, the same colors of Seon as those of the costume were more preferably used, while different colors of Seon were used in the previous era. The reason why Seon in Ming dynasty show simple design and use the same colors as those of the costume was due to Ming dynasty's desire to represent and to enhance her castic political structure. The need for class distinction was expressed through the pattern rather than the colors of the costumes themselves. While, in Ming dynasty, Bo(補) which was attached to the breast and the shoulders was used to represent the social class because it could be easily distinguished. In Ming dynasty, to stress Bo and to make Seon less conspicuous, Seon became simple and the colors of Seon were same as those of the costumes avoiding strong contrast in style and colors.

• Journal of Conservation Science
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• v.35 no.5
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• pp.403-415
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• 2019

According to oral tradition, the King Sejo's palanquin is indeed the palanquin of King Sejo, the 7^th monarch of the Joseon dynasty who reigned from 1455 to 1468, which was left behind after visiting the Magoksa temple. The palanquin is painted in five colors, mainly black, white, yellow, red and green. The chromaticity measurement of the yellow pigment showed that orpiment and gold are a noticeable distinction between the lightness and b^⁎ values. In the case of the red pigment, a^⁎ values of areas painted with cinnabar tend to measure at high values. As a result of the optical microscopy, scanning electron microscopy and energy dispersive spectroscopy analyses, it was determined that Chinese ink was used for the black pigment, lead white and white clay were used for the white, and orpiment and gold for the yellow. The red pigment was found to be the result of minium, cinnabar and red ocher, atacamite was used as green pigment. Though the analysis results of the cross sections on very small exfoliation fragments of pigments, it was confirmed that white clay and lead white were used for the preparation layer. In addition, several coloration techniques were considered based on these analyses.