• Journal of Conservation Science
• /
• v.30 no.1
• /
• pp.39-53
• /
• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• Conservation Science in Museum
• /
• v.21
• /
• pp.17-28
• /
• 2019

The term jinjuseon(眞珠扇), meaning literally a pearl fan, refers to a fan decorated with precious stones for use in royal wedding ceremonies. This study examined a jinjuseon housed in the National Palace Museum of Korea (NPMK) which currently lacks jeweled ornaments. In order to determine whether pearls or other gemstone settings originally ornamented the fan,the surface and composition of the gray materials remaining on the washers were investigated and the fan was compared with other artifacts decorated using similar techniques. The analysis revealed that the gray materials visible around the round rims of the washers contain tin-lead alloys. The traces of folded nails suggest that soldering was not applied. The remains of the infill observed in other artifacts with bezel settings indicate that this jinjuseon in the NPMK collection was produced using abezel setting technique wherein pearls or other gemstones were affixed by filling cylindrical bezels with tin-lead alloys.

• Conservation Science in Museum
• /
• v.9
• /
• pp.31-49
• /
• 2008

We have investigated and conserved three small Buddha statues dating from Joseon period that were purchased by the National Museum of Korea. Chemical analysis and investigation of internal structures were enabled us to identify its compositions and hollow spaces which have various materials just like fabrics, silver ornaments, beads and wood fragments. The fabrics date from the early years of the Joseon dynasty to the middle one. The compositions of matrix of the Buddha statues vary 80-90 wt% Ag and 7-15 wt% Cu. And its surface layers were gilt with amalgam. Mechanical and chemical cleaning with EDTA-2Na were applied together during the cleaning process.

• Journal of the Korean Society of Floral Art and Design
• /
• no.43
• /
• pp.123-138
• /
• 2020

This study found Flower Jewelry works in the monthly magazine specializing in flower decoration for nine years from 2011 to 2019. Based on the analysis of the type of expression, method of expression, type and number of plant materials used, and the type and number of non-plant materials used for the flower jewelry found, it was conducted to find out the trend of flower jewelry in Korea. By expression type, a total of 96 works were analyzed as 20.83% for headdresses, 57.29% for necklaces, 5.21% for earrings, 6.25% for lists, and 10.42% for other works(χ²=94.833, p<.001). According to the analysis of the frequency of use of expression techniques, headdresses, necklaces, and lists for each work were produced using five to six different expression techniques and earrings were produced using two to four expression techniques. Material coupling techniques 34.43%, flower and leaf utilization 30.17%, visual techniques 16.63%, collectivization techniques 14.12%, technical highlighting techniques 4.26%, and other 0.39% (χ²=455.222, p<.001). The most frequently used techniques were framing techniques 16.63% and knotting techniques 16.44%. Plant materials used in flower jewelry were found to be 22.61% for Phalaenopsis spp., 13.48% for Gomphrena globosa, 9.57% for Gloriosa rothschildiana, 7.39% for Epidendrum cinnabarinum, 6.96% for Chamelaucium uncinatum and 4.78% for Craspedia globosa (χ²=718.104, p<.001). In the case of branch, the most common was used with 70.00% of the Cornus walteri, and 10.00% of Actinidia arguta, Celastrus orbiculatus, and Salix pseudolasiogyne were used respectively (χ²=10.800, p=.013). In the case of foliage, 24.65% Aspidistra elatior, 24.62% Asparagus asparagoides, 11.54% Senecio rowleyanus, and 6.15% Ceropegia woodii (χ²=269.385, p<.001). In the case of berries, 44.44% of the fruits of the Smilax china, 33.33% of the Hypericum patulum, and 11.11% of the Phytolacca americana were found (χ²=11.444, p =.022). Non-planting materials used in the manufacture of flower jewelry were found to be 47.34% of 2mm aluminium wire, 33.73% of copper wire and 10.06% of 1mm aluminum wire (χ²=186.704, p<.001). The figure was 53.57% for pearls, 12.50% for ribbons, and 4.14% for spangles and feathers.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.1
• /
• pp.51-61
• /
• 2022

Earthenware horn cups with horse head decorations were excavated from Tomb No. 7 of Bokcheon-dong, Dongraegu, Busan Metropolitan City. Made of earth in the shape of a horn, these cups are considered to have been used to drink alcohol or beverage. Large numbers of earthenware horn cups of various shapes were excavated from tombs located in the old territories of Silla and Gaya. A pair of earthenware horn cups were excavated from Tomb No. 7, and the two cups are almost identical in overall shapes and manufacturing techniques despite different sizes. Conservation treatment was carried out for the bigger one of the two horn cups this time. There are two cracks toward the horse head decorations around the mouth with missing parts observed. The chest of the horse touches the ground with one side decorating the horse head and the other side facing the conical mouth of the horn cup. It is in the U shape, striking a balance based on two legs attached behind. The surface of the horn cup was made with a potter's wheel, and the connection to the horse head has traces of cutting and trimming. The horse head is expressed realistically with its features including the ears, eyes, nose, and mouth well apprehended and its color is grey This study intended to investigate manufacturing techniques of the artifact by examining its internal structure through the condition survey in a non-destructive way. CT imaging was used to figure out its manufacturing techniques and to diagnose its condition, and accordingly the scientific conservation treatment was conducted to stabilize the artifact. The precise diagnosis on conservation condition found that there are two chips in the spout with their cracks extended. One of the chips is connected with separation added to the crack. The material which has been used for connection in the past was collected for the infrared spectroscopic analysis, which was identified to be nitrocellulose resin for the connection. Therefore, this conservation treatment focused on removing the old material and preventing the spread of cracks. Before conservation treatment, the condition survey and scientific examination for the artifact were carried out to secure data about the earthenware horn cup with horse head decorations(Treasure). Based on them, effective plans for its conservation treatment was sought for and then existing adhesive was safely removed, and restoration material was selected to take into account its reversibility. In addition, the conservation treatment according to optimal methodologies was conducted through the consultation meeting with experts.

• Fashion & Textile Research Journal
• /
• v.15 no.4
• /
• pp.493-503
• /
• 2013

This study analyzes expression methodology and aesthetic meanings in modern hair ornaments that adopt maximalism. Maximalism has appeared in various hair ornaments throughout history. Hair dresses are used for many reasons related to class, social position, religious beliefs, and occupation throughout the Eastern and Western hemispheres. A higher class and social position was often denoted by a fancier and bigger hairdress. In modern society maximalism is expressed in literature, expressionism, maxi-marketing, exaggerative advertisements, and symbolic architecture. Formative expression methodologies in modern hair ornaments that adopt maximalism are transform, overlapping & exaggeration, and mixing & edition. The aesthetic meanings of maximalism in hair ornaments are the reinterpretation of retro ornaments, the exaggeration of internal self-expression, humorous symbolic objects, and the conveyance of a social critical message. The advantages of maximalism help people communicate and co-provide an abundant life. These are expected to create significant and numerous positive impacts in society. In addition, the continued efforts on the investment in hair ornaments that express Maximalism well as a fashion trend shows that further study on the persistence, practicality and recognized design inconvenience in the aesthetic value are needed.

• Journal of Fashion Business
• /
• v.5 no.1
• /
• pp.131-144
• /
• 2001

The purpose of this study is to examine the type of stitch and designs of knitwears using handcraft ornament techniques. This paper will also go on to develop and merchandize high value generated by design development. Knit is largely divided into weft knit stitch and warp knit stitch which are respectively woven by weft knitting machine and warp knitting machine. For clothing, circular knit and flat knit are frequently used while plain stitch, rib stitch and purl stitch are perceived as the basic stitches. Denbigh stitch, cord stitch, atlas stitch, which belong to tricot stitch, are the basic of warp knit stitch. There are also numerous fancy fabrics adapting the previously mentioned stitches and these are made into solid pattern and yarn dyed pattern. The handcraft ornament techniques in knitwears design are embroidery, beads, sequin, stone, printing, applique and fringe, etc. By applying these techniques thus creative expression, which cannot be expressed in other fashion items, is feasible. The women's knitwears are tries by mixed and various techniques, develope to high value knitwears, escaping from simple and practical items.

• Journal of the Korean Crystal Growth and Crystal Technology
• /
• v.21 no.1
• /
• pp.27-33
• /
• 2011

Carbon board, an electromagnetic shielding new material, is expected to be applied to the art wall by combining draft designs. When environment-friendly architecture materials are used as an interior wall, they are suitable as finishing materials. According to the increasing tendency of the application of carbon board, various styles could be made by decorating the whole or a part of a wall with tiles with module structure or by patterning the wall with panel-type woodcut or pictures or sculpture. And more graphic design based on diverse variation, and reconstruction and combination between other motif is being on the rise as a new expression. In this paper, make it possible to applying in MDF board and carbon board pattern design using the woodcut technique. The structural and physical properties were compared by usability of abrasion, toughness, stability. Samples are analyzed dependent on the hardness and relative density, change of detail pattern design and trimming technique. These results have shown that the possibility of applying of carbon board can be a high rank interior materials, capable of creating value of the living system, connects with MDF board, also can express humanism in a beautiful manner.

• Journal of Fashion Business
• /
• v.28 no.1
• /
• pp.131-148
• /
• 2024

Among the various decorative techniques in fashion design, this study is to study the decorative effect of the aesthetic finishing technique on fabric. Despite the recent expansion of the use of decorative techniques by aesthetic finishing of fabrics, most of the studies have focused on one or partial techniques, and there has been no part on the use of broad techniques or the application of overall design. Therefore, the purpose of this study is to collect the expression techniques of aesthetic finishing and its fashion cases that have been sporadically performed by examining the decorative techniques of fabric aesthetic finishing as a whole, and to provide practical data, help design thinking, and further contribute to the development of higher value-added products. To this end, this study was conducted in parallel with theoretical consideration and empirical research. First, through the analysis of decorative images and fashion cases examined based on theoretical considerations, six creative costumes were planned and produced by reorganizing them according to the flow of modern fashion using a design concept. As a result, it was confirmed that each aesthetic finishing technique is an effective decorative technique that is applied and harmonized to a part or all of the costume to create a new and unique surface effect and formative beauty, and to increase strong visual effects and luxury. Therefore, through this study, it is expected that it will help satisfy the aesthetic sense of consumers seeking high-end and individualization in the future. Therefore, in future research, it is necessary to expand and deal with the aesthetic finishing of fabrics in more depth, and it is expected that multifaceted research and development will continue.

• Archives of design research
• /
• v.16 no.2
• /
• pp.291-300
• /
• 2003

In metalcraft, there are two kind of skills, one is forming and the other is decoration. And we could discern these skills as metal casting and metal hammering.. In metal casting, there are sand mould, cire perdus, stone mould and sealed monld; In metal hammering, metal forging, repousse technique and metal sheet making. After make form, craftman can use the decoration skills. There are chasing hammering, line carving, dotted line engraving, hair line engraving, kicking line engraving, ring punched ground, inlay, filigee and granulation skills. In korean traditional copper alloy, the craftman used forming and decoration skills. In Korea, tradionally the clatter use bronze for copper alloy; in case of Japan, they use violet coloring, and in case of Chinese, they like to use bronze used copper alloy. In case of Alloy, korean craftman used bronze traditionally, but recently the copper alloy skill is usually used; in case of Japan shibuichi and shakudo skills are used; and in Chinese copper, brass and cupronikel alloy are used.