• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.228-235
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• 2011

The 卍 shape which is used as an aesthetical feature for traditional architecture can be seen in the stair railings of the house shaped ceramic potteries in the Eastern Han dynasty(A.D. 25-220) but with the introduction of Buddhism, it has been widely used for the decoration of the sarira(small crystals of the cremated monks) case. After the shape was seen in the Yungang and Dunhwang grottoes mural paintings, the use of it has been expanded. In Korea during the excavation of the Gyeongju Anapji which was the Eastern palace of the Shilla dynasty, a 卍 shaped wood which had been used as a handrail was found and this shape was also used in the railings of the Shilsangsa Baekjangarn temple stone pagoda and lantern and in the sarira case excavated in the Songrimsa temple stone pagoda. In Japan, the Nara period(A.D. 710-794) when there were many cultural exchanges with the Korean peninsula, the handrails of the 2ndfloor of the main hall of Hoyu-ji temple has a 卍 shape. This can be confirmed that this shape has been widely used as a design in Asian Buddhist architecture. Gilsangoonhae(吉祥雲海) which is the symbolic meaning of this shape means for long life and luck which had been used generally for the window designs of temples, palaces, and houses. In this study, it is giving the definition the beginning and the symbolic meaning of the 卍 shape which is being used from the ancient times until nowadays and the change of this shape used for window designs.

• The Korean Journal of Quaternary Research
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• v.22 no.2
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• pp.1-5
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• 2008

Some reverse fault lines pass through the alluvial fans and west hill slope of Bulguksa mountains including Mt. Toham in the directions of N-S and NW-SE. The study area is known as relatively unstable, because of active faults. Assuming the record of earthquake in the Samguksagi, the architects in the construction of the Bulguksa temple should have recognized the possibility of breakdown from the earthquakes and the need for an unique structure against at that time. Against earthquakes, Greavee technique, a stonework construction technique following woothe one and use of Chushouok (Dongtleouok or Chumchaouok) were applied for the construction of Bulguksa temple. By designing the foundation stone with hole, a structure is prevented from motiff Ction that pillarsakdcede from a foundation stone in spite of horizontal load of earthquake while woot construction isaktrong frame at earthquake. The Bulguksa-temple isausually evaluated to be a beautiful architecture from the appeaultces like the weight balltced structure with unique decoration. ampressive architectures are beautiful in balance and harmony coming from the important and specific rolls in its own way by each part of whole structure. This beauty comes from the science.

• Journal of architectural history
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• v.4 no.2 s.8
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• pp.45-64
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• 1995

This study examines the Section of 'Housing Regulations' in The Chronicles of the Three States (${\ulcorner}$三國史記${\lrcorner}$ 屋舍條) to verify the residential architecture during the period of the Unified Silla Dynasty. Through the study, the basic architectural terms in the Section of 'Housing Regulations', such as the size of the building, glazing roof tile, animal-shaped ornamental piece on roof ridge, eave purlin, wooden bracket arms, roof decoration, decorative paintings, stone steps, wall structure, blind screen, folding screen, bedstead, and gate are analyzed, interpreted and defined, and, in addition, the forms and styles of the residential architecture during the period of the Unified Silla Dynasty are basically reconstructed.

• Journal of architectural history
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• v.15 no.2
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• pp.77-94
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• 2006

"Mixed construction of platform" means the platform which was constructed by mixing heterogeneous materials such as roof tiles or bricks with divided stone of trimmed stone. This kind of construction technique was not known or found from the building sites of Goguryo or Silla so far and therefore it used to be understood as a unique platform construction technique or the product of technology and creativeness of Baikje's craftsman. The mixed construction of platform of Baikje came to position itself as one of the patterns of platform mainly used over Sabi period and we found the pattern from the sites including Imryugak site in Gongju, temple for royal tomb in Gwanbuk-ri, Wangheungsa Temple site, building site in Keumseong Mountain, Ohapsa Temple site in Byryeong. From the fact that they used a variety of materials which they could easily get around them such as roof tiles or bricks in addition to stones for the construction of platforms, we can see the feasibility and decoration characteristics of their material supply at that time. On the other hand, this mixed construction of platform was not popular in Goguryo and Silla, the major reason for which is judged to be non-existence of platforms to construct using bricks or roof tiles which could be constructed together with platform using divided stones. This is supported by the results of excavation of Hwangryongsa Temple site, Bunhwangsa Temple site, Heungryunsa Temple site of Silla which gave us comparatively abundant excavation data, and Jeongreungsa Temple site, Cheongamsa Temple site, Toseongrisa Temple site and building site in Daeseong Mountain castle and Anhak Palace site of Goguryo. For further progressive study on the mixed construction of platform of Baikje in the future, we will have to review more on the social background and technical background with the linkage with archeology and architecture at that time which led to the creation of such platform.

• Journal of the Korean Geographical Society
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• v.42 no.3 s.120
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• pp.315-331
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• 2007

Some reverse fault lines are passing through the alluvial fans and west hill slope of Bulguksa mountains including Mt. Toham in the directions of N-S and NW-SE. The study area is known as relatively unstable, because of active faults. Assuming on the record of Samguksagi about earthquakes, the architects in the construction of the Bulguksa Temple should have recognized the possibility of breakdown from the earthquakes and the need for an unique structure against at that time. Against earthquakes, Grengee technique, a stonework construction technique following wooden one and use of Chuduseok(Dongtleseok or Chumchaseok) were applied for the construction of the Bulguksa Temple. By designing the foundation stone with hole, a structure is prevented from modification that pillars secede from a foundation stone in spite of horizontal load of earthquake while wood construction is strong frame at earthquake. The Bulguksa Temple is usually evaluated to be a beautiful architecture from the appearances like the weight balanced structure with unique decoration. Impressive architectures are beautiful in balance and harmony coming from the important and specific rolls in its own way by each part of whole structure. This beauty comes from the science.

• Journal of Fashion Business
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• v.24 no.4
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• pp.19-29
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• 2020

The purpose of this study was to investigate Renaissance wall-covering fabrics through Flemish paintings, that provides the details of the origin and development of background of modern wallcovering. The methods of the study are as follows. First, the background of textile development of Flanders in the 14^th to 16^th centuries were examined through a prior study. Second, the shape and use of wallcoverings in paintings painted during that time were analyzed and the process of changing to modern forms was studied. The residential environment with many stone buildings in relatively humid and cold weather created a need for decorative fabrics. Back then, the wool and flax fabric were not allowed to be worn on the body, so the materials were used for the development of interior fabrics. The characteristics of wall covering in Flemish paint can be summarized with movable, allegory, and decoration. Movable stems from the arrival of the emerging aristocrats of Flanders, who had enormous commercial trade and carried decorative fabrics; the mobility has become an allegory in reality as the royal and aristocratic use of wall-decorated fabrics is the symbol of authority. In addition, unlike Italy, where silk was procured from the East, fabrics manufactured using flax and wool were not suitable for clothing in terms of religion and practicality and were used to decorate walls.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.61-71
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• 2008

Knit wear with comfortable feeling of wearing and various coordinations gives new values to the modern people, who seek activities and individualities, and the demand for knit wear is on the rise. This article aims to analyze the aesthetic characteristics of Korean knit fashion. Fashion photographs from leading monthly fashion magazines in Korea from 2005 to 2007 had been analyzed. The knitting techniques, and designing characteristics and aesthetic values of Korean knit fashion had been studied. The major conclusions of the study are the following: 1. Korean knit fashion applies various knitting techniques. The knitting techniques used in Korean knit fashion are hand-knitting technique, crochet techniques, lace techniques, plain stitch, rib stitch, and purl stitch technique. 2. Decorations by trimming and matching with different textile materials are used more frequently than decorations by knit material itself. Decorating methods include fringes, spangle, beads, Rhine stone, motif and embroidery decorating. Matching with different textile materials made contrasting decoration effect. 3. Patterms by knitting structure and by arranging colors are applied. Cubic effect by knitting structure patterns, and geometric patterns by arranging colors are emphasized. 4. The formative feature beauties are natural beauty, feminine beauty, and decorative beauty. Korean knit fashion has developed creative and decorative designs through various knitting techniques and decorating techniques. As individual activities may be increased in the future, the designs and applications of knit fashion may be diversified.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.160-171
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• 2019

The sword with a ring pommel, which was excavated from the first stone chamber of the ancient tombs of Jeongchon Village in Naju, is a sword with a pentagon undecorated ring pommel consisting of a mother sword and two child swords. The sword with an undecorated ring pommel of Jeongchon comprises a ring pommel, a hilt, a knife, and a knife end decoration. This sword was coated with lacquer. The ring pommel is an iron frame covered with silver plate; however the silver tarnished into a light purple due to silver chloride corrosion, and iron corrosion originated from the inside is visible on the surface. Silver chloride corrosion is produced when silver objects are exposed to water, dissolved salts, and dissolved chloride ions when in a buried state. It changes objects into powder, making it difficult to preserve original shapes. The other silver artifacts found in the Jeongchon ancient tombs show similar signs of corrosion. The results of X-ray irradiation and a CT analysis showed that the sword had a ring at the end of the handle, a T-shaped hilt, and was probably connected to the handle end of a knife. If the shape of the mother sword can be inferred from the child swords, the mother sword had a ring pommel, decorations of the handle, covered with silver plate, and a gold ring and a silver line wound around the handle. It is assumed that the ring pommel was connected to the knife by welding because no holes were observed. The end decoration of the knife was made by using an iron plate formed into a shape, half covered by silk, and the other half decorated with silver plate and a gold ring. The sword with an undecorated ring pommel excavated from the ancient tombs of Jeongchon Village comprises the metals of gold, silver, and iron, and includes features of Baekje, Silla, and Gaya, which highlights the influence of surrounding historic sites and various cultures.

• Archives of design research
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• v.14 no.2
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• pp.197-207
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• 2001

A designed object reveals its meaning and image through form, color and material. Among these three elements, material has more powerful influence with its tactile and visual characteristics. In Korea, traditionally materials itself were mainly used to design artifacts rather than various color or formal decoration. The purpose of this study is to investigate the Korean traditional materials, and to classify them by the characteristics of their texture. For this study, the pictures of Korean traditional artifacts were collected from the national museums and literature. Those are architectural and interior elements, furniture, cloths and textiles, arts and crafts. Total of 533 collected artifacts were classified into seven categories, metal, day, stone, paper, wood, straw, fabric things. : 59 metal things, 115 clay things, 62 stone things, 73 paper things, 80 wood things, 47 straw things, 97 fabric things. Each materials were classified into its forming methods and surface treatment focused on the he characteristics of their surface texture. Throughout this study, the uniqueness of forming method and surface treatment of each materials in Korea has been clarified. And furthermore the classification by this various traditional methods of materials will provide plentiful information and ideas to today's designers of the world.

• Journal of Fashion Business
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• v.6 no.1
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• pp.155-166
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• 2002

As the whole world is rapidly becoming hollow connected by networks, the fashion world in the 21st century is about to mould the identity of one's own country by establishing image of one’s own country and originality. Therefore the purpose of this study is in the development of designs in order to making the image of Korean dress and ornaments firmly in the global fashion by grafting and applying the elements of Korean dress and ornaments to the modern fashion. The method of this study consists of production of works after investigation of the images of Korean dress and ornaments applied to the modern fashion or detail elements in the Korean research papers and works. The elements of images of Korean dress and ornaments which used for the production of works like Dongjeong, Baerae, Dangeu doryeon, Chima heori, Goreum, Jeogori, Euryeyong chima, Saegdong, Jogakbo, Jatmullim, Geumbakseuran are made of use as motives, and one or several mixed elements are designed in a work. The result of the production of work is as follows : First, the design which made use of the element of Chima jegori make strong image of Korean dress. And by grafting several elements to one work, the more strong Korean image was created. Second, in the design which made use of ornaments and detailed decoration method, ideas are offered for detailed design skills. The materials which was investigated academically along with the study through the actual manufacturing are expected to become a foundation stone of making firm images of Korean dress and ornaments.