• Transactions of the Korean Society of Mechanical Engineers A
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• v.41 no.7
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• pp.673-682
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• 2017

As the culture of making things based on "do-it-yourself" (DIY) activity is increasingly promoted, the use of recent digital technologies and tools, including the 3D printer, have become widespread. However, the use of computerized numerical control (CNC) engraving machine is considered difficult because of the complicated procedures and specialized knowledge required for its operation. Therefore, this study aims to resolve the issue that limits the usability of the CNC engraving machine. This paper presents a novel CNC engraving machine system for non-experts based on human-centered design. First, the size and type of the workpiece and tool are reduced. Second, computer-aided process planning (CAPP) steps such as tool path generation, workpiece clamping, and corresponding coordinate system are automated by compromising productivity and efficiency. As a result, a CNC engraving machine system that can be easily used by non-experts was developed. This development has great significance in that it opens up the possibility of using the CNC engraving machine for a wider range of DIY activities.

• Journal of the Korean Society for Library and Information Science
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• v.46 no.1
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• pp.263-288
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• 2012

The purpose of this research was to examine the significance of the first edition of Tripitaka Koreana. In this research, the following were done: 1) by clarifying the place and date of praying for the engraving of the first edition of Tripitaka Koreana, its significance as "Daejanggyeong" produced to expel the Kitan was more clearly explained; 2) its physical characteristics were examined to provide evidence of the artistic and creative features of its engravings, quite different from those of the Gaebo Tripitaka made in China; and 3) its structure was analyzed from a viewpoint of a systematic bibliography. It was found that since the first edition of Tripitaka Koreana contained all the earlier lists of Buddhistic scriptures in China(and individual scriptures were thoroughly examined and included into its content since the reign of King Munjong), it had a systematic bibliographical significance demonstrated by its comprehensive and cumulative nature.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.254-267
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• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.55-68
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• 2020

The inscription found on buncheong ware (粉靑沙器, grayish-blue-powdered celadon) provides information on the bowl today, but in the past served as a device for controlling tributary payments (貢納) and the movement of government property (官物). The inscription had to be written or engraved clearly so that it could be recognizable to officials in charge of managing bowls. Such inscriptions offer important clues for contemporary research on buncheong ware. Buncheong Bowl with Stamped Design and Inscription of "Naeja" (內子) (bon 13808) in the collection of the National Museum of Korea bears a distinct inscription compared to other buncheong ware. Commonly, the inscription on buncheong indicated the name of the government office (官司名) to which the vessel belonged or the name of the place (地名) where the vessel was produced. However, the inscription "Naeja" on the buncheong bowl at the National Museum of Korea has no corresponding government office. "Naeja" is in fact a misspelling of Naeja (內資), meaning this bowl belonged to the Naejasi (內資寺, Royal Bureau of Procurement). Although "Naeja" (內子) was a misspelling of the intended Naeja (內資), it was still understood as a reference to the Naejasi since they were homophonic. Recently, buncheong ware with misspelled yet homophonous inscriptions have begun to be excavated in downtown Seoul. Examples including "Naeja" (內子) instead of Naeja (內資) and "Insu" (仁守) instead of Insu (仁壽) have been unearthed from historical sites in Seoul that functioned as consumption sites, meaning they were in fact circulated as government property despite the misspellings (whether accidental or the outcome of ignorance). Such misspelled yet homophonous inscriptions are characterized by the use of simple characters and a few sloppy strokes. Like other buncheong ware bearing the inscriptions of government office names, the bowls with the inscriptions of "Naeja" (內子) and "Insu" (仁守) were discovered at historical sites in Seoul. These misspelled homophonous inscriptions reveal that errors occurred during the process of engraving inscriptions on buncheong ware produced as a tributary payment during the early Joseon Dynasty and that buncheong ware with such errors were still distributed.