• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.122-141
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• 2016

It is known that Sung-gyu Jeon and several other Korean artisans were invited to "Joseon-Najeon Company" of Kimura Tenko in Takaoka, Japan to teach the skills of making lacquerware inlaid with mother-of-pearl, however these artisans discovered a new tool called fretsaw during the visit, which can easily cut nacre. The introduction of fretsaw in the 1920s in Korea innovated the Jureumjil(filing) technique and dramatically changed the style of modern Korean lacquerware inlaid with mother-of-pearl. In this paper, I will focus on the case of Sung-gyu Jeon, Kimura Tenko and "Joseon-Najeon Company". I will also examine why and how the Korean lacquerware artisans went to "Joseon-Najeon Company" in Takaoka and exactly what they did there. This analysis will help in discovering how the Korean artisans' experience in Takaoka affected their works after they came back to Korea.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.100-115
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• 2023

The modernization of najeonchil, or mother-of-pearl lacquerware, began in the latter era of the Joseon period and started to set in during the phase of industrial development after the Korean War. Especially, the rise and fall of najeonchil during the first half of the 1900s fluctuated more compared to other types of craft. This paper focuses on the production, supply and demand activities of the works by Min Jong-tae, who was born in 1915, began his career in 1929 and devoted 70 years of his life creating najeonchil craft and furniture. As an apprentice under Jeon Sung-gyu, who revived the craft of najeonchil, Min Jong-tae was not only an artisan who ranked alongside Kim Bongryong, Song Juan, Shim Bugil, Kim Taehee, but also a businessman. In particular, Min led the boom of modern najeonchilgi during the 1970s-80s in Seoul, which was the most important market at that time. However, studies about Min Jong-tae are almost non-existence, despite his accomplishments. This study first describes how Min Jong-tae began the craft of najeonchil and early days of his career around the liberation period, then retraced his efforts in building a supply and demand system in the 1950s-60s. Moreover, this paper covers not only his creations of large-scale najeonchil furniture in the advent of an era of 'wardrobe culture' in the 1970s-80s, but also his exported pieces to Japan, including incense boxes and tea containers. In conclusion, this research derives the historical significance of Min Jong-tae's role as an artisan of najeonchil- designated as Seoul Intangible Cultural Heritage No. 14 in the field of craft.

• Conservation Science in Museum
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• v.24
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• pp.75-80
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• 2020

X-ray computed tomography (X-ray CT), which is often applied to the investigation of the interior structures of cultural properties, is very useful for studying production methods used in lacquerware that would otherwise be difficult to observe with the naked eye. Lacquerware inlaid with mother-of-pearl is an important subject in the study of traditional Korean craft. However, it can be a challenge to specify the production methods used in the framework of a lacquerware item unless the object has been structurally damaged. Studies of lacquerware inlaid with mother-of-pearl have thus far focused on the techniques of lacquering and of inlaying the mother-of-pearl. Production methods for the framework of lacquerware has received little academic attention. This study conducted X-ray CT on a lacquerware item from the Joseon period to reveal the materials and woodworking techniques used for the framework. The study revealed that softwood was used for the framework, and the post (gidungmok) and apron (soemok) were joined using a three-way miter joint (sambang yeongwi jjaim). Other pieces were joined with nails.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.334-365
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• 2010

Mother-of-Pearl craftwork sketch involves the whole process of making a piece of work. Therefore, it includes types, forms, sizes, and patterns of the work. Some information about when and by whom those works were manufactured and who ordered them are still found in some sketches. This paper seeks to find out popular types and patterns of the works in each period and its demand and the way of supply by examining the collection of approximately 1700 Mother-of-Pearl craftwork sketches from the period of Japanese colonization up to the present time, which are owned by Mr. Song Bang-wung, Important Intangible Cultural Heritage no.10. Typical patterns of sketches are the hua-jo(花鳥 : Flowers and Birds), the Sakunja(四君子 : Four Gracious Plants), cultural treasures, figures in folk tales, 'Su-bok(壽福)' characters, and landscape. The pattern sketches have changed according to the circumstances of Korean society. During the period of Japanese colonization from the 1920s to the 1940s the manufacture and the supply and demand of Mother-of-Pearl craftworks were controled by the Japanese government. As a result, many of the patterns were adjusted to the Japanese taste. Most of its customers were also Japanese. During the 1950s after Independence the American Military Forces appeared as new customers due to the Korean War. Thus, the traditional Korean patterns to decorate accessories adored by American soldiers gained popularity. Foreign Mother-of-Perls were imported from the late 1960s to the 1970s. They were bigger and more colorful than those of Korean and it enabled the sketches bigger and the patterns more various. The most popular pattern in this period was the pattern of cultural treasures, such as an image of Buddha, metalcraft works, porcelains and pagodas. In terms of a technique, new techniques, such as engraving and rusting were introduced. There was a great demand for Mother-of-Pearl craftworks in the 1970s as people were highly interested in them. They were entirely made to order and there was a large demand from diverse organizations, furniture dealers and individuals. And the Mother-of-Pearl craftwork was in full flourish in the 1970s due to the country's economic development and the growth of national income. Mass production of the works was possible and the professional designers who drew patterns actively worked in this period. The favor of Mother-of-Pearl craftworks declined in the 1980s since the built-in furniture and the Western style of furniture became prevalent due to the change of housing into apartments. But it seemed that the manufacture of Mother-of-Pearl craftworks revived for once the technique of Kunum-jil(끊음질 : cutting and attaching) became popular in Tong-young(統營). After the 1990s, however, the making of Mother-of-Pearl craftworks gradually declined as the need of them decreased. Now it barely maintains its existence by a few artisans.

• Conservation Science in Museum
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• v.25
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• pp.27-34
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• 2021

A Goryeo-era mother-of-pearl-inlaid incense box in the collection of the National Museum of Korea, a major example of Goryeo dynasty cultural heritage, presents a comprehensive view of the production techniques and aesthetic expressions of its time. This study investigated the type of wood and the techniques used to make the framework of the box, knowledge that was necessary for its restoration. It also examined anatomical characteristics of the shell providing the mother-of-pearl. The incense box was found to be made of cedar, which suggests that there was trade in cedar with Japan. A band was attached to the lower portion of the lid by applying what the author describes as a "wrinkle-bending" technique at the corners. Wooden pegs were used to combine the top and side panels, probably for more efficient use of the thin wooden boards. The investigation of the anatomical features of the mother-of-pearl inlay identified a laminated structure of thin plates. These features are observed in certain shellfish, and further study would be required to accurately identify the type of shell.

• 방재와보험
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• s.109
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• pp.34-41
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• 2005

우리나라에서 발생한 화재 중 전기재해는 균일한 사고분포를 나타내고 있다. 따라서 도체로 가장 많이 사용되고 있는 동전선에 열적 스트레스를 인가했을 때 특성변화를 이용하여 그 변화를 분석하고, 사고현장에서의 나전선의 특성을 알아보고 사고원인을 알아봄으로써 전기재해 예빵에 보다 주의를 기울이는 데 도움이 되고자 한다.

• Journal of Conservation Science
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• v.36 no.6
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• pp.483-493
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• 2020

In this paper, we present a nondestructive analysis using X-ray and microscopic investigation to detect the structure, manufacturing technique and preservation status of the Goryeo lacquered box Inlaid with Mother-of-pearl Chrysanthemum and Scroll Design (Goryeo Lacquered Box). We confirm that the Goryeo Lacquered Box consists of the soft wood as the basic material. The soft wood was coated with textile and then lacquered. The box structure of the Goryeo Lacquered Box was formed of wooden boards with wood plants added to the side, after processing into a trefoil-shaped. The wooden sides of the Goryeo Lacquered Box were cut at regular intervals for easier processing into a curved shape. Moter-of-pearl, tortoiseshell, and metal wire were used to decorate the surface. mother-of pearl was the cutting processing, and tortoiseshell was used for back coloring. The metal line was constructed using one line and twist line.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• Conservation Science in Museum
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• v.1
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• pp.53-59
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• 1999

Residual fatty acid of the basic material[Backgol] for reinforcement used on the edges of the lacquer ware inlaid box of Chosŏn Dynasty was analyzed. The result showed that it contained considerable amount of cholesterol. So it was confirmed to be animal material. Gas chromatography showed that its fatty acid composition is similar to that of sharkskin. On the basis of this analysis results, the damaged area of the object was restored by using sharkskin as a material for reinforcement.

• Journal of Conservation Science
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• v.32 no.2
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• pp.109-121
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• 2016

Mother-of-pearl turtle shell lacquerware refers to a decoration made of a mother-of-pearl, a turtle shell and metal wires. This lacquerware features bright color tone as it is produced by sprinkling metal powder over its entire surface. This study aimed to find out its material properties and characteristics by using an optical microscopy and conducting a SEM-EDS analysis on the cross section of lacquer coating. As a result, it was found that charcoal powder and soil powder were mixed for undercoating. Then a mixture of cinnabar lacquer and monoclinic arsenic sulfide mineral ($As_2S_3$) was coated on the undercoating and brass powder was sprinkled on top of it. Especially, a little amount of pigment was found on the lacquer layer, which is distinguished from the colors used for conventional lacquer patterns. In addition, it was also found that the cinnabar lacquer and monoclinic arsenic sulfide mineral were mixed together.