• Journal of Conservation Science
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• v.26 no.2
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• pp.183-190
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• 2010

We fabricated urethane material based on properties of reversible and unfading for antic-ceramics restoration. This material with low viscosity was made hardness control possible that user want. And it have very strong adhesion and shear strength properties and is shown the best properties for pigment filling, anti-contractibility, coloring as like epoxy system materials. Particularly, the yellowing and ir-reversibility problem in epoxy restoration material were finally solved. So, there is guarantee in the eternity and stabilization of restoration for antic-celamics. And in order to show the reversible state of the restoration, we successfully dissolve this urethane materials in solvent after perfect restoring subsequently.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.44-61
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• 2015

The research on the conservation of the movable modern and contemporary cultural heritage have been actively performed internationally since late 20th century. In this study, the international research trends of movable modern and contemporary cultural heritage conservation in last decades were analyzed. Setting up the range of the period, research papers were collected through various databases based on the systematic literature review process. Samples of 45 domestic papers and 505 foreign papers were classified by materials as books and paper, metals, textiles and fibers, photographs and audio-visuals, woods, plastics and ceramics and glass. The types of treated artifacts, detailed materials of the treated artifacts, and the research subjects were investigated from each paper. The data were compiled statistically and analyzed. Number of papers are published domestically in the book and paper conservation and metals conservation fields, but there are needs for more diversified artifact types and extensive research subjects. The researches in foreign countries are active in conservation of organic materials such as paper, textile and photographs and deal with various research subjects on not only treatment techniques and elemental analysis but also preventive conservation and conservation ethics. It is expected that this study would contribute to the field as a preliminary data on the conservation of modern and contemporary cultural heritage.

• The Journal of Advanced Prosthodontics
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• v.7 no.6
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• pp.446-453
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• 2015

PURPOSE. To compare the push-out bond strength of feldspar and zirconia-based ceramic inlays bonded to dentin with different resin cements following simulated aging. MATERIALS AND METHODS. Occlusal cavities in 80 extracted molars were restored in 2 groups (n=40) with CAD/CAM feldspar (Vitablocs Trilux forte) (FP) and zirconia-based (Ceramill Zi) (ZR) ceramic inlays. The fabricated inlays were luted in 2 subgroups (n=20) with either etch-and-bond (RelyX Ultimate Clicker) (EB) or self-adhesive (RelyX Unicem Aplicap) (SA) resin cement. Ten inlays in each subgroup were subjected to 3,500 thermal cycles and 24,000 loading cycles, while the other 10 served as control. Horizontal 3 mm thick specimens were cut out of the restored teeth for push out bond strength testing. Bond strength data were statistically analyzed using 1-way ANOVA and Tukey's comparisons at ${\alpha}=.05$. The mode of ceramic-cement-dentin bond failure for each specimen was also assessed. RESULTS. No statistically significant differences were noticed between FP and ZR bond strength to dentin in all subgroups (ANOVA, P=.05113). No differences were noticed between EB and SA (Tukey's, P>.05) bonded to either type of ceramics. Both adhesive and mixed modes of bond failure were dominant for non-aged inlays. Simulated aging had no significant effect on bond strength values (Tukey's, P>.05) of all ceramic-cement combinations although the adhesive mode of bond failure became more common (60-80%) in aged inlays. CONCLUSION. The suggested cement-ceramic combinations offer comparable bonding performance to dentin substrate either before or after simulated aging that seems to have no adverse effect on the achieved bond.

• Journal of Digital Convergence
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• v.16 no.11
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• pp.447-454
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• 2018

The purpose of this study is to analyze the historical background and characteristics of pop art style and motif expressions in the works of artists by analyzing the theoretical study of pop art and analyze how the expression characteristics are applied to ceramic works. As a result of the analysis of the work, various images of everyday objects in popular culture are expressed in various ways such as bright and colorful colors, silk screen, lettering, photo montage, cartoon expression, object, collage, decoupage, It is believed that the art of ceramics will be created as a creative work that reinterprets the artistic value rather than reproducing the art based on the technique of pop art. I look forward to the development.

• Journal of the Korean Society of Costume
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• v.38
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• pp.159-178
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• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Journal of Digital Convergence
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• v.19 no.1
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• pp.335-342
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• 2021

Launched in 2017, Loewe Craft Prize is now establishing itself as the most prestigious craft contest in the world. In this study, we noted the background behind the Loewe Craft Prize, which started with a luxury brand, developing into the best contest covering all crafts in a short period of four years. In crafts with various contests around the world, Loewe Craft Prize's interest in craft, which has no limitations on genre diversity and materials, is a result of no contest. This is possible by forming and developing a complex contest, which is differentiated from the existing single-material contest and the distinct values of the crafts possessed by Loewe Craft Prize. In this study, the background of this result was the convergence of materials, the fusion of tradition and modernity, and the convergence of science and crafts, and the tendency of writers and the flow of modern crafts through their works. We also want to find out how the meaning of the expansion of the craft genre affects modern crafts.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.306-329
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• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.