• Conservation Science in Museum
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• v.26
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• pp.13-24
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• 2021

Two wooden fish excavated from Wiryeseong Fortress on Seonggeosan Mountain in Cheonan-si, Chungcheongnam-do Province were frail due to their deterioration within the burial environment. To prevent further deformation, conservation treatment was conducted on them to strengthen the wooden materials and stabilize the dimensions. Prior to the conservation treatment, the species of wood was determined to be pine and infrared Irradiation on the patterns remaining on the wooden fish revealed that they were depictions of carp. For conservation treatment, the wooden fish were impregnated with PEG #3, 350 in a water solution with a 40% concentration, followed by freeze-drying.

• 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.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.221-228
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• 2017

This paper aimed to find out the eco-friendly approach enabling to directly print patterns and dye colors on fabrics using leaves of plants. In the research process, I found out the 'eco-printing' which could effectively express unique colors and patterns of plants. While eco-printing can design the patterns and colors of plants in nature using the leaves of plant(Eucalyptus), it is difficult to implement because it is not systematically and academically investigated including the dictionary definition in Korea until now. Thus, I tried to define the eco-printing and natural dyeing using leaves or flowers of plants enabling to get natural patterns and colors and do the experimental research and production using the leaves of Eucalyptus. The leaves of Eucalyptus were arranged on a wool scarf and a silk scarf, tied and applied pressure to them and made pigments penetrate into fabrics by heating or steaming them. This approach is to directly print the patterns using the shapes of plants on fabrics unlike the existing approaches dyeing by extracting dyeing solution from natural materials. Furthermore, the change of colors was attempted by using the color fixers. In accordance with the results of this experimental research, the scarf design differentiated from the existing products could be acquired. It was identified that eco-printing could induce the color variables depending on the conditions of each material and environment. For improving the color variables, various kinds of fabrics and divers kinds of materials which can be easily acquired in a daily life will be investigated and compared. Furthermore, it is expected that the experimental research and production techniques on eco-printing be utilized when starting natural dyeing and the scope of natural dyeing be more expanded.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.12
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• pp.1778-1790
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• 2002

본 논문은 중세 동서 아시아 사이 의 직금금(織金錦;gold brocade) 장식적 교류에 대한 연구이다. 중세 직금금에 대해서는 선행 학자들이 기술적인 측면이나 디자인과 관련하여 논의한 바 있다. 그러나 동서 아시아 직금금의 기술적 및 장식 적 교류와 관련된 연구는 진행 된 바가 없다. 특히 한국에 보존되어 있는 고려시대 의 직금금은 다른 나라의 직금금과 비교하여 연구되어 있지 않다 따라서 본 논문에서는 한국에 보존되어 있는 고려시대 직금금을 포함한 동서 아시아 직금금의 장식적 교류에 대하여 연구하고자 하였다. 본 논문은 한국의 직금금을 포함한 동아시아의 직금금 21점과 서아시아의 직금금 37점을 연구대상으로 하였으며, 이들 동서아시아의 직금금 각각을 그 장식적 특성에 따라 분류하였고 동서 아시아 직금금 사이에 교류된 문양과 패턴의 장식적 특성에 대하여 논의하였다.

• Journal of the Korean Institute of Intelligent Systems
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• v.13 no.6
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• pp.679-685
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• 2003

The cores and deltas of fingerprints designate the parts where the flow of the ridges change radically. Observations on the change of the orientation of the ridges around the cores and deltas enable us to guess the location of the cores and deltas. According]y clustering the orientation flowing to the same direction after doing research on the orientation of the ridges on the whole makes us see that the cores and deltas are shaping around the boundaries of the clustering area. It is also observed that The patterns of clustering of the orientation of the ridges classified as Arch, Tented Arch, Left loop, Right Loop and Whorl have its own characteristics respectively. In this paper the method of classifying the fingerprints effectively is proposed and proved its effectiveness by using the clustering of the orientation of the ridges, finding the cores of the fingerprints which don't secure the deltas.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.142-171
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• 2019

The dragon is an imaginary animal that appears in the legends and myths of the Orient and the West. While dragons have mostly been portrayed as aggressive and as bad omens in the West, in the Orient, as they symbolize the emperor or have an auspicious meaning, dragons signify a positive meaning. In addition, as the dragon symbolizes the emperor and its type has been diversified considering it as a divine object that controls water, people have tried to express it as a figure. The records related to dragons in the Goryeo dynasty appeared with diverse topics in 'History of Goryeo' and are generally contents related to founding myths, rituals for rain, and Shinii (神異), etc. The founding myth emphasizes the legality of the Goryeo dynasty through the dragon, and this influenced the formation of the dragon's descendants. In addition, the ability to control water, which is a characteristic of the dragon, was symbolized as an earth dragon related to the rainmaking ritual, i.e., wishing for rain during times of drought. Since the dragon was the symbol of the royal family, the use of the dragon by common people was strictly restricted. Furthermore, the association of a bronze dragon mirror with the royal family is hard to be excluded. The type and quantity of bronze double dragon mirrors discovered to have existed during the Goryeo dynasty is great, and the production and the distribution of bronze mirrors with double dragons seem to have been more active compared to other bronze mirrors, as bronze mirrors with double dragons produced during Goryeo and bronze mirrors originating in China were mixed. Therefore, in this article, the characteristics of diverse bronze mirrors from the 10th century to the 14th century in China were examined. It seems that the master craftsmen who produced bronze mirrors with double dragons during the Goryeo dynasty were influenced by Chinese composition patterns when making the mirrors. Because there were many cases where a bronze mirror's country of origin could not easily be determined, in order to identify the differences between bronze double dragon mirrors produced during the Goryeo dynasty and bronze mirrors produced in China, meticulous analysis was required. Thus, to ascertain that Goryeo mirrors were not imitations of bronze mirrors with double dragons originating in China but produced independently, the mirrors were examined using the bronze double dragon mirror type classification system existing in our country. Bronze mirrors with double dragons are classified into three types: Type I, which has the style of the Yao dynasty, includes the greatest proportion; however, despite there being only a small quantity for comparison, Types II and III were selected for the analysis of the bronze mirrors with double dragons made in Goryeo because they have unique composition patterns. As mentioned above, distinguishing bronze mirrors made during Goryeo from bronze mirrors made in China is challenging because Goryeo bronze mirrors were made under the influence of China. Among them, since the manufacturing place of the bronze mirrors with double dragons found at the nine-story stone pagoda in Woljeongsa Temple in Pyeongchang is questionable and the composition pattern of the bronze mirror is hard to find on bronze mirrors with double dragons made in China, the manufacturing place of those bronze mirrors were examined. These bronze mirrors with double dragons were considered as bronze mirrors with double dragons made during the Goryeo dynasty adopting the Yao dynasty style composition pattern as aspects of the composition pattern belonged to Type I, and the detailed combination of patterns is hard to find in mirrors produced in China.

• Journal of Conservation Science
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• v.22
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• pp.87-98
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• 2008

Microstructures and chemical compositions of 24 bronze mirrors recovered from the Korean peninsula were examined using the scanning electron microscope equipped with the energy dispersive spectrometer in an effort to characterize the treatments applied on their surface. Their provenance and chronology are mostly unspecified except for two objects from a Koryo burial site. In antiquity the surface of bronze mirrors was frequently finished by mere polishing when their tin content was high enough to guarantee the required reflectivity. In many cases, however, their surface was given a special treatment. The most typical treatment was to coat the surface with tin in two different processes referred to as wipe-tinning and amalgam-tinning. In wipe-tinning only tin was used, but in amalgam-tinning tin and mercury were used together. The surface was often coated with mercury in a process known as mercury-polishing. The present mirrors showed that all these techniques were in fact practiced, not only on the reflective surface but, in some cases, on the decorative surface. The detection of mercury played a crucial role in the assessment of a specific technique applied in each mirror. Mercury often remained in the substrate in the form of sulfide and thereby allowed the method of surface treatment to be estimated even when the coated layer was completely lost. The future study is expected to uncover the regional and temporal variation of the surface treatments to the better understanding of bronze mirrors with respect to provenance and chronology.

• Archives of design research
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• v.20 no.1 s.69
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• pp.287-296
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• 2007

Since the beginning of the 20th century, the art has developed its artistic qualities in exercising an influence on the creative elements of the fashion. In this sense, the fashion is one of many methods of which given time's arts, their compositions, and elements can be expressed, recognized, and experienced. In this study, artworks of Roy Lichtenstein, who took the leading, active role of pop artist have been studied. The purpose of this study is to present practical application of the art and aesthetic and artistic application of clothing by studying and applying the factors of Roy's paintings. The conclusion through actual designing is as follows: First, Lichtenstein interested with the characteristic of print media. He combined the image of commercial technique with the traditional painting by using Ben-day dots. Second, he reduces his form and color to the simplest possible elements. Third, by applying Lichtenstein's works to fashion design, we can make creative and aesthetic fashion works. Fourth, his Ben-day dots and stripe was applied to variant dots and stripe pattern in the fashion design. Roy Lichtenstein is expected to continually affect modern fashion and also fashion of the future. Furthermore Lichtenstein's works are expected to be further studied under various methods and ways, and those aesthetic characteristics would be developed and expressed more in fashion design under various perspectives.

• 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.