• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.232-233
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• 2002

• Journal of Digital Convergence
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• v.16 no.1
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• pp.337-342
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• 2018

This study was started to study the artistic aesthetic value of the antique artwork which is gradually declining in the field of metal crafts. The aesthetic interpretation of the lines and faces that have been identified through previous researches has been defined as a vitality and repetitive beauty. The researchers here have tried to express the formative works which can be repeated and change. As a result, it was found that the object of inquiry which can express the aesthetic beauty felt in the simple change of the line and the face is possible without the advanced technique of the difficult technique or the molding method through the natural and gradual change of the line and the face rather than the regular repetition. Through this study, it was found that the use of future lines and surfaces could be utilized as a variety of aesthetic expression methods as molding elements.

• 보존과학연구
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• s.18
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• pp.133-139
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• 1997

• Journal of Digital Convergence
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• v.11 no.9
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• pp.325-331
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• 2013

The Baekje Gilt-bronze Incense Burner which was excavated in an ancient temple site in Neungsan-ri, within the City wall of Buyeo-Gun on 23rd December 1993, was a quintessence of the Bakje Arts that people could not have imagined until that time. The Baekje Gilt-bronze Incense Burner transcended 1400 years of time and space. The censer that finally came up to us delivered a kind of a powerful message to us. The power was so strong and mysterious that as if an ancestor who had been sleeping in the grave with a great silent had woken up and become alive to tell us something very precious. Baekje Gilt-bronze Incense Burner, unlike any other existing artifacts, might have a possibility that could provide an insight of the ancients' psych who once lived on our land. This kind of view from several archaeologists, therefore, made our hearts be filled with excitement and flutter. We call 21st century as an era of culture. This era requests that the culture needs to be ethnical but the culture also needs to go beyond that ethnic. In other words, a culture without an ethnic cannot exist, and a culture that puts an ethnic the very first before any other things cannot exist as well. Regaining our identities first and then embracing and harmonizing various cultures can be an wise way overcoming above problem. Hence, through this study, I intend to recognize characteristic of plasticity for Baekje Gilt-bronze Incense Burner, understand the world of Baekje people's spirit and thus provide an opportunity to shed new light on the Baekje Arts. By doing so, I would like to publicize a metal craft of Korea to the world. I also try to seek for an identity of Korea's craft culture which is receding and find a direction for the Korea's craft.

• Archives of design research
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• no.16
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• pp.149-158
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• 1996

Personal ornaments designing has a great influence on present-day life and culture and allied industries, but the current collges fail to provide its productive and creative programs because it is considered as just a part of metal crafts. Most colleges present programs only for producing items of pure fine art crafts, and therefore fail to present the programs that help the student to understand the related industries and their management. This study seeks to point to the problems of current personal omaments designing education in order to help to find its remedies, and tries to present long-term and short- term plans for them. I belive when the colleges develop their own suitable programs based on these plans, they will strengthen their ability to survive in this privailing open-door compryiyive world, widen their opportunities to contribute to related industries, and help the students to play better roles in the society.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.32-53
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• 2018

The $Sh{\bar{o}}s{\bar{o}}-in$(正倉院) is the detached storage building for Japanese treasures that belongs to $T{\bar{o}}dai-ji$ in Nara, Japan. The reason why $Sh{\bar{o}}s{\bar{o}}-in$ collections are drawing attention is that Japanese artifacts, sculptures, paintings, and other objects that were introduced through the Silk Road, such as Sasanian Persia and India, and those that were introduced from the Unified Silla and Tang China. In addition, hundreds of well-preserved documents of $Sh{\bar{o}}s{\bar{o}}-in$ collections play an important role as a historical reference material covering not only the social situation of the time but also the history of exchange of cultural diplomacy and the change of Buddhist doctrine. In particular, some of collections of $Sh{\bar{o}}s{\bar{o}}-in$ were made in China and may have been imported or received as gifts, but many of the artifacts made in Baekje and Unified Silla are becoming more and more important. This paper examined the research status of $Sh{\bar{o}}s{\bar{o}}-in$ metal crafts of Korean and foreign scholars, and examined the association with the relics of $Sh{\bar{o}}s{\bar{o}}-in$ through metal crafts excavated from the Korean Peninsula. The research on the future direction of $Sh{\bar{o}}s{\bar{o}}-in$ collections should be summarized as follows. 1. Systematization of state-level support and single window for the research of $Sh{\bar{o}}s{\bar{o}}-in$ collections 2. Accurate listing and database of $Sh{\bar{o}}s{\bar{o}}-in$ collections 3. The positive implementation of joint research with Japan and invitation of researchers related to $Sh{\bar{o}}s{\bar{o}}-in$ collections 4. The exchange exhibition between the Korean National Treasures and the $Sh{\bar{o}}s{\bar{o}}-in$ collections 5. Expansion of the research base through the publication and support of books related to $Sh{\bar{o}}s{\bar{o}}-in$ collections.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.4-23
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• 2021

The purpose of this study was to classify the types of tweezers used across time and to examine the social culture of periods through the use of tweezers. Chapter II summarized the terms for tweezers and looked at the use of tweezers in two cases related to the social culture and politics of a period. The first is the use of tweezers for beauty purposes. Men used tweezers as a kind of self-management to maintain their social status and power, and thus they helped develop a wide range of tweezers cultures. People with gray hair are usually old. The perception that we should step down from politics when we are aged has become strong. Therefore, politicians pulled out gray hairs with tweezers to maintain only black hair and show youth, which indicates that their social influence is still strong. The second is the use of tweezers for first aid. Chapter III classified tweezers by type during the Goryeo and Joseon periods. The tweezers are largely divided into basic and composite types. The basic type of tweezers is a form that has been continued since the Three Kingdoms Period and consists of tongs and handles, and a fixed type of tweezers with a fixed ring appeared. Composite tweezers are made by grafting earpick or multipurpose knives. Composite tweezers are all-in-one tweezers with an earpick and an all-in-one knife. Tweezers are usually all-in-one. Among the composite tweezers, rivet separation and ring separation are characterized by separation, unlike the all-in-one tweezers. The method of connecting is divided into rivets and connection rings. The all-in-one tweezers appear only during the Goryeo Dynasty and are characterized by the lifestyle that provides a glimpse of the tastes of contemporary users. The manufacturing takes shape after making a thin metal plate. Decorative techniques are carved on soft metal tweezers, such as silver and bronze with a line, point, and a pressed angle. These tweezers are presumed to have been used by the royal family or aristocrats. However, most tweezers are made of strong bronze or iron. Therefore, the majority of simple X-shaped patterns are sampled or without patterns. The biggest reason why there are such diverse types of tweezers is that the culture of tweezers was widespread regardless of the times. In addition, the basic type of tweezers has been used since the Three Kingdoms Period and has been modified and used together as necessary because the shape of tweezers is a practical daily tool. Study of metal crafts have been limited to royal objects and Buddhist crafts. We hope that research on everyday tools such as tweezers will continue to serve as an opportunity to examine the social and cultural aspects of the times in various ways.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.216-239
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• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.32 no.1
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• pp.33-39
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• 2022

As 3D printer-related patents expire and major technologies are disclosed, the price of 3D printers is dropping, creating an environment where you can easily find the product you want. In particular, the cheapest FDM (Fused Deposition Modeling) 3D printer is being used in various fields. The FDM method can be manufactured without collapsing of the shape only by attaching a support under certain conditions when outputting the shape. When printing a shape without a support, the irregular surface that occurs at a certain angle is a defect in the product, but it is considered that it can be used as another fun factor in terms of arts and crafts. In this paper, to obtain such an irregular surface, factors that can affect the output were controlled and only the output angle was tested as a displacement factor. As a result of the experiment, it was possible to obtain an irregular surface without the filament flowing down when printing at an angle of 62° to 70° from the vertical. Also, artificially irregular surfaces were applied to craft products.

• Archives of design research
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• v.18 no.4 s.62
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• pp.35-44
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• 2005

In the world, most of the metal technologists were as called as adornment artists than other field of industrial arts strongly industrial characters functional materials and manufacturing technology many used in the present age. In the study, one of adornments researched and material character analyzed about Art Clay Silver. The shrinkage rate of shape was about 0.24%. A shrinking phenomenon drying time thought of evaporation of water linking bonding agents and powders. After calcination of Art Clay Silver, the EDX used that just Ag 100% analyzed a result from the surface assay in the room temperature. A binder with powder in the room temperature considered to disappear, because it was been fume and smoke at high calcined temperature. A study showed when handicrafted necklaces make by these characteristic as using in difficult and delicated operations rather than naturally and beautifully expressive products.