The purpose of this study is to apply the traditional Chinese fretwork on the ‘Faux Chenille’ textile work method in a way of enhancing the decorative features of patterns and developing the fashion design. As for the method, it works on the historic background and advancement of the fretwork and it refers to the bibliographies pertinent to the traditional Chinese geometric pattern. The result are as follows. First, pure cotton and 100% rayon are mixed to make it feasible to produce the texture for the material to be tender and enhanced, and in the process of washing and drying the Faux Chenille textile. The Faux Chenille textile is an important material that is required to select materials with great absorption capability as the most effective material to re-visualize the lines and patterns by sustaining the diagonal lines. Second, the fretwork is designed to process the basic formation for 90° angle with the sense of unlimited extensive line and changes with straight line. It has been confirmed that, if the angle that controls the Faux Chenille textile and the tailoring interval are well aligned, the expression of traditional geometric pattern would be effective and it may be expressed in contemporary style. Third, through the fashion design application by utilizing the Faux Chenille textile of the fretwork, it is confirmed that the contemporary application of the traditional culture could be expressed uniquely and creatively while it is affirmed that the western technique and Asian culture can be blended in harmony.

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.

The purpose of this study is to identify the figurative characteristics and symbolic meanings of the patterns of royal families in the late Joseon Dynasty based on the theoretical examination as well as the overall characteristics of the colors based on the quantitative analysis of colors. This study focused on the costumes of King Young royal families in the late Joseon Dynasty which is the last costume of Joseon Dynasty and classified 129 relics under preservation for the analysis. This study analyzed the colors using the digital data in the picture brochure as the previous studies did and presented the color palette. Based on this, a variety of textile designs that are developed by using the traditional patterns and colors could be applied to the modern fashion designs. For Patterns used in costumes of King Young royal families, the five pattern categories include animals, plants, letters, and geometric patterns and the final category of other types. The features of color in the costume were v tone of Y color and lt and p tones of Y color. The implication of this study is to develop textile designs which reflects conversion of past and modern cultures and cultural identity by applying the traditional cultural elements through literature review and empirical study and theses developed 8 textile designs could be applied to the various modesrn fashion designs.

Traditional culture could be a wonderful source of inspiration for creative design. Tteoksal, the stamps used for making decorative patterns on traditional rice-cakes, have been used and passed on to generations to show the emotions of our ancestors. Numerous traditional patterns found in Tteoksal can be used to better understand and transmit tradition in modern ways. The purpose of this study was to develop fashion cultural products with a modern sensibility by understanding the origin, types and characteristics of Tteoksal and its patterns. The method of this study was through considering the proceeding studies and the references published by a specialist and museums having some information about further knowledge on Tteoksal. In line with the aforementioned study, neckties, eco-friendly bags and pouches were developed as fashion goods. Among the Tteoksal's patterns selected were lotus, bats, 樂letters and complex patterns. Using a computer graphic software program such as Adobe Illustrator CS5, archetypes of patterns were traced as vector graphics, and two design motives were developed in every pattern. The patterns were developed into two types: one was a basic pattern faithful to a basic motive pattern, and the other was a varied type that was changed and applied. The fashion products were developed as two styles for basic and varied patterns for neckties, eco-friendly bags and pouch items. Twelve products were made for each pattern, which totals 48 unique products. In conclusion, the study could be a critical step to better understand the traditional culture and its influence to the patterns applied to modern fashion design.

This study attempted to understand the value of traditional floral wall patterns reflecting the distinct aesthetic consciousness of Korean people and reinterpret the images of floral wall patterns in simplified forms. In addition, the study created new floral patterns to apply them to the design of neckties and scarves. In a methodological aspect, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to make the traditional floral wall patterns motifs. Four basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating, and/or reducing shapes based on floral wall patterns, and each motif was developed in two variations with different colors applied to them. Each of the set motifs was expressed in a repeated arrangement and in a modified pattern of 45 degrees. Necktie design with a floral wall pattern made use of the motifs developed through a variety of effects such as simplification, repetition, size variation, and gradation and the pattern modified at a 45°for application. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed and expressed them through such effects as repetition, rotation, compositional variation and gradation.

The purpose of this study was to identify and compare the dimensions and patterns of the perception of traditional food for Koreans living in Yanbian, Mongolia and Uzbekistan. Items representing the perception of traditional food were combined into a dimension and a pattern based on underlying perception of the Koreans living in the area. Any difference in the perception of the Koreans living in these areas likely reflects their different dimensions and patterns. Thus, it is important to determine if Koreans living in Yanbian, Mongolia and Uzbekistan should be treated as a homogeneous group when defining their perceptional structure of traditional food. Factor and cluster analysis of the data generated in this study revealed two different dimensions and patterns for each group of Koreans living in Yanbian, Mongolia and Uzbekistan. However, the structure of the dimensions and patterns of the perception of traditional food differed, indicating that Koreans within and between the countries are not a homogeneous group. Similarities and differences in perceptional dimensions and patterns among Yanbian, Mongolian and Uzbekistan-Koreans are also discussed. Moreover, future implications for food and nutrition specialists, especially for those who have an interest in Korean traditional food in Asia and those who have an interest in globalization of Korean traditional food are provided.

The purpose of this study was to identify the dimensions and patterns of the perception of Korean traditional food and to find the determinants of the patterns between Korean and Yanbian housewives, taking food culture into account. Data were factor and cluster analyzed, and the results revealed two and three different dimensions and patterns for Yanbian and Korean housewives respectively. Descriptive statistics showed that perceptional patterns are likely to vary depending on cultural background of Korean traditional food. Similarities and differences in perceptional patterns between Yanbian and Korean housewives are discussed, and future implications for food as well as nutrition specialists and food marketers are provided.

월엄범오위(月掩犯五緯)의 사례에 나타난 전통적인 천문관(天文觀)에 관하여 중학생(164명), 고등학생(157명), 대학생(172명) 및 일반인(139명)의 판단 유형과 판단 이유를 조사, 비교하였다. 연구를 통해 얻은 결론은 다음과 같다. 첫째 , 월엄범오위에 대한 전통적인 해석 방식에 동의하는 응답자들이 15.7%, 동의하지 않는 응답자들이 38.1%, 분명히 말할 수 없다는 응답자들이 46.2%이었다. 상대적으로 많은 수의 대학생들이 전통적인 천문관에 동의하지 않는다고 하여 과학적으로 옳은 판단을 내린 반면, 그와 같이 판단한 중학생들의 비율이 가장 적었다. 둘째 , 전통적인 천문관을 판단하는 데에는, 응답자들의 집단이나 판단 유형과는 관계없이, 자연관과 과학관이 공통적으로 중요한 판단 이유가 되었다. 특히, 우리 나라의 전통적인 자연관과 유사한 관념을 지니고 있는 응답자들이 많았으며, 대부분의 응답자들은 다수의 경험적 자료와 실험을 통한 증명을 중요하게 생각하였다. 셋째, 고등학생들과 대학생들이 다른 집단에 비해 자연관이나 과학관과 같은 형이상학적인 믿음을 더욱 중요하게 고려하는 반면, 중학생들과 일반인들은 자신들의 개인적 경험을 상대적으로 보다 중요하게 생각하였다. 넷째, 응답자들의 사회적 경험과 과학 지식 또한 전통적인 천문관을 판단하는 중요한 이유가 되었다. 하지만, 응답자들의 과학 지식의 차이가 판단 과정에 서로 다른 영향을 미치는 것으로 나타났다. 이와 같은 결론들은 개인의 사고 과정에 영향을 미치는 요인들이 다양하며, 그들이 속한 집단이 공유하고 있는 사고의 방식 또한 서로 다르다는 것을 잘 말해 준다. 따라서, 다문화적인 환경을 고려한 과학 교육과 연구가 필요하다. 또, 학생들의 자연관과 과학관과 같은 형이상학적인 믿음에도 주목할 필요가 있다.

The purpose of this study is to investigate the patterns of Korean traditional food use in the households of middle aged women living in Kyunggido and Incheon area Four hundred eighty seven housewives whose children were in middle school answered the questionnaire about Korean traditional food use patterns in ordinary days, national festive days and in private celebration or memorial days. Most households have used Korean traditional table setting called Bansang as daily meals(96.7%) and have used home-made Kimchi(97.3%). However, the use of home-made Jang such as soy sauce, soybean paste and red pepper soybean paste was not very high(64.3%). Most households have celebrated New Years day(99.6%) with Ddukguk and Manduguk, Chusuk(95.1%) with Songpyun, and fruits, Full-Moon day(95.1%) with Ogokbap, Namul and Brum. Dongji was celebrated with Patjug by 73.3% of households. However, Samjitnal and Danho were celebrated with Whajeon and Ssukjulpyun by only 18.9% and 43.8% of the households respectively. The households using Korean traditional food to celebrate the birthday, the 1st birthday of child, the wedding or to memorize the passing day of ancestors were 96.0%, 80.7%, 81.3% and 86.7% respectively. Compared to households of urban and nuclear family, households of rural and extended family tended to use significantly more Korean traditional foods in many occasions and showed significantly higher rate of using home-made Kimchi and Jang.

This study has been researched mainly about the gradual changing patterns of site plan and plan layout of 17 sampling traditional houses in kyungpuk province during the time period of 1877-1945. The objective of this study is to closely examine the characteristics of locality and trend of the times. Survey and Measured drawing, personal interviews with clients has been carried out and the result is as down below; 1.The certain changes have shown that the furnace in sarangchae(outer wing for men) in ㅁ shaped and 『』 shaped houses served only for that purpose and inner gate has been built in sideward of sarangchae. 2.As living standard was upgraded storage space and size of the rooms got bigger. On the other hand, spacial formation was emphasized by its function accordding to house activities and living circulation because the family members in direct line became reality of the time. 3.The modernistic thought of rationalism and convenience are well expressed in the plan layout and house living as a whole.

The structural damage patterns of the Korean Traditional Wood Structures classified as the Jushim-po and Da-po Type are investigated. The investigations are based on the reports of repairing or actual measurements for the Jushim-po and Da-po structures. Lastly, the vulnerable parts according ot structural systems are analyzed statistically.

현대 조형예술은 시간이 갈수록 점차 속도와 범위가 확장되고, 이러한 변화는 우리의 생활문화에 조형미를 접목하는 흐름으로 이어져 여러 나라에서 자국을 대표하는 문화상품을 개발하여 부가가치를 높여주는 역할을 담당하고 있다. 의복은 세계 어느 나라이든 그 나라의 특색을 가장 잘 반영하고 있는 문화중의 하나이다. 이러한 의복에 적용된 우리의 전통문양에는 민족의 혼이 담긴 연원이 깃들어 있고 자연에 순응하며 섬세하고 고상하게 우리 전통의 아름다움을 내포하고 있다. 문화상품이 상업화되면서 의복의 상품화와 그 가치에 대한 연구는 다양한 관점에서 접근이 시도되고 있다. 이러한 문헌들을 참고하여 의복에 적용한 대표적인 전통문양의 조형적 특성을 파악하고 사례를 통해 검증하며 향후 발전 방향을 모색해보고자 하였다. 한 나라의 특색을 가장 잘 보여줄 수 있는 의복과 우리나라의 전통문양이 결합됐을 때 그 시너지 효과는 더욱 커질 수 있다. 의복이란 상품을 통해 정체성을 바로 찾을 수 있으며 더 나아가 그 나라의 위상을 전 세계적으로 전파할 수 있는 충분한 매개가 될 수 있는 것이다. 한국의 고유문화나 전통성이 소멸되어 가고 있는 시점에 심미성만을 목적에 두고 의복이라는 상품을 생산하는 것은 우리 민족 고유의 정신이 점차 소멸되어 가는 상황으로 이어질 수 있으며, 이는 현대사회의 흐름에 맞추어 개성있고 창의적이며 누구든 공감할 수 있는 특별한 전통의복을 개발하여 그 뿌리를 이어갈 수 있어야 한다. 고유의 전통문양에 뚜렷한 상징과 정체성, 가치를 담아 재탄생된 의복은 한국 고유의 전통성을 잃지 않고 상품의 가치를 높에 만들 수 있는 계기로 작용할 것이다. 또한 점점 장인이라는 전통 계승자들의 부재는 우리 민족의 혼을 사라지게 하는 하나의 요소가 되고 있으며 이는 산·학간의 협력을 통해 정부의 지원을 받아 우리의 전통을 이어갈 수 있는 젊은 인재의 양성에도 소홀하여서는 안된다. 이러한 젊은 인재들은 전통의상디자이너들과의 교류를 통해 우리 전통문양이라는 문화유산의 가치를 창조하고 기능적인 형태와 색체, 그리고 전통문양의 조화를 이룰 수 있는 한국의 전통의복의 발전으로 이어질 수 있을 것이다.