• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.64 no.3
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• pp.176-184
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• 2019

The rice variety Chucheongbyeo is mostly cultivated for organic farming in the central region of Korea. This variety is more delicate than the recently developed varieties in rice yield, quality, and pest resistance, and is therefore, not suitable for organic farming. This study was conducted to select suitable varieties for organic rice farming in the central plain area of Korea. We tested 15 different varieties in the organic paddy field of Cheongju city from 2011 to 2013. As the experimental field had good fertility because it had been organically managed for many years, culm length and number of panicles developed better than the varietal characteristics. Daebo, Chinnong and Hyeonpum had slightly lower ripened grain ratio than Chucheongbyeo. The milled rice yield of Samkwang, Sukwang, Haiami, Cheonghaejinmi and Daebo increased by 9-18% compared to that of Chucheongbyeo. The protein content was under 7% for Cheongnam, Sukwang, Daebo, Samkwang, Hyeonpum, Chinnong, Chilbo, Hopyung, Hwangkeumnuri, Suryeojinmi and Jinsumi and under 6% for Sukwang and Samkwang. The whiteness was over 40 in Sukwang, Daebo, Samkwang and Jinsumi. The palatability grade and head rice ratio were good in Daebo, Sukwang, Samkwang and Jinsumi. Therefore, this study recommended Samkwang, Daebo, and Jinsumi as the optimal varieties for organic rice farming in the central plain area of Korea. These varieties could replace Chucheongbyeo, which is inferior to the recently developed varieties in terms of disease and pest resistance and yielding performance.

• Journal of Conservation Science
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• v.31 no.2
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• pp.131-145
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• 2015

Cultural assets restoration is being considered highly as a practical way to extend the lifespan of damaged cultural assets and re-highlight their value. However, restoration process has been mostly dependent on the manual work involving the experience and skill of a person performing restoration, thereby requiring much time and effort. In recent, it became possible to apply a method allowing restoration to be performed more accurately and easily according to the material characteristics and shape of cultural assets. Namely, it is to use a method of printing out the 3D shape data computed in computer as real object by using 3D printer for the restoration that has been performed manually. The missing part of a cultural asset is computed into computer data first and is printed out by using 3D printer to undergo a simple shaping process. The result of 3D printer application showed that repetitive output and shape and figure revision of digital data were possible, and it was possible to improve the degree of completedness of restoration through test output using various types of restoration materials using various materials. For the purpose of verifying the possibility of applying 3D printer to restore missing part of earthenware, two pieces of modern reproductions, namely, the Seven Treasure Incense Burner and Earthenware with Wagon Wheel Decoration, were artificially damaged. The restoration result showed that compared to manual work, it showed better effectiveness in curtailing work time and reproducing accurate shape. On the other hand, secondary manual work was slightly needed for detailed binding and to vividly express surface texture.