• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.581-587
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• 2023

During the global pandemic period, The world has created a new paradigm using digital technology, aligning one direction with the highest value of life and survival. Untact has changed from a convenience value to an essential value with quarantine and sanitation. And the industry process has shifted from face-to-face to non-face-to-face. The platform formed an community in a virtual space, and companies started a new service based on presence. For a sense of reality, information is expressed and stored from 2D centered on images to 3D multifaceted. Companies are marketing using 3D modeling, focusing on augmented reality, virtual world, and mirror world of Metaverses. The purpose of this study is to analyze the current status and examples of 3D modeling in the E-commerce environment of domestic and foreign jewelry brands in this era of change, and present ways to use 3D modeling in jewelry industries.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.63-72
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• 2017

Gardening activities, plant raising, and general flowerbeds the public makes today can be found in the original form of cottage gardens in the United Kingdom. A cottage garden is a popular garden style of modern Britain, implying unique Englishness including ethnic sense and vernacular. In addition, the purpose of this study is to consider the modern movement in the United Kingdom in the past 200 years and read Englishness of cottage gardens through style differentiation and background of occurrence of cottage gardens appearing in this process. Therefore, this study is summarized as follows. First, a view of nature of the Englishman loving freedom and landscape acts as a key part of patriotism and is connected to the preservation of idyllic England. For this ideal of the Englishman of the country, idyllic British characteristics are found in various literatures and artistic fruits; cottage gardens, that is a form of new garden, were made with invigoration of supply and collection of plants. Second, an early form of cottage gardens was the domestic garden, in which there is a vegetable garden by middle-class move to a suburb according to urbanization, but evolved into a form of garden having both artistry and regionality, vernacular, and ecological characteristics with various situations of modern society(handicraft promotion movement, preservation of remains, and ancient building restoration movement). Wild gardens occurring in this process are a type of garden realizing wild fields and forests in the United Kingdom;they have made a big impact on many garden designers up to now. Cottage gardens, reflecting a variety of Englishness, is a subject of city planning and flower shows and is a culture symbolizing the United Kingdom.

• MISULJARYO - National Museum of Korea Art Journal
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• v.104
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• pp.70-100
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• 2023

The celadon made in the Goryeo era, a time when Buddhism was flourishing in Korea, naturally contains many elements of Buddhist culture. Among them, inlaid celadon with Sanskrit inscriptions bears a close relationship with esoteric Buddhism. However, the research on deciphering the Sanskrit inscriptions has made little progress due to the small number of extant examples. However, the four recent excavations at the No. 23 kiln site in Sadang-ri, Gangjin have yielded new materials that allow the existing materials to be categorized into several types. The results obtained through the reading and interpretation of the inscriptions are as follows: First, the Sanskrit characters inlaid on the celadon were parts of mantras. Inscriptions where only one character is apparent cannot be deciphered, but scholars have revealed that others are written in the manner of a wheel mantra represent the "Mantra for Purifying the Dharma-Realm," "Six-Syllable Mantra of the Vidyaraja," "Sweet Dew Mantra," "Jewel Pavilion Mantra," "Mantra of the Savior Bodhisattva," "Dharani of the Mind of the Budha of Infinite Life," and "Mantra for Extinguishing Evil Rebirth." Each mantra was written in Siddham script. Second, they are believed to have been produced during the thirteenth and fourteenth centuries based on the arrangement of the inscriptions and the way the "Sweet Dew Mantra" is included in the "40 Hands Mantra." In particular, the celadon pieces with a mantra inlaid in a concentric manner are dated to the late thirteenth and early fourteenth centuries based on their production characteristics. Third, the interpretation of the inlaid mantras suggests that they all refer to the "Shattering Hell" and "Rebirth in the Pure Land." Based on this, it can be concluded that some of these inlaid celadon wares with mantras may have been used in Buddhist rituals for the dead, such as the ritual for feeding hungry ghosts (施餓鬼會). Also, because the Sadang-ri No. 23 kiln site and the "ga" area of the site are believed to have produced royal celadon, it is likely that these rituals were performed at the royal court or a temple under its influence. Fourth, this inlaid Goryeo celadon with Sanskrit mantras was not a direct influence of the ceramics of Yuan China. It emerged by adopting Yuan Chinese Buddhist culture, which was influenced by Tibetan Buddhism, into Goryeo Korea's existing esoteric practices. Fifth, the celadon wares inlaid with a Sanskrit mantra reveal a facet of the personal esoteric rituals that prevailed in late Goryeo society. Changes in esotericism triggered by the desire for relief from anxieties can be exemplified in epitaph tablets and coffins that express a shared desire for escaping hell and being born again in paradise. Sixth, the inlaid celadon with Sanskrit mantras shares some common features with other crafts. The similarities include the use of Siddham Sanskrit, the focus on Six-Syllable Mantra of the Vidyaraja, the correspondence with the contents of the mantras found on Buddhist bells, wooden coffins, and memorial tablets, and their arraignment in a similar manner with rooftiles. The major difference between them is that the Mantra for Extinguishing Evil Rebirth and the Sweet Dew Manta have not yet been found on other craftworks. I believe that the inscriptions of Sanskrit mantras are found mainly on inlaid celadon vessels due to their relatively low production cost and efficiency.

• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."

• Journal of Conservation Science
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• v.28 no.3
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• pp.247-256
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• 2012

Amber has been used as gemstones and artifacts from the period of the Three Kingdoms or earlier, which are discovered in the process of excavation now. It is, however, very difficult to discuss the importing route and circulation of amber because there are no informations available on the provenance. In this study, we acquired the IR spectra of ambers originating from 5 different locations. We also monitored the change of characteristic IR peaks by artificially aging the ambers under heat, light and heat with oxygen, respectively. As the aging proceeded, the intensity of C=O band and O-H band increased, however, the bands related with C=C bond decreased. There needed some modifications in the discerning scheme because some peak disappeared with aging; yet, it was still possible to discern different ambers largely. Therefore, it is expected that the scheme can be used practically by appraising its applicability to the real amber relics excavated.

• Journal of Digital Convergence
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• v.15 no.5
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• pp.333-338
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• 2017

Modern ceramics art has various expression techniques. Among them, the digitization of modern society has led to the development of the transfer printing technique, and the technique of transfer printing has been utilized as medium of expression of modern ceramics. However, the transfer printing technique is merely uniform and does not give enough information to utilize the artistic expression of the craftsmen using the technique of decal rather than actively utilizing it in the field for mass production. Therefore. In this paper, we will examine the works of contemporary pottery artists who understand the meaning of the transfer printing technique and express the artist 's personality and artistry with transfer printing technique, so that the transfer printing technique can enhance the aesthetic and artistic effect of ceramic art as the expression medium of modern ceramics. We want to lay the foundations for a higher value-added industry.

• Archives of design research
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• v.14 no.2
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• pp.27-36
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• 2001

This study examines consumer\` and manufacturers\` perceptions and preference on the bamboo industry and bamboo craft products made in Korea. Also, this study investigates the possibilities of modem bamboo blind production by applying various new materials, techniques, and design patterns. The results of the survey to consumers and bamboo product manufacturers were that ordinary Korean consumers evaluated negatively the quality of bamboo products, particularly the design of them and the manufactures themselves evaluated negatively the design of their products and eagerly desired to team new design techniques for their product improvements. The result of experimental study was that the combinations of fabric materials, natural dyeing, and design techniques in the development of bamboo blinds yielded modernized bamboo blind image that could be appealed by consumers. This study could be judged as a good example for the modem recreation of traditional art. This study proposes the product devolvement and commercialization of traditional culture through the collaborations between bamboo craft industry and Universities.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.

• Clinical and Experimental Reproductive Medicine
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• v.13 no.2
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• pp.121-127
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• 1986

We have reviewed 59 cases of patients amoung 65 cases who underwent IVF and ET with reasonable indications irom 1984 and the results as follows. 1. Major indications for IVF and ET were tubal factor (40.7%), unexplained infertility (25.4%), endometriosis (15.3%), failed AID and AIH (10.1 %), and sperm abnormality (8.5%). 2. For superovulation of human oocytes, l00mg of clomiphene citrate and 75 IU of HMG used. The monitoring of oocyte maturation was bone by ultrasound examination and serum 17-${\beta}$ estradiol, LH values. The peak $E_2$ value was 956.36${\pm}$702.13 pg/ml. 3. The oocytes were obtained by laparoscopy 24-36 hours after the injection of HCG. 4. The mean numbers of follicles at laparoscopy was 3.06 and the successful rate of laparoscopy was 79.7%. 5. And 165 follicles were aspirated from which 98 oocytes were recovered, 59.4% of all follicles had at least one oocyte aspirated. 21.4% of the eggs were mature, 52.0% were moderate, 26.5%. were immature. 6. 67.3% of oocytes were cleaved and were transferred at 4-6 cell stages. 7. Four pregnancies including one chemical pregnancy and one spontaneous abortion were established by ${\beta}$-subunit, u-hCG and ultrasound examinations.

• Analytical Science and Technology
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• v.26 no.3
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• pp.190-198
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• 2013

Ambers have been used mostly as beads, jewelry and ornaments from ancient times and excavated as a buried artifact. When excavated, they are severely weathered to be cracked, exfoliated and disintegrated. Monitoring of changes in composition of amber according to weathering is very important for diagnosing the condition of amber and applying conservation materials and techniques. In this study, we tried to find the components of amber by analyzing amber with pyrolysis/GC/MS. The changes in the composition of pyrolzates after artificial ageing for 60 days under heat and oxygen were also observed. Abietic acid was detected as a main component of fresh amber and monoterpene, alkene, aromatic hydrocarbon were detected as major pyrolyzates. Changes with artificial ageing was estimated by comparing the peak area ratio of 23 components, and it was found that abietic acid abruptly decreased in the presence of heat and oxygen together, revealing that oxygen is a key factor to the deterioration of amber. It was also tried to understand the weathered surface of original amber gemstone based on the result of this ageing experiment.