연화문(연꽃문양)은 다른 역사문화유산(나전칠기, 회화, 금속 공예, 기와 등)에서와 마찬가지로 고려·조선시대(임진왜란 이전) 도자기 문양에서 압도적인 비중이고 모습도 다양하다. 그 모습은 자연 생태계의 모습과 가깝고 닮은 경우(原연화문·蓮池연화문), 氣·化生을 적극 나타낸 경우로 구분된다. 이 시기 도자기에는 분명 연화문임에도 불구하고 연화당초문·모란문· 菊花文·寶相華文·如意頭文으로 잘못 불리는 문양들이 있다. 이 가운데 연화당초문은 연화문과 덩굴문이란 독립된 두 문양의 단순한 결합으로, 모란문은 연꽃잎과 연잎사귀 모습을 분리하여 꽃나무 모습이 되자 꽃봉오리가 비슷한 모란으로 착각하며, 국화문은 子房에 비하여 연꽃잎(연판)을 가늘고 길게 표현하자 비슷한 국화로 착각하며, 보상화문은 연꽃잎에 기· 화생이 많이 표현되어 다소 복잡한 모습이 되자 다른 꽃으로 여기며, 여의두문은 연꽃잎이 如意의 머리처럼 보여 각각 부여된 이름이다. 연화문은 한 도자기 안에서도 한 모습보다 여러 모습인 경우가 더 많고, 原연화문부터 연속 덩굴 연화문에 이르는 단계도 보여 준다. 또한 原연화문·蓮池연화문보다 기·화생을 더 나타낸 덩굴 연화문 쪽이 많다. 이 현상은 우리 先人들이 연화문의 다양한 모습은 물론 성격, 기·화생의 강약, 표현 위치 등을 철저하게 이해하며 표현하였음을 의미한다. 이 시기 도자기에 있는 기·화생을 담은 연화문들은 물론이고, 중앙에 서 외곽으로 또는 위쪽으로 상승하는 표현들, 나무처럼 표현한 연꽃, 산을 화생하는 연꽃 표현 등은 중국에서 또는, 불교와 함께 전래된 불교를 상징하거나 관련되는 표현이 전혀 아니다. 우리 겨레의 역사문화강역 안에서 신석기·청동기시대부터 믿음과 전통을 담아 치밀하고 높은 수준으로 전개된 표현이다.

The purpose of this study is to develop design for daily hanbok with Jacquard textile design developed by using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. This study will also develop Jacquard textile design that has elaborate and luxurious patterns and abundant expression of colors using the traditional patterns that suit the needs and lifestyles of the middle and old aged group. Developing daily Hanbok design for woman's casual and formal occasion will contribute to fashion business significantly by popularization of daily hanbok as one of the important fashion genre. The “Texpro Design CAD V8.21” program was used for the textile design. A total of 3 designs were developed as the Jacquard textile design with traditional patterns using lotus flower motifs. One type of fabric was produced for each of the textile design with a color selected from 『Pantone Color Chips』. And finally, three woman's daily Hanbok design for either casual or and formal style were developed and these daily Hanboks were consisted of Durumagi, one-piece dress, and one set of jacket and trouser. And the actual garments were constructed and the design procedure and the photos of these works were presented. This study showed the possibility of producing highly sensible daily hanbok that suits the fashion trend of middle aged women and the widening of consumer range and the creation of new market by developing Jacquard textile design.

The current study aims to link Korean tradition to modern culture; to re-produce patterns of lotus depicted in Minwha, The study also aims to discover the beauty of Korean tradition and to modernize it. The current study is based upon document searches(including research papers) and the Internet searches. Through these searches, it investigates the concept of Minhwa, the origin of lotus depiction and its symbolic meanings, the traits of such pattern. Based upon this investigation, the study attempts to modernize the patterns of lotus and apply the modernized patterns to designing shirts. The process which employs the lotus patterns illustrated in Minhwa to shirt design includes four sub-processes: selecting, allocating, coloring, and selecting production techniques. The subprocess of selecting patterns is two folded: the first stage covers carbon-copying the distinctive features of lotus, lotus leaf, lotus bud, lotus pip, and lotus stem; the second stage is making these features suitable to shirt sizes. For the process of coloring those shirts, Piccaso’s work(Pablo Picasso, 1881～1973) has been selected and the colors in his work have been adopted to dye the rest of the shirts as well as the lotus features. The process of selecting production techniques includes ornament tail in order to modernize the patterns allocated in the shirts. Once these processes are completed, the shirts are made on a scale of real-life size. These processes of creating shirt design by modernizing traditional patterns will hopefully contribute to researchers expanding the domain of shirt design.