• Archives of design research
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• v.17 no.4
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• pp.241-250
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• 2004

In this research, the copper alloy plates C2200, C5210, C7701, C8113 were selected to make datum and to identify further usage of metal craft experimentation. For its experimentation, the general welding and TIG welding methods were researched; for 2nd experimentation, the Reticulation and Electroforming skill's differences in color and temperature were researched. With these methods 3 different kinds of works are introduced for sample studies. For this research, Dr. Lee, Dong-Woo who works in Poongsan Metal Co, supported 4 kinds of copper alloy metals. Which are Commercial bronze (Cu-Zn), Deoxidiged Copper(Cu-Sn-P), Nickel Silver (Cu-Ni-Zn), and White Bronze (Cu-Ni); they were applied partly and wholly by the method of Laminatin, Reticulation, Fusing, and Electroforming skills. In case of C2200, the brass, the A. C. TIG welding method is better under 2mm slight plate; the D.C. TIG welding is better upper 2mm plate; and 250~300$^{\circ}C$ is recommended for remain heat treatment. In case of C5210, not having Hydrogen in high temperature return period, doesn't need Oxygen in high temperature and hardening in comparative high temperature neither, it is good for welding. It contains Sn 2-9% ad P 0.03-0.4% generally; and in accordance with the growth rate of Sn contain amount, the harden temperature boundary become broad. In case of cold moment after welding, they are recommended that higher speed TIG welding, smaller melting site and less than 200$^{\circ}C$ for pre-heating temperature. In case of C7701, the 10-20% Ni, 15-30% Zn are widely used.. If it is upper 30% Zn, it become (${\alpha}+{\beta}$) system and adhesive power rate become lower, and the productivity become lower in low temperature but the productivity become higher in high temperature. Nickel Silver's resistance of electricity is well; and the heatproof and incorrodibility is good, too. Lastly, in case of C8113, good at persistence in salty and grind; high in strength of high temperature. In case of white brass, contain 10-30% Nickel and hardened in high temperature and become single phrase. For these reason, the crystallization particles easily become large, if the resistance become higher small amount of Pb, P, S separation rate become higher.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• 지역과문화
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• v.6 no.3
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• pp.79-105
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• 2019

In the Geumseongsan Tumulus of the Uiseong area where the Jomunguk was existed in the Three Han Period, many relics such as metal craft ornaments and Uiseong-style earthernware were excavated. However, it is hard to find cases where the excavated relics were used to develop cultural products. In this study, symbolic relics which can express the culture of Uiseong Jomunguk were selected from excavated relics. Then, the basic design that can be applied to various cultural products were derived from symbolic relics. In order to select symbolic relics, the formative characteristics of the metal craft relics excavated from the Tablili Tumulus and the Dali Tumulus were examined. As a result, a gilt-bronze crown excavated from the Tablili Tumulus was selected as a symbolic relics. And then the basic desin was derived from the gilt-bronze crown. The basic design is expressed in the form of birds based on the bird's feather shape at the edge of the standing ornaments and the record of the Bongdae(鳳臺), the phoenix's habitat. And the application design that changed the expression of the birds' face was presented. The earthenware excavated from the Uiseong area was designed as a soil pot and applied various indoor air purification plants. The result of this study, which reinterprets and reconstructs the historical and cultural resources of the region in accordance with the modern sense, can be used as useful data for the development of cultural products of Jomunguk. Furthermore, if the design derived from the Jomunguk relics is used as a representative symbol of the area, it will be possible to derive an image of a differentiated region from other regions. Finally, it is expected that the result of this study will be a chance to re-evaluate the value of the historical and cultural resources in the region.

• Archives of design research
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• v.13
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• pp.165-172
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• 1996

The National College of Art. Craft and Design of Sweden founded in 1811 is one of the oldest schools in the world and has taken very important role in the development of Scandinavian design This college usually called "Konstfack" in Sweden was transformed under the influence of Bauhaus into a modern design institute and the experiment:li curriculum and its unique teaching system was completed in the middle of 70' s The phrase "Insight och Flit" in the emblem of this school shows the Konslfack spirit which stresses the creative insight and endless diligence Korea is much different from Sweden in cultural aspects as well as in political and economic ones. In the later half of 19th century Sweden was one of the undeveloped countries in Europe and she just entered the Industrial Hevolution. Swedish culture at the time was also the barbarian one in comparison with English and Frech cultures. Even she had the difficulty in founding her own cultural identity So the Swedish intellectuals in early 20th century tried to find out "What is Swedish\ulcorner" and as the result they produced the Swedish Modern Movement style in 1950's. In this process Konstfack as well as the Swedish Society of Crafts and Design and the Svensk Form. the design magazine. has played the leading role. To look over the history and educational system of this school will be helpful for our design education. will be helpful for our design education.

• Research in Community and Public Health Nursing
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• v.10 no.1
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• pp.5-18
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• 1999

The aim of this study is the development of a fee - based model day care center for the elderly by inquiring into the current condition of facilities in America and in Korea, and in surveying the opinion of domestic elderly about day care facilities. A field trip to U.S. day care services was held between July 5 and July 15 in 1997, and an on-the-spot study for domestic facilities took place during March in 1998. Our research reveals that the overall supply of day care facilities can not meet future demand in terms of quality and quantity. Therefore a model must be created for day care centers of a that consists of a director from a professional group. an adequate environment, and a standardized in order to offer a qualified public health service linked to the home and community in Korea. The director of a day care center is a critical variable in determining the quality of service. Professional skills related to the needs of the elderly and the person's quality of service should be considered in appointing director for the center. This study belleves that a professional nurse should be the director of a day care center. The operating environment of a day care facility should be made up of considerable space comparable to the number of residents, should be in a comfortable and safe location, and should have equipment that provides a qualified, safe service to the elderly. Our model is designed for 20 persons and allocates 4 Peng per person. This model is comprised of a reading room. a craft room, a health room, a room for physical therapy, a dining room, a staff office, and a multi -purpose room connected to other rooms. Day care service should be a comprehensive service program meeting the multidimensional needs of the elderly. A comprehensive service program needs a team of various professionals made up of the elderly family, participants, nurses, social workers, physical therapists, nutritionists, and medical doctors. The program will also include health care service, physical therapy, speech therapy. diet, occupational therapy, transportation service, health and an education program, etc. In conclusion, a model of a day care center is developed with the following components: a professional director and an environment and program, that considers the physical, mental, and social characteristics of the elderly. A model should also motivate self-reliance self-fulfillment in the elderly in order to fulfill their health needs and to prevent isolation from society and mental depression. Furthermore, This facility will be a beneficial factor in reducing a family's burden on caring for the elderly that includes unnecessary hospital expenses. The following is a suggestion based on results this study: A service program should be developed to fit the conditions of the elderly in Korea by specifically analyzing the needs of the elderly.

• The Korean Journal of Food And Nutrition
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• v.13 no.5
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• pp.490-505
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• 2000

Mugwort (Artemisia sp.) abounds on hedgebank, waysides and grassy places in most part of Europe, Asia and Northern America. This herb has long been associated with witch-craft and magic as a protective charm. Mugwort has been a value as a foodstuff of relieving famine. Proximate composition of mugwort is similar to green vegetables, but it has high level in calcium, potassium and vitamin A content. For medicinal uses, the leaves are harvested twice in spring and autumn before the plant comes into flower and are dried for later uses. Aqueous or organic solvents extracts often have physiologically active constituents. Some extracts of mugwort include cineol, thujone, borneol, camphor, caryophyllene, coumarin, cubebene, pinene, linalool, absinthin etc. The dried leaves have traditionally been used as an antihelmintic, anti-inflammatory, antispasmodic, antitumor, hepatic stimulant, chologogue, emmenagogue, febrifuge, stomachic, tonic etc. Mugwort has been used the dried or green leaves as a flavoring and coloring agents for tea, cake. pastry, bread, noodle, alcoholic liquor, soap and hygienic band.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.186-195
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• 2011

Historically, Korea has made and weaved beautiful jewelry based on delicate metal craft technique. Especially jewelries in Chosun dynasty among these jewelry shows practicality, fanciness and social symbolism at the same time, which is one of representative cultural origins to express characteristics of Korean culture. Since jewelry of imperial princess YEONG, an object of a study herein, was made for a court ceremony although it is an artifact of the end of Chosun dynasty after the time of enlightenment, it is expected be made based on traditional shape and standard in accordance with strictly respected court dress code in Chosun dynasty. It is also an important data of research for a court style and system as well as its artistry in its diversity of type, preservation condition similar to original form and its producers who are master craftsman parted in Sang-Uiwon (an institute in charge of dress and accessaries of court) at the end of dynasty. Thus, a study herein aims to research formatively valuable 11 selected jewelries among jewelries of imperial princess YEONG used at the end of Chosun dynasty, and search for industrial application method with digitalization of the shape and design and preservation of original form of traditional culture. Moreover, in accordance with proposing design data through review of traditional women jewelry, it aims to suggest possibility of application into modern jewelry design and cultural industry.

• Journal of the Korean Society of Costume
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• v.16
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• pp.111-123
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• 1991

We suppose that Poback-cheok appeared with wearing clothes in the ancient times. At first, man used body as a scale, and it is gradually diversified with social development. It is clear that also in the time of Shilla-Dynasty, the United Shilla-Dynasty and the Goryeo-Dynasty, the system of degree existed in historical relation to that of China. But we don't know it's real length, because there is no recording until the beginning of the Yi-Dynasty. The first recording about Poback-cheok appeared in the time of the King Sejong. Hwangjong-Cheok which is a original vessel of the degree system appears in the 7th years of the King Sejong. In the 12th years of the King Sejong, Ju-cheok, Youngjo-cheok and Joyegi-cheok appeared. In the 13th years of the King Sejong, Poback-cheok appeared as a new changed one. At that time, the length of Poback-cheok is recorded as 44.75cm in chapter of Oye and Jonsoo Pobaek-cheok is recorded as 46.73cm in Jeonjesangjeongso's picture, and it is recorded as 46.80cm in the Kyunggugdaijeon. The scale system is put in good order in the time of King Sejong. But it is confused by the war of 1636 after King Seonjo period. In the 26 th year of King Youngjo, it is reappeared as one of the King Sejong, and it is fixed as 46.80cm. The length is used until the proclamation in the 6th years of the Kwangmu(1902), and then the length of Pobaek-cheok is changed as 48.48 cm, that is measured by a Gok-cheok. After that time, the scale system is very confused during the introduction of new civilization and the Korean-Japanes Unit. So it is used longer or shorter(that is, 49.24cm or 48.91cm). And the metric system is introduced by Japanes in 1926, and it reached the present time. According to use, the actual thing with is used in the end of the Yi-Dynasty is various from 30cm to 70cm. And according to material and craft-man, it can be devided into Hwa-gag scale, Najeon-blacklacquer-scale, bamboo-scale, wooden-scale. The way of expression of measure is always followed by the decimal system. The other half part, except the part of expression of graduation, is put on decorate with a pattern. Also we can see the idea of living on this point.

• Journal of the Korean Society of Costume
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• v.18
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.