지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The main purpose of Dancheong was to prevent the corrosion of wood by coating the surface of buildings with paint, and secondary purpose was to make it look beautiful. Dancheong is especially praised for its various colors among our ancestors' cultural assets. The beauty of Dancheong lies in the unordinary harmony of primary colors, using various color contrasts and strong chroma contrasts.
Based on this, it was reorganized as a fashion design by using the splendid colors, patterns and feelings of solidity shown in the Dancheong of the Joseon dynasty. Conclusions of this study are as follows. First, a unique value could be introduced in clothing by mixing traditional Korean images and modern senses based on the pattern of Dancheong. Second, the splendid colors of the Palace Dancheong of the Joseon dynasty were expressed with the contrast of complementary colors using the five traditional Korean colors and compound colors. Third, the traditional beauty of Dancheong was expressed with materials such as silk satin, cotton and nylon, and its detailed and decorative beauty was expressed through a braiding method and strand releasing.
Based on this, it was reorganized as a fashion design by using the splendid colors, patterns and feelings of solidity shown in the Dancheong of the Joseon dynasty. Conclusions of this study are as follows. First, a unique value could be introduced in clothing by mixing traditional Korean images and modern senses based on the pattern of Dancheong. Second, the splendid colors of the Palace Dancheong of the Joseon dynasty were expressed with the contrast of complementary colors using the five traditional Korean colors and compound colors. Third, the traditional beauty of Dancheong was expressed with materials such as silk satin, cotton and nylon, and its detailed and decorative beauty was expressed through a braiding method and strand releasing.
목차
〈Abstract〉
Ⅰ. 서론
Ⅱ. 이론적 배경
Ⅲ. 작품 제작
Ⅳ. 결론 및 제언
참고문헌
참고문헌 (27)
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UCI(KEPA) : I410-ECN-0101-2009-592-015862948