• 디지털융복합연구
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• 제17권5호
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• pp.353-360
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• 2019

청나라 화병의 형태를 활용한 옻칠 조형 가구 디자인 개발 논문은 중국 도자 역사상 가장 탁월하게 발달하였던 청나라시대 화병도자 기형을 조사하고, 분석하여 그 시대 화병도자기의 기본형을 찾고 화병에서 나타난 화병 자체의 형태를 응용하여 칠기작품 디자인의 조형적 근거를 마련하고자 하였다. 청나라시대의 화병에 나타난 조형요소 중 형태에 주안점을 두고, 그 형태의 종류를 분석하고, 사용된 재료의 조사와 각종 문헌을 통하여 중국 청나라시대 병도자기의 형태를 고찰한다. 중국 청나라 화병도자 기형을 실험에 의해 나온 자료를 기본으로 하여 옻칠 제작법 중에서 협저탈태칠기로 적용하여 앉는 가구를 디자인 한다. 이번 옻칠 조형가구 제작과 연구를 통하여 만들어진 결과물이 옻칠과 가구디자인의 결합에 새로운 학문적인 체계 구축과 오늘날 옻칠가구에서 절실히 요구되고 있는 새로운 조형사고와 신 조형기술을 발전시키는데 미약하나마 도움이 되기를 기대한다.

• 한국가구학회:학술대회논문집
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• 한국가구학회 2006년도 춘계학술발표대회 논문집
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• pp.23-34
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• 2006

• 한국실내디자인학회논문집
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• 제14권5호
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• pp.205-211
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• 2005

The purpose of this study was to analyze the preference of traditional lacquered furniture and to suggest furniture design guideline. Subjects consisted of 336 residents aged up 20 years old in Seoul and Kyung-ki. area. The data were analyzed using the SPSS statistical package. The results of descriptive statistics, factor analysis, t-test and ANOVA are presented. The result of this study showed that the traditional and environmental values of the traditional lacquered furniture were highly appraised. With a furniture plan, modernized and stylelike design was desired and the table type furniture were wanted. And preference of traditional lacquered furniture was distinct by sex and age groups. Women and older age group wanted more decorative and luxury design than other groups. These results provide a practical guideline for the development of the traditional lacquered furniture design for users.

• 한국가구학회지
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• 제11권1호
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• pp.45-51
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• 2000

일반적으로 도막의 강성은 목재의 강성에 비해 낮으므로 도장된 소재의 강성이 백골재에 비해 낮아질 것으로 짐작할 수 있으므로 본 연구에서 는 바이올린용 소재 인 유럽산 가문비 나무와 단풍나무에 투명 래커와 전통옻칠을 도포한 후, 진동모드를 해석하고 공진주파수를 비교함으로써 수종별 도료 종류에 따른 음향특성의 변화양상을 분석하고자 하였다. 분석결과, 도장전후의 기본진동모드는 동일하였고 양 수종 공히 도료의 종류에 관계없이 도장재의 공진주파수의 감소가 확인되었으며 가문비나무의 경우, 모드가 증가할수록 주파수 감소폭이 증가하였으나 옻칠이 투명래커에 비해 그 감소폭이 적었다. 단풍나무의 경우에도 상위 모드에서 더 큰 주파수 감소를 나타냈지만 옻칠과 투명래커의 주파수 감소폭이 일정치 않았다.

• 한국가구학회지
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• 제19권5호
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• pp.307-318
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• 2008

Scientific methods for grading urushi lacquer includes general properties (viscosity, pH etc), and quantitative analysis of moisture, urushiol, gum, laccase content etc, and properties of coating layer such as set to touch drying time, gloss, color difference, delamination strength, tensile strength of film. The grading results evaluated by scientific method showed n order with chinese urushi lacquer (E) > domestic urushi lacquer (A) > japanese urushi lacquer (C) > chinese urushi lacquer (D) > domestic urushi lacquer (B). It is different from hose of traditional methods. Therefore, a more accurate grading of urushi lacquer should be ade by combining traditional method with scientific method.

• 보존과학회지
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• 제32권3호
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• pp.377-384
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• 2016

철불의 개금 시 표면에 남아 있는 옻칠 제거 방법에는 물리적인 방법과 화학적인 방법을 사용하고 있으나, 표면 손상 및 약품 사용으로 인한 환경오염, 보존과학자의 건강에도 매우 유해하다. 그래서 본 연구에서는 비접촉식이고 친환경적인 Nd:YAG 레이저를 이용하여 옻칠 제거 실험을 실시하였다. 시편은 크기가 $5{\times}5cm$인 철제(Fe 99.9%)시편 표면을 균일하게 연마한 후 생칠을 도포 횟수를 달리하여 각각 $10{\mu}m$, $20{\mu}m$, $30{\mu}m$의 두께 차이로 제작하였다. 본 실험에서 사용된 레이저기기는 Nd:YAG 레이저로, 적외선 영역의 1064 nm(160~800 mJ)와 가시광선 영역인 532nm(50~350 mJ)의 두 가지 파장 모드를 이용하였다. 실험은 레이저 파장 에너지 조사 횟수 등에 따른 시편 표면의 변화를 조사하였다. 레이저 조사 전 후 표면을 실체현미경과 SEM 관찰, 비접촉 표면 조도 측정기, FT-IR 등을 이용하여 옻칠의 제거 및 잔류 여부를 알아보았다. 분석 결과 1064 nm 파장을 이용하여 $1.0J/cm^2$ 밀도에서 표면 손상 없이 $10{\mu}m$, $20{\mu}m$ 두께의 옻칠이 제거됨을 확인할 수 있었다. 이와 같은 결과를 통해 철불 개금 시 잔류하고 있는 옻칠 제거 방법으로 Nd:YAG 레이저가 효율적임을 본 실험을 통해 알 수 있었다. 향후 금속뿐만 아니라 목칠 가구 등 다양한 재질의 연구가 이루어지면 표면 손상 없이 옻칠을 제거 하는데 효과적으로 활용 가능할 것으로 본다.

• 한국가구학회지
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• 제21권1호
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• pp.1-16
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• 2010

Furniture is a medium to interconnect the living space to human, and it is the closest environmental element that limits the functions of the space, defines the style of the living, and adjusts the actions and behaviors of human. Therefore the furniture can be said to be one of the craft arts that reflects the culture and living style as they are according to the periodical, regional, and social stratum characteristics. Within this context, this study tries to suggest new design and living culture that can harmonize with the modern residence living culture and incorporate the traditional varnishing technique with lacquer that had been discontinued. Coming to the modern days, the varnishing with lacquer is getting attention again with its environment friendly characteristics and antibiotic functions, and is being applied to various applications. To inherit and maintain such an excellent traditional culture, I would like to improve the practicality by applying to modern furniture, and to contribute to develop and tell the world about the superiority of our culture.

• 한국가구학회지
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• 제14권1호
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• pp.59-69
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• 2003

When harmonized with modem design, the Korean traditional lacquered woodenware with a history of about two thousand years has the potential to appeal to the global sense of industrial craftsmanship as it is superior to any in terms of material used and is very friendly environmentally. To maximize this potential, however, it is necessary to develop a firm infrastructure for the supply of lacquer, including the forestation for the lacquer wood, the production of lacquer, the improvement of refining skills, and the development of better paints. Also ways must be found to induce the craftsmanship at the turning lathe to be elevated to a major independent industrial craft. Only then the mass-produced lacquered woodenware for everyday use and as tourist goods, showing the best merits of the Korean lathing technique, will be displayed and accepted with a new appreciation.

• 한국실내디자인학회논문집
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• 제1호
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• pp.46-51
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• 1992

18c, statues of French Lacquer Furniture are worthy of close attention in aspects of its quantity , quality and asthetics in production. This kind of furniture have been developed, devising the its own original techniques, through it was influenced and begun with the imported from China. Therefore, the main currence of color with black tones had changed to French style, with somewhat repleting to chinese ornament. This characteristics is distinguished in furniture which is expressed as a min theme. It can say that it has the meaning of lacquer furniture as part of chinoiserie prevailing at the time that social consensus through the political supports for upbringing furniture industry, a close relationship of clients , merchants, and descorators with appreciative eyes, and the ceaseless persuit of the new had made resulted in concurrence of asthetics between the eastern world and the western world.

• 패션비즈니스
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• 제22권1호
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• pp.100-113
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• 2018

From the late 17th to the early 18th century, Europeans were strongly intrigued by products from the East. Therefore, several countries like England, France, and Netherlands formed the 'East India Company' to pursue trade. First, European markets rapidly responded to this desire for exoticism by importing goods; then, they produced imitation Oriental goods. Finally, they made stylistically advanced exotic merchandise from the perspectives of European. In terms of the textile industry, this trend was expressed in the pattern design of silk, or the so called 'bizarre silk.' In this paper, bizarre silk patterns were scrutinized based on a digital archive of museums, catalogues of museums, portal sites, and the literature. The bizarre silk patterns were analyzed then classified into six categories: pseudo-Oriental plant pattern, pattern mingled with architectural motifs, pattern of juxtaposed with Oriental goods, abstract pattern, exuberant pattern with metal threads, and semi-naturalistic pattern. These patterns were characterized according to the following features: strangely large exotic floral patterns were undulating and asymmetrical; exotic foliage and flowers were sometimes mixed with architectural motifs or Oriental goods to easily show the Oriental influence; motifs of bizarre silk patterns were abstractly stylized; bizarre silk patterns became luxurious once more like the Baroque period; finally, floral patterns became more natural, and still exotic motifs remained in the background to maintain the bizarre silk features. These bizarre silk patterns evolved from the viewpoints of Europeans through acceptance stage, compound stage, and confluent stage.