• Title/Summary/Keyword: 상감기법

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Development of Traditional Inlaying Base Using Rapid Prototyping Technique (쾌속조형기술을 이용한 전통상감 베이스 개발)

  • Jang, Woongeun
    • The Journal of the Korea Contents Association
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    • v.14 no.1
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    • pp.1-13
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    • 2014
  • RP(Rapid prototyping) technology is widely used to reduce the cost and cycle time of new prototypes in industries as new product development cycle time currently shortened and the voice of customers also become to be diversified. In this study, RP skill used in making jewelry products was adapted to develop the metallic inlaying base of traditional handicraft products as the significance of CAD/CAM technologies was increased. The RP technology showed that it helped the handicraftsman to cut the groove for inlaying metalic wire more easily, uniformly and diversely than conventional handicraft technique in making the groove with undercut shape. Therefore this study showed that RP technology applied for the metalic inlaying base achieved more elaborate, intricate and uniform patterns, not depending on craftsmanship, compared with conventional handicraft skill in terms of quality, cost and delivery.

Integration of Inlaid and Paste Brush Technique Using Colored Glass Plaster Technique (색유리 플래스터 기법을 이용한 상감 귀얄기법 융합에 관한 연구)

  • Kim, Seung-Man
    • The Journal of the Korea Contents Association
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    • v.18 no.2
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    • pp.290-300
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    • 2018
  • The point of discovering a new technique using colored glass and clay is to improve the existing inconveniences, which is compatible with the mutual physical property of ceramics clay and glass. It is easy to express the decoration of colored glass in vertical ceramics, but the aesthetic expression is limited due to the rust flowing down on horizontal ceramics. So the point is the discovery of a new expressive method that do not melt down in vertical objects. A new technique is to crush finely and dilute the colored glass using clay, and brushing it to the wall. Additionally, inlaid technique and paste brush technique were applied to further enhance aesthetic end. The plastic method is oxidation and reduction, and the coloration was different due to the plasticity method. Particularly, partial cutting of engraved color glass leads to forming gray-line soft gradation. This effect will be good to apply to production of work and industrial ceramics.

A Comparative Study on the Decoration of Korean Celadon and Chinese Celadon in the 12th and 13th Centuries (12~13세기 고려청자와 중국청자의 장식디자인 비교 연구)

  • Yue, kun;Ren, chuan;Kim, Hea-jin
    • Journal of Digital Convergence
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    • v.17 no.3
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    • pp.427-432
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    • 2019
  • In the 12th century to the 13th century, was the heyday of celadon, Koryo celadon after experienced celadon firing technology of imitation to the peak period of the development of Chinese celadon, especially on decoration technology pioneered the self unique style, the way of engraving, $xi{\grave{a}}ngqi{\grave{a}}n$. During this period, the southern Song dynasty celadon in China also innovated in the mature celadon firing technology and became more distinctive. The decorative style also promoted the aesthetic interest of the Song dynasty. Celadon decoration is not only a decorative art of ceramic art, but also a representation of national cultural phenomenon with the traditional culture in the development of contemporary art, play a more important role and value.

Jangdo(Small Ornamental Knives) manufacturing process and restoration research using Odong Inlay application (오동상감(烏銅象嵌)기법을 활용한 장도(粧刀)의 제작기술 및 복원연구)

  • Yun, Yong Hyun;Cho, Nam Chul;Jeong, Yeong Sang;Jang, Chu Nam
    • Korean Journal of Heritage: History & Science
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    • v.49 no.2
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    • pp.172-189
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    • 2016
  • In this research, literature research on the Odong material, mixture ratio, casting method and casting facility was conducted on contemporary documents, such as Cheongong Geamul. Also, a long sword was produced using the Odong inlay technique. The sword reproduction steps were as follows; Odong alloying, silver soldering alloying, Odong plate and Silver plate production, hilt and sheath production, metal frame and decorative elements, such as a Dugup (metal frame), production, Odong inlay assembly and final assembly. For the Odong alloy production, the mixture ratio of the true Odong, which has copper and gold ratio of 20:1, was used. This is traditional ratio for high quality product according to $17^{th}$ century metallurgy instruction manual. The silver soldering alloy was produced with silver and brass(Cu 7 : Zn 3) ratio of 5:1 for inlay purpose and 5:2 ratio for simple welding purpose. The true Odong alloy laminated with silver plate was used to produce hilt and sheath. The alloy went through annealing and forging steps to make it into 0.6 mm thick plate and its backing layer, which is a silver plate, had the matching thickness. After the two plates were adhered, the laminated plate went through annealing, forging, engraving, silver inlaying, shaping, silver welding, finishing and polishing steps. During the Odong colouring process, its red surface turns black by induced corrosion and different hues can be achieved depending on its quality. To accomplish the silver inlay Odong techniques, a Hanji saturated with thirty day old urine is wrapped around a hilt and sheath material, then it is left at warm room temperature for two to three hours. The Odong's surface will turn black when silver inlay remains unchanged. Various scientific analysis were conducted to study composition of recreated Odong panel, silver soldering, silver plate and the colouring agent on Odong's surface. The recreated Odong had average out at Cu 95.57 wt% Au 4.16wt% and Cu 98.04 wt% Au 1.95wt%, when documented ratio in the old record is Cu 95wt% and Au 5wt%. The recreated Odong was prone to surface breakage during manufacturing process unlike material made with composition ratio written in the old record. On the silver plate of the silver and Odong laminate, 100wt% Ag was detected and between the two layers Cu, Ag and Au were detected. This proves that the adhesion between the two layers was successfully achieved. The silver soldering had varied composition of Ag depending on the location. This shows uneven composition of the silver welding. A large quantities of S, that was not initially present, was detected on the surface of the black Odong. This indicates that presence of S has influence on Odong colour. Additional study on the chromaticity, additional chemical compounds and its restoration are needed for the further understanding of the origin of Odong colour. The result of Odong alloy testing and recreation, Odong silver inlay long sword production, scientific analysis of the Odong black colouring agent will form an important foundation of knowledge for conservation of Odong artifact.

Issues in Ancient Metal Wire Inlay: A Case Study of Relics from Baekje (고대 금속 선상감 기법의 쟁점과 그 해석 - 백제 선상감 자료를 중심으로 -)

  • Choi, Gieun
    • Conservation Science in Museum
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    • v.20
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    • pp.13-30
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    • 2018
  • Ancient metal objects with inlaid designs were mainly decorated using the wire inlay technique in which "V"- or "U"-shaped grooves were cut in a metal object and then filled with gold or silver. Previous studies on ancient metal objects featuring wire inlay generally attempted to ascertain the inlay techniques applied by examining photomicroscopes acquired during conservation treatment. However, they had limitations when examining wire inlay technique to the minute details. Wire inlay technique can be better investigated by enlarging X-ray films of relics using stereoscopic microscopy under transmitted light. The core processes of the wire inlay technique involve cutting grooves using a chisel and creating the inlay wires, but researchers hold varying opinions about the two processes. This study analyzed the entirety of the materials able to shed light on the main processes applied in Baekje wire inlay by examining X-ray films of relics through stereoscopic microscopy. This exhaustive research revealed that two types of techniques were used for wire inlay during the Baekje period. One is a plastic process of engraving dotted lines using a chisel and is found mostly in objects from the Cheonan and Gongju areas. The other is a cutting process that incises fine lines and was used mostly in relics from the Osan, Seosan, and Wanju areas. It is likely that the Baekje wire inlay techniques feature regional differences because the respective techniques were used or introduced by different groups of people.

Electrochemical Metallization Processes for Copper and Silver Metal Interconnection (구리 및 은 금속 배선을 위한 전기화학적 공정)

  • Kwon, Oh Joong;Cho, Sung Ki;Kim, Jae Jeong
    • Korean Chemical Engineering Research
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    • v.47 no.2
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    • pp.141-149
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    • 2009
  • The Cu thin film material and process, which have been already used for metallization of CMOS(Complementary Metal Oxide Semiconductor), has been highlighted as the Cu metallization is introduced to the metallization process for giga - level memory devices. The recent progresses in the development of key elements in electrochemical processes like surface pretreatment or electrolyte composition are summarized in the paper, because the semiconductor metallization by electrochemical processes such as electrodeposition and electroless deposition controls the thickness of Cu film in a few nm scales. The technologies in electrodeposition and electroless deposition are described in the viewpoint of process compatibility between copper electrodeposition and damascene process, because a Cu metal line is fabricated from the Cu thin film. Silver metallization, which may be expected to be the next generation metallization material due to its lowest resistivity, is also introduced with its electrochemical fabrication methods.

A study on jewelry-making using a multi-casting (다중주물을 활용한 주얼리 제작에 관한 연구)

  • Lee, Jung Soo;Kim, Hyeong Seong
    • Journal of the Korean Crystal Growth and Crystal Technology
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    • v.22 no.5
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    • pp.223-226
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    • 2012
  • There are many restrictions in conventional ways of Jewelry mass production which are Mokume Gane, Inlaid Technology based on a joining work of dissimilar metals. To overcome this, Multi-Casting using both Jewelry-Casting and CAD/CAM has presented. In experiment on Muti-Casting, second original sample which was produced by CAD/CAM is 5 % smaller than first one. The first and second castings are brass and silver, respectively. When making second sample, the temperature of flask was about $150{\sim}200^{\circ}C$ higher than the standard temperature of flask when making castings. Through the Multi-Casting, it was found that there was no trouble making dissimilar metals Jewelry which can be mass produced.

A Study on Comparative Analysis of Inlay Craft Technique of Relic in the Three Kingdom Period (삼국시대의 유물에 나타난 입사공예기법 비교분석 연구)

  • Park, Ji-Won;Park, Seung-Chul
    • Journal of Digital Convergence
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    • v.12 no.11
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    • pp.505-513
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    • 2014
  • Modern metal craft is losing our tradition and personality with simple expressive methods and limited techniques without artistry with the purpose of mass production. In order for development of modern metal craft and to succeed our unique culture, there is a need to consider traditional craft techniques that have been delivered since the ancient. Inlay craft requires high concentration and technology, and it is typical traditional metal craft techniques that show contemporary culture and ideas well. the period of the Three States was the time when inlay technique was introduced the first, and it can be seen in Baekje, Gaya and Silla. Furthermore, when inlay craft is applied for modern metal craft, a possibility was found to grant artistic expression and historical value of our unique artistic expression and historical value. For this purpose, it is expected to establish development of modern metal craft and our unique individuality firmly when continuously seeking practical measures that can accept contemporary crafts and expanding opportunities of education to learn traditional techniques.

A Research on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty with priority given to Buncheongsagisanggamunryongmunho, National treasures (조선 초기 용준(龍樽), 분청사기 상감 운룡문 호의 특징과 성격)

  • OH, Youngin
    • Korean Journal of Heritage: History & Science
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    • v.55 no.1
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    • pp.85-110
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    • 2022
  • This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.