• Conservation Science in Museum
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• v.14
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• pp.61-67
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• 2013

Lacquerware of Goryeo period was variously developed from the early 10th century to the 14th century and became lacquerware inlaid with mother-of-pearl which shows creativity with splendid heyday. For characteristics, splendid and close mother-of-pearl. Characteristic of decoration method is to use gold painting method, Tortoise shell and metal line. Drawing is done with gold dust and gold painting method decorating lacquerware are very splendid from an artistic and decorative aspect, but gold painting is easily lost. So, it's currently difficult to find in relics succeeded. Therefore, there are domestically insufficient studies on gold painting method in Goryeo period, so this researcher intended to observe gold painting of lacquerware excavated in Goryeo period through the microscope, investigate characteristics, mixture, etc. of gold dust and provide data of studies on the recovery of ancient technology. As the result, gold dust particle has various shapes such as irregular square, polygon and triangle under the size from 2 ㎛ to 20 ㎛. The end of gold dust is rolled and overlapped and irregular particle seems to be similar to the shape of crumpled paper. This research showed that gold dust used in gold painting of Goryeo period had used gold dust made by grinding gold leaf to gold painting.

• Conservation Science in Museum
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• v.15
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• pp.78-95
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• 2014

To examine the materials, production techniques, and key features of Goryeo wooden lacquerwares, scientific analysis was conducted on six relevant lacquerware items. All of the items, except for a lacquered bowl ^{duksu 4123}, were found to have been made by first covering the surface of the wood with cloth and then varnishing with lacquer. The wooden frames of flower-shaped lacquered case and pine leaves shape lacquered case were made by wrapping thin wood around either the lid or bottom panel. In most cases, microscopic analysis revealed a lower layer of lacquer mixed with bone ash and bone dust, followed by an upper varnish layer of lacquer. SEM-EDS analysis and μ-XRF ^{Micro-X-ray Fluorescence} analysis showed that vermilion lacquer mixed with cinnabar was used on the surface. A lid decorated with a dot pattern was made by first varnishing the surface with yellow lacquer mixed with orpiment, and then irregular dot pattern with a mixture of black lacquer and soot. The vermilion lacquer used to varnish the side of the lacquered bowls was composed of lacquer mixed with cinnabar and minium ^{Red Lead}.

• The Journal of Engineering Geology
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• v.21 no.1
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• pp.1-13
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• 2011

Joint roughness is one of the most important parameters in analysis of rock slope stability. Especially in probabilistic analysis, the random properties of joint roughness influence the probability of slope failure. Therefore, a large dataset on joint roughness is required for the probabilistic analysis but the traditional direct measurement of roughness in the field has some limitations. Terrestrial LiDAR has advantagess over traditional direct measurement in terms of cost and time. JRC (Joint Roughness Coefficient) was calculated from statistical parameters which are known from quantitative methods of converting the roughness of the material surface into JRC. The mean, standard deviation and distribution function of JRC were obtained, and we found that LiDAR is useful in obtaining large dataset for random variables.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.126-144
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• 2024

The chrysanthemum vine pattern box from the Goryeo Dynasty expresses in great detail the representative features of Goryeo Dynasty lacquerware with mother-of-pearl, such as engraving patterns on the surface of fine mother-of-pearl, expressing vine stems using metal wires, and twisting metal wires to form the boundaries of each patterns. While the lacquerware with mother-of-pearl that remains today from the Goryeo Dynasty has the form of a sutra box and a box with lid, the chrysanthemum vine pattern box that is the subject of this study is in the shape of a box with a separate lid and body, making it difficult to estimate the purpose of production or the stored contents. In this study, we attempted to confirm the formative characteristics of the chrysanthemum vine pattern box in order to confirm its original form, and to investigate its structure and production technique through X-ray transmission. In addition, we attempted to identify the use and production purpose of the box by classifying and comparing the previously known lacquerware with mother-ofpearl from the Goryeo Dynasty by type. As a result of the investigation, fabric was confirmed the bottom of body and inner box through X-ray images. Through this, it was confirmed that the 'Mogsimjeopichilgi'(wooden core grabbing fabric technique) of wrapping the object with fabric was used. And through wood grain, it was possible to confirm the wooden board composition of the part presumed to be the restored part and the part presumed to have had existing Jangseog. In addition, it was confirmed that the joints were connected in a Majdaeim(part to part). Based on the survey results, a total of 14 pieces, including 9 Sutra boxes, 3 boxes, and 2 small boxes, that remain from the Goryeo Dynasty were classified by type and examined for similarity. Among them, there is a "Chrysanthemum Vine Pattern Sutra Box" from a private collection in Japan, a "Black Lacquered Chrysanthemum Arabesque Bun Sutra Box" from the Tokugawa Art Museum, a "Sutra Holder" from the British Museum, and a "Small Box with a Mother-of-Pearl Chrysanthemum Vine Pattern" from a private collection in Korea. The pattern composition of five points was most similar to the subject of this study. As a result of comparing the damage pattern, formative characteristics, and structural features of each part, it is presumed that the sutra holder in the British Museum was transformed into its current form from the original the chrysanthemum vine patterned box. Lastly, in order to confirm the purpose of production, that is, the use of this box, we investigated examples of Tripitaka Koreana printed version produced at a time similar to the social atmosphere of Goryeo at the time. Following the Mongol(元) invasion after the Goryeo military regime at the time, sutras appeared to pray for the stability of the nation and the soul of an individual, and with the development of domestic printing and paper in the 13th century, it gradually coincided with the transition from a scroll to a folded form, and the form of a box changed from a box. It is believed that the storage method also changed.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.29 no.5 s.236
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• pp.698-706
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• 2005

Finish machining of a curved surface is often carried out by an NC system with curve interpolation in the field. This NURBS interpolation adopts a feedrate optimizing strategy based on both the geometrical information and dynamic properties. In case of a finish cut using a ball-end mill, the curve interpolator needs to take the machining process into account for more improved surface, while reducing the polishing time. In this study, the effect of low machinability at the bottom of a tool on surface roughness is also considered. A particular curve interpolation algorithm is proposed fur generating feedrate commands which are able to control the roughness of a curved surface. The simulation of the machined surface by the proposed algorithm was carried out, and experimental results are presented.

• Journal of Conservation Science
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• v.36 no.6
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• pp.483-493
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• 2020

In this paper, we present a nondestructive analysis using X-ray and microscopic investigation to detect the structure, manufacturing technique and preservation status of the Goryeo lacquered box Inlaid with Mother-of-pearl Chrysanthemum and Scroll Design (Goryeo Lacquered Box). We confirm that the Goryeo Lacquered Box consists of the soft wood as the basic material. The soft wood was coated with textile and then lacquered. The box structure of the Goryeo Lacquered Box was formed of wooden boards with wood plants added to the side, after processing into a trefoil-shaped. The wooden sides of the Goryeo Lacquered Box were cut at regular intervals for easier processing into a curved shape. Moter-of-pearl, tortoiseshell, and metal wire were used to decorate the surface. mother-of pearl was the cutting processing, and tortoiseshell was used for back coloring. The metal line was constructed using one line and twist line.

• Conservation Science in Museum
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• v.25
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• pp.27-34
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• 2021

A Goryeo-era mother-of-pearl-inlaid incense box in the collection of the National Museum of Korea, a major example of Goryeo dynasty cultural heritage, presents a comprehensive view of the production techniques and aesthetic expressions of its time. This study investigated the type of wood and the techniques used to make the framework of the box, knowledge that was necessary for its restoration. It also examined anatomical characteristics of the shell providing the mother-of-pearl. The incense box was found to be made of cedar, which suggests that there was trade in cedar with Japan. A band was attached to the lower portion of the lid by applying what the author describes as a "wrinkle-bending" technique at the corners. Wooden pegs were used to combine the top and side panels, probably for more efficient use of the thin wooden boards. The investigation of the anatomical features of the mother-of-pearl inlay identified a laminated structure of thin plates. These features are observed in certain shellfish, and further study would be required to accurately identify the type of shell.

• Journal of the Economic Geographical Society of Korea
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• v.6 no.2
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• pp.257-292
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• 2003

The purpose of this study is to grope for some developmental strategies for traditional handicraft industry in Korean through focusing on its woodenware handicraft. Human beings built up the stone Age and also used the woodenware culture together with the stone culture. From the fact that there was a serious limit in preserving for the woodenware, the lacquered ware appeared. By dint of lacquering for a long time. The woodenware was used widely for an eating table during the Three Kingdom Period, the Koryo Period, and the Yi Dynasty. Since the 1960s it was declined as the cheaper stainless and plastics came in the market. But, for the woodenware handicraft as the traditional handicraft industry some developmental strategies in terms of governmental policies are needed.

• Proceedings of the Korean Information Science Society Conference
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• 2005.07a
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• pp.595-597
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• 2005

현재 IP 멀티캐스트의 도입의 지연으로, 기존의 유니캐스트 망 기반 멀티캐스트의 필요성이 대두되어 오버레이(Overlay) 멀티캐스트 관련 연구가 진행 중이다. 특히, 확장성 제공과 작은 오버헤드 등으로 효율적인 CBT(Core Based Trees) 기반의 오버레이 멀티캐스트에 대한 연구가 활발히 진행 중이다. 그러나 기존의 거리 매트릭(Metric) 기반의 CBT로 오버레이 트리를 구성하는 경우, 특정 라우터에 패킷이 집중되는 현상으로 인하여 혼잡이 발생하여 멀티캐스트 성능 저하뿐만 아니라 네트워크 전체 성능을 저하시킬 수 있다. 본 논문에서는 이를 해결칠기 위하여. 코어 노드를 기준으로 이웃하는 두 노드 간의 패킷 중계 방향성을 계산하는 알고리즘을 제안하고. 이 결과값을 이용하는 새로운 매트릭 기반의 CBT를 구성하고자 한다. 실험 결과, CBT 상의 자식 위치에 있는 종단 노드로 패킷을 중계하는 과정에서 중복되는 패킷 전송 경로를 최소화하여 CBT를 구성함으로써 특정 라우터에 집중되는 트래픽을 줄이거나 다른 라우터로 트래픽을 분산함으로써 혼잡 발생 가능을 낮추어 보다 안정적인 통신을 기대할 수 있다.

• Korean Journal of Heritage: History & Science
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• v.5
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• pp.53-61
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• 1971

현재상태(現在狀態)에서 기온(氣溫)과 그 관계(關係)의 영역을 결정(決定)함에 있어서 우리는 아직도 실험(實驗)에 의한 충분(充分)한 자료(資料)를 우리 수중(手中)에 갖고 있지 않은데 그 자료(資料)는 극히 방대하고 시간(時間)이 소요되는 것으로서 그 자료(資料)를 모으는 일은 이런 자료(資料)를 현실화(現實化)시키는데 필요(必要)할 것이다. 현재(現在)의 예술품(藝術品)에서 부식(腐蝕)을 관찰(觀察)함으로서 이미 지금(至今)까지 얻어진 실험(實驗)에 의한 사실(事實)들로부터 또 물질(物質)은 락(落)한다는 일반적(一般的)인 인식(認識)과 더불어 이미 고려한 특별(特別)한 자연현상(自然現象)으로부터 우리는 문화재(文化財)의 보호(保護)에 합리적(合理的)으로 알맞다고 여겨지는 기후조건(氣候條件)의 영역을 결정(決定)할 수 있다. 일본(日本)에서는 곤충(昆蟲)과 곰팡이 때문에 발생(發生)하는 손해(損害)도 결코 무시(無視)되어지지 않으며 이 손해(損害)들을 피하기 위하여 20℃ 이하(以下)의 기온(氣溫)과 60% 이하(以下)의 상대습도(相對濕度)의 제한은 바람직하다. 물질(物質)은 형태(形態)에 있어서 보다 낮은 기온(氣溫)과 보다 낮은 습도(濕度)의 변화(變化)에 관(關)한 이론(理論)상의 일반적(一般的)인 상식(常識)과 실험(實驗)에 의한 사실(事實)들은 보다 낮은 기온(氣溫)은 문화재(文化財)를 이루는 물질(物質)의 상태(狀態)에 변화(變化)를 일으키지 않는다는 것을 말해준다. 금속이나 일본(日本)칠기와 같은 몇몇 특별(特別)한 예외는 있지만 권위자는 일반적(一般的)으로 그 물체(物體)를 위해서 10~20℃의 기온(氣溫)과 50~60%의 상대습도(相對濕度)의 영역을 추천(推薦)한다.