Hyun, Myung-Kwan
Department of Clothing and Textile
Graduated School of Jeju National University Supervised by prof. Jang, Ae-Ran
Recently many countries pay a significant amount of attention and make lots of efforts to establish cultural infrastructure and foster a variety of culture industry at the dimension to strengthen national competitiveness based on its own cultural archetype. In Korea, excavation of local culture with characteristics by each local governments and studies on storytelling for contents as traditional cultural archetype are being conducted in various aspects. In particular, various contents utilizing exile culture in Jeju Island formed by geographical characteristics as the representative historical culture resources are actively developed in Jeju Island. The purpose of this study is to develop and present the fashion product applying formativeness of seal engraving in order to highlight artistic value of Chusa Kim Jung Hee’s seal engraving and induce a little more intimacy. We have prepared the opportunity to establish the theoretical system of formativeness of Chusa’s seal engraving and present the
various ways for utilization through this study. When looking at previous studies utilizing formativeness of Chusa’ seal engraving, most studies were conducted in aesthetic aspects and images of seal engraving were best approach to represent the formative characteristics of Chusa Kim Jung Hee’s seal engraving in the time of exile in Jeju Island was a calligraphic representation characteristic.
A variety of literature data such as books published in Korea and other countries, previous studies and dissertations were used. Theoretical studies such as utilization of six representation characteristics of calligraphy (attractiveness・ symbolism, extemporaneousness・ one-time, rhythm・ musicality, aesthetics・ formativeness, abstractness・ pictorial nature and the suitability of the representation) as ways to modernistically re-interpret formativeness derived by comparing and analyzing formative characteristics of Chusa Kim Jung Hee’s calligraphy and painting, Richard M. Proctor’s geometric repeat arrange patterns (half drop, square, scale, diamond, brick, triangle, ogee and hexagon) as ways to manufacture textile pattern design, and configuration formats (repeat configuration, similar configuration and concentrate configuration) of Wucius Wong and empirical studies through mapping textile pattern design and product development applying formativeness of seal engraving based on such results were conducted in parallel. Manufacturing tools for textile pattern design included Adobe CS5 Photoshop, Adobe CS5 Illustrator and
TexPro mapping.
Theresultsareasfollows.
First, formative characteristics of antiqueness derived by comparing and analyzing the formative characteristics of Chusa Kim Jung Hee’s calligraphy and painting, and seal engraving were naturalness, simplicity, and antiqueness, and could be expressed by representation characteristics of calligraphy such as attractiveness・symbolism, abstractness・free line of pictorial nature ・simplification, simplified form・pictorial pattern.
Based on this, square pattern・scale pattern・triangle pattern were the most suitable as textile manufacturing methods for actual pattern.
Second, formative characteristics of rhythmicity derived by comparing and analyzing the formative characteristics of Chusa Kim Jung Hee’s calligraphy and painting, and seal engraving were rhythmic sense・
abstractness・harmony and unification, and could be expressed by characteristics of calligraphy such as rhythm・musicality, aesthetics・
formativeness, architectural forms of rhythmic suitability of representatio n・abstract and geometric lines・harmony and repetition of engrave and emboss. Based on this, ogee pattern・triangle pattern・triangle pattern・
four-way continuation configuration were the most suitable as textile manufacturing methods for actual pattern.
Third, formative characteristics of moderation derived by comparing and analyzing the formative characteristics of Chusa Kim Jung Hee’s calligraphy and painting, and seal engraving were self-control, limit・
strength and delicacy・modesty, and could be expressed by characteristics of calligraphy such as attractiveness・symbolism, aesthetics・ formativeness, contrast between artificialness and naturalness of suitability of representation・ formative form of line and shape・linear modesty. Based on this, brick pattern・half-drop pattern・square pattern were the most suitable as textile manufacturing methods for actual
pattern.
Fourth, formative characteristics of concreteness derived by comparing and analyzing the formative characteristics of Chusa Kim Jung Hee’s calligraphy and painting, and seal engraving were straightforward・factua l・ specific, and could be expressed by characteristics of calligraphy such as extemporaneousness・one-time, attractiveness・symbolism, incidental uniqueness representation of the suitability of the representation・visual formative representation・letter representation. Based on this, diamond pattern・concentrate configuration・ hexagon pattern were the most suitable as textile manufacturing methods for actual pattern.
As stated above, textile pattern design was manufactured by applying formativeness derived from comparison and analysis of formative characteristics of Chusa Kim Jung Hee’s calligraphy and painting, and seal engraving. A result demonstrated that representation characteristics of calligraphy and its characteristics can be sufficiently utilized as a technique of new textile pattern design. Investigation of value as the formative art of Chusa Kim Jung Hee’s seal engraving re-investigates the value of various utilizations as the traditional cultural archetype. We expect the follow-up study on a variety of utilization ways through database of textile pattern design developed in the future.
Keywords : Chusa Kim Jung Hee, seal engraving, antiqueness, rhythmicity, moderation, concreteness, calligraphic, textile pattern design