• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.24-41
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• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

• Proceedings of the Korean Society for Technology of Plasticity Conference
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• 2005.10a
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• pp.63-66
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• 2005

Nanoimprint lithography (NIL) process at room temperature has been newly proposed in recent years to overcome the shape accuracy and sticking problem induced in a conventional NIL process. Success of the room temperature NIL relies on the accurate understand of the mechanical behavior of the polymer. Since a conventional NIL process has to heat a polymer above the glass transition temperature to deform the physical shape of the polymer with a mold pattern, viscoelastic property of polymer have major effect on the NIL process. However, rate dependent behavior of polymer is important in the room temperature NIL process because a mold with engraved patterns is rapidly pressed onto a substrate coated with the polymer by the hydraulic equipment. In this paper, finite element analysis of the room temperature NIL process is performed with considering the strain rate dependent behavior of the polymer. The analyses with the variation of imprinting speed and imprinting pattern are carried out in order to investigate the effect of such process parameters on the room temperature NIL process. The analyses results show that the deformed shape and imprint force is quite different with the variation of punch speed because the dynamic behavior of the polymer is considered with the rate dependent plasticity model. The results provide a guideline for the determination of process conditions in the room temperature NIL process.

• Proceedings of the Materials Research Society of Korea Conference
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• 2011.05a
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• pp.3.1-3.1
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• 2011

Over the past decade, the major efforts for lowering the cost of electronics has been devoted to increasing the packaging efficiency of the integrated circuits (ICs), which is defined by the ratio of all devices on system-level board compared to the area of the board, and to working on a larger but cheaper substrates. Especially, in flexible electronics, the latter has been the favorable way along with using novel nanomaterials that have excellent mechanical flexibility and electrical properties as active channel materials and conductive films. Here, the tool for achieving large area patterning is by printing methods. Although diverse printing methods have been investigated to produce highly-aligned structures of the nanomaterials with desired patterns, many require laborious processes that need to be further optimized for practical applications, showing a clear limit to the design of the nanomaterial patterns in a large scale assembly. Here, we demonstrate the alignment of highly ordered and dense silicon (Si) NW arrays to anisotropically etched micro-engraved structures using a simple evaporation process. During evaporation, entropic attraction combined with the internal flow of the NW solution induced the alignment of NWs at the corners of pre-defined structures. The assembly characteristics of the NWs were highly dependent on the polarity of the NW solutions. After complete evaporation, the aligned NW arrays were subsequently transferred onto a flexible substrate with 95% selectivity using a direct gravure printing technique. As proof-of-concept, flexible back-gated NW field effect transistors (FETs) were fabricated. The fabricated FETs had an effective hole mobility of 0.17 $cm2/V{\cdot}s$ and an on/off ratio of ${\sim}1.4{\times}104$. These results demonstrate that our NW gravure printing technique is a simple and effective method that can be used to fabricate high-performance flexible electronics based on inorganic materials.

• Korean Journal of Optics and Photonics
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• v.27 no.2
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• pp.73-80
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• 2016

In this paper, we report the results of a study on the design and fabrication of a light-guiding plate (LGP) using a hybrid light-emitting diode (LED) and sunlight source that can be applied to a photobioreactor. LGP patterns for the LED source were designed and engraved on an LGP, together with previously reported patterns for a sunlight source. A control system for the hybrid LGP was designed to maintain the output photon flux density (PFD) from the LGP at a constant value. When the target value of the output PFD was set to $70{\mu}E/(m^2{\cdot}s)$, the error range of the output PFD was found to be within ${\pm}2%$.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.289-303
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• 2019

This paper presents research on furniture making based on Hojangjul, which is an engraving technique that highlights the wooden patterns of traditional furniture. Somokbang, one of the 12 workshops in Tongyeong, has used Hojangjul as an engraving technique since Imjinwaeran. It was inherited by the late Cheon Sang-won, who was No. 59 of National Important Intangible Cultural Properties, and developed into Samhojang, Ohojang, Seongtoinoimun, Hotguinoimun, and Gyeopguinoimun. It was then spread to Masan, Ulsan, and Gwangyang via marine routes and further into the inland areas via land routes, developing in various patterns and forms. The present study investigated and examined the making techniques and characteristics of Hojangjul engraved in joinery furniture in Tongyeong, Masan, and Ulsan in the Gyeongsang region and Gwangyang and Dongbok in the Jeolla region, thus shedding new light on the traditional techniques that have been gradually disappearing and promoting the transmission, inheritance, and development of the traditional techniques.

• Korean Journal of Optics and Photonics
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• v.17 no.4
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• pp.317-322
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• 2006

A polymeric arrayed waveguide grating (AWG) has been proposed and demonstrated by exploiting the nanoimprint method. A PDMS(polydimethylsiloxane) stamp with device patterns engraved was developed out of a master mold made of quartz glass. The device was fabricated by transferring the pattern in the PDMS stamp to a spin-coated polymer film without using any etching process. The device had 8 output channels, while the center wavelengths of each output channel were positioned from 1543.7 nm to 1548.3 nm with the spacing of 0.8 nm. The achieved average channel crosstalk and the 3-dB bandwidth were about 10 dB and 0.8 nm respectively.

• Journal of the Korean Society of Costume
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• v.17
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• pp.137-148
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• 1991

The use of bark cloth, made of the inner bark of certain trees, was widespread along tropical zones from the Africa to the Hawaii encompassing the globe. They include Malaysia, Indonesia, New Guinea, Polynesian Islands and South America. Among them the Hawaiian bark cloth, named Kapa(pronounced as tapa) was rated as the best quality and most admired. It has variety in designs and colors as well as the most sophistcated production methods. The distinct processes of kapa making are composed of two stages. The first is called first beating and it is a preparatory stage to beat the sea-water soaked bast. It was done with a round beater on a stone anvil. The second beating process was carried out with the squared beater and wooden anvil. The strips from the first beating was soaked again in the water and then beaten lightly to break up fibers. The craftmen laid a bundle of strips over the anvil and beat it into pieces of kapa. The second beater of Hawaii was the most characteristic one among bark cloth producing countries. On their surfaces were the engraved patterns, which were creation of theirs. These distinguished designs enabled them to produce the kapa with the thinner and finer texture and an elaboration of impressed designs known as "watermaks". The Hawaiian culture was self-sufficient one : Everything they used was of their own creation until 19th century. Among their inventions of printing designs on kapa are three most important and distinguished processes. They are the overlaying, the cord snapping and the block printing techniques. Their inventiveness as well as self sufficient environment made it possible to develop their fine art of the kapa making. It is said that the mass producing and cheap western technology of loom forced them to gradually abandon their traditional art and as a result this fine and valuable legacy of Hawaiian traditional kapa making technique is all but disappeared. However it is encouraging and heart warming to find that some of the people as well as specialized researchers pined together to form a group to try to reproduce the old kapa and study the traditional art. They consider the kapa as an expression of the ethnic identity with Hawaii's heritage as well as valuable art of human history.

• Journal of the Korea Furniture Society
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• v.28 no.3
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• pp.207-223
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• 2017

Jeonju-Jang is the wood furniture that was made in Chonbuk Jeonju province during the Joseon Dynasty, and was used by middle-upper social classes. It has value as a local cultural heritage because it has unique characteristics in terms of the shape of the furniture, the metal ornament and various functions are integrated in accordance with user's requirements. Therefore, the purpose of this study is to define the structural characteristics of the Jeonju-Jang through case studies of 16 existing artifacts in order to preserve and inherit the value as local cultural resources. The conclusion is as follows. First, Jeonju-Jang in the late period of Joseon Dynasty that is made up of one board to the bottom with the binding of the board. and the front wall, the Juibyuckkan and the Meoruemkan are omitted or made small, so the structure of the surface is simple. There are three or four drawers under the Cheon pan(top plate). There are drawers and shelf inside the hinged door. In the case of a two-layer type, there is a Gaegumeong type door which has half of one side hinged. Second, Jeonju-Jang of the Japanese Ruling Era had a Juibyuckkan by frame binding and an increase in the number of Meoruemkan. and it had independent legs. The Cheon-pan(top plate) was more left and right than both sides. Third, in the late Joseon Dynasty period as a feature of the metal ornaments, cast iron and yellow brass were used as materials. In the Japanese Ruling Era, nickel was mainly used. Various patterns were engraved and the number increased, and it became gorgeous surface as a whole.

• Journal of Conservation Science
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• v.37 no.3
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• pp.270-281
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• 2021

The Yongjam of Oejae, Yi Dan-ha's wife, is an ornamental hairpin with a dragon-shaped engraving; designated as National Folklore Cultural Heritage No. 4. It is also a component of the ceremonial costume, and an artifact of great value as it clearly identifies the position of the wearer and the period of this artifact. The Yongjam has been well preserved in general; however, various pollutants and corrosive products have affected the engraved patterns, requiring conservation treatment. Furthermore, a non-destructive analysis was conducted to identify the components of the materials and the manufacturing techniques used in the ornament. The Yongjam is hollow inside to reduce its weight when placed in the hair and has a color contrast of gold, red, and black. The decorative part and the body were made separately. That is, the body was made from an alloy of copper, silver, and zinc, and its joint was elaborately connected without any overlaps. In the decorative part, different alloy ratios were identified in the dragon's face, beard, horn, body, and fin. Further, for the dragon's face with its delicate patterns, an alloy of silver and copper was used, likely to make the face appear as realistic as possible.

• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."