• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.668-677
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• 2021

In this paper, the characteristics and structural meaning of the Palyupsimryeon mandala, which represent the high spiritual world among Korean traditional cultural relics, are analyzed and visualized. Various studies on foreign mandalas are being introduced, but there is a lack of systematic analysis of the meaning of existing Korean mandalas. In this paper, we visualize the seeds of the Palyupsimryeon mandala in Korea by matching them with the image of the mandala, which is based on the shape of the mandala. Through this process, it shows that Korea's unique seed mandala has a form of mandala that combines the existing the Diamond World Mandala and the Matrix Mandala. Applications include Mandara's characterization, digital storytelling, and games.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.155-163
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• 2021

This design proposal research is meaningful as Jogakbo can retain the traditional value of the it's design as it becomes a contemporary design proposal. As a specific method of research, history was been investigated to find meaning and formative characteristics defined through prior research under the theme of Jogakbo. Ideas, such as silhouettes, details for design, and the making domestic and foreign designer examples were obtained. The fabric used for the works were recycled from past leather works. All materials are sheep skin. There were various processed surfaces used to avoid monotony. Jogakbo's cotton composition focused on free and radial patterns. The pattern was manufactured using a flat and 3D combination, and the selection of items was mainly made with a simple and light silhouette, so that Jogakbo's details, such as dresses, slip dress, and vests could stand out. Color is an important factor in Jogakbo. However, traditions which are relics of the times, do not need to be preserved in their original form. If changes are inherited with reasonable grounds and directions in line with the changing times, the significance and values are retained are sufficient. It is hoped that these design development studies will continue in the future so that our precious cultural heritage can continue to change and develop positively.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.254-267
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• 2019

Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.216-241
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• 2019

There are 35 cultural properties of fourteen kinds in the Demilitarized Zone known so far, but this number is expected to increase in the future. Among them, Cheolwon-Doseong and Jeongol-Chong of Gimhwa should be the first step toward conservation efforts by conducting a joint investigation through the collaboration of North and South Korea. In particular, the joint investigation of Cheolwon-Doseong will not only remind the North and South that they are the same people who have had common history and cultural traditions for a long time, but will also give symbolic meaning to convert the demilitarized zone into a stage for peace. Since Jeongol-Chong is a mass grave of the fallen soldiers of Pyeongan Province who fought against the invasion of the Qing of China, it should be managed as a national designated cultural asset through joint investigation. In addition, the Demilitarized Zone should become a World Heritage Site because of its importance to the legacy of the Korean War, an international war caused by an ideological confrontation. Furthermore, it has more than 6,000 kinds of temperate forests in addition to 100 species of endangered species and natural monuments. The DMZ is very qualified to be a World Natural Heritage Site, and should be included as a World Complex Cultural Heritage Site that qualifies as a World Heritage and World Natural Heritage Site. In the Demilitarized Zone, we can also find numerous highlands, tunnels and posts used during the Korean War, as well as surveillance posts, a military demarcation line, barbed wire fences, and Panmunjom, which were created by the armistice agreement. it would be desirable to select some of its sections and war facilities and to register them as modern cultural heritage assets. Finally, it is necessary to reconstruct the Dorasan Signal Fire Site, which was the communication facility of a traditional era which connected the South (Dorasan) and North (Gaesong). This would symbolize smooth communication between the two Koreas. In order to prepare for the reckless development of the Demilitarized Zone due to the upcoming cease-fire, the government and cultural asset experts will have to work hard to identify and preserve the cultural properties of the Demilitarized Zone, and they will also have to maintain consistent control over matters such as indiscriminate investigation and mine clearance.

• Journal of Conservation Science
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• v.16 s.16
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• pp.52-63
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• 2004

This study tries to investigate the differences in combination of gold and other metals used in the surface guilt of the gold-guilt relics found in the Seonwonsa Temple of the Korea Dynasty. Our findings are as follows. The gilded roller knobs found in the Seonwonsa Temple of the Korea Dynasty can be classified into three groups by the color of the surface guilt: gold, white-gold, red-gold. By the color it is found that gold type contains $Au\;81.0\%,\;Ag\;3.5\%,\;Cu\;5.6\%$, white-gold type contains $Au\;82.1\%,\;Ag\;10.6\%,\;Cu\;2.4\%$, and the red-gold type contains $Au\;59.9\%,\;Ag\;3.7\%,\;Cu\;33.2\%$. The gold metal used for guilt is found to be amalgam of Hg and the depth of the guilt was uneven with the average of $2.5\~25{\mu}m$. These gilded roller knobs were produced in two methods. One of them was made out of pure bronze, and the other out of bronze veneer and led. Since we found led on the outer surface, we conclude that the led juncture was later guilt with gold.

• Journal of Conservation Science
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• v.35 no.5
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• pp.440-452
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• 2019

This research has analyzed SI, the traditional steel, and SIHS(SI + HS), SICS(SI + CS), and SINiS(SI + NiS), the materials that were produced through welding and reprocessing three modern steel- HS, CS, and NiS- that have different carbon content. The purpose of the analyzation was to improve the definition of the multi-layered pattern that appears in the forging process. In observing modified structures on the commissures of three modern steel that have different carbon component to the SI, SINiS produced the most significant multi-layered pattern as well as the excellent welding quality. The excellent welding quality was due to the content of nickel which helped the forge welding process with other materials. There was no significant difference in crystal grain per materials, and SICS showed the highest hardness. At the measurement of EPMA for commissures of the materials, SINiS showed the highest definition of the multi-layered pattern due to the nickel and carbon content. The results above showed that the carbon steel with nickel content is the best material for the most definite multi-layered pattern, expressed from the multi-layered structure which is a characteristic of traditional forge welding technology. It is expected that the result of this research can be utilized as the technical data in further researches regarding the relics excavated from ancient welding process and their multi-layered structure and patterns.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.82-95
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• 2020

This study takes the identity and characteristics of public art in historical and cultural regions as the research object. Through the theoretical investigation and research on the public art of historical and cultural regions, six evaluation factors that shape spatial identity and characteristics were drawn: Environmental characteristics, public characteristics; Symbolic characteristics; Artistic characteristics;.Historical characteristics; Interactivity. The identity and characteristics of Taoxichuan public art in Jingdezhen was analyzed and evaluated. The results show that the " public art " of seven large chimneys is consistent with the historical structure of the industry. Among them, environmental, public characteristics, symbolic, artistic and historical characteristics of the Industria park have a high degree of preservation value and can be recognized as the historical landmark of the park. In the new public art, the artistic quality of public art, the environment, and the public characteristic of public art, are also at a moderate level, but it is comparatively weak. Public art recreated as an industrial heritage has formed an identity that can communicate spiritual sympathy to the public by forming a time-space communication between the public with historical relics and ceramic elements, and the new public art for local rehabilitation has given new artistic flavor to the city, but the new identity has not been shown.

• Journal of Conservation Science
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• v.27 no.4
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• pp.371-380
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• 2011

For studying of the characteristics and structures of material in lacquer layer in Joseon Dynasty, 6 types and 7 pieces of sample were observed with the optical microscope and the polarizing microscope. For analyzing, SEM-EDS and FT-IR were used and TOF-SIMS was also used on trial. The former is directly varnished on the iron layer so the sample includes more iron component than the others. In the results of the trial analyzing in TOF-SIMS, it is possible to verify the minerals on the foundation layer with the infinitesimalsample. The analysis results of lacquer layer with FT-IR are compared with previous studies and all the samples have the spectrum of the lacquer. Through the result of the Joseon lacquer layer, there are not many samples, however, when it compared with unified Silla, the period of the Three States, and the previous era, the lacquer layers are simpler than the relics from previous era. It looks to have the relation with the simplification of manufacturing method because of expanding of the using of lacquer wares.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.194-210
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• 2013

Oiled paper (Yuji, 油紙) is an oil impregnated paper which was one of the daily necessities in Korea. As there has not been any accurate research on this subject, this study examined the literature from the Joseon Dynasty to study its origin, nomenclature, usage and production process. Goryeodogyeong (高麗圖經) and Goryeosa (高麗史) allowed the estimation that the origin of oiled paper was the Goryeo Dynasty, but the records of oil and paper in Samguksagi (三國史記) and Nihon Shoki (日本書紀) indicate the possibility that the production of oiled paper can be traced back to the 7th Century. The nomenclature and the usage of oiled paper in the Joseon Dynasty were examined through the Annals of Joseon Dynast (朝鮮王朝實錄), Ilseongnok (日省錄) and Seungjeongwonilgi (承政院日記), while the Royal Protocols of the Joseon Dynasty (Uigwe, 儀軌) and Takjijunjeol (度支準折) together with other literature were examined for its market value, use and materials. The literature from the Joseon Dynasty indicate that oiled paper was used for various everyday commodities with its waterproof, damp-proof and transparent properties and called in various ways according to its use and production process. This study studied the literature on oiled paper from the Joseon Dynasty, but the studies on the restoration of traditional oiled paper are still needed. Therefore, it would be necessary to study the traditional oiled papers in combination with the study of oiled paper relics, the reproduction of traditional oiled paper samples, and the case study of the papermaking masters who have been producing the traditional oiled papers.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.126-155
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• 2016

This article deals with some issues with respect to the Mahan pottery excavated from the tombs. Pedestal jars with cover, small round-bottom jars, cylindrical pottery etc. had appeared in the interaction with the northern region in the dimension of the southern Korean peninsula. Especially, these relics had an important role at the route connecting the midwest region, Chungcheong(忠淸) inland and Yeongnam(嶺南) region. By this stage, the iron culture was similar to each other in the southern Korean peninsula. In addition to the inland route, the coastal passage along the west coast seems to have been used. Such signs are found in cylindrical pottery and Pedestal jars with cover. It was probably a natural phenomenon that the most powerful forces of Mahan appeared at this crossroad of cultural exchange. The unique style of Mahan pottery such as double-rim pottery had been established since the third century. After the third century, Mahan pottery varied by region depending on the tomb style. The difference roughly matches with the variations of the tomb style. But at the region of Bungumyo(mounded tomb), specific pottery such double-rim pottery had been prevalent than in other regions. And a specific style had been used in a narrow range. The pottery spread to the neighboring regions in the course of interaction and were also used in ritual practices.