• 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.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.349-355
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• 2020

The Fourth Industrial Revolution has emerged, and technologies of various industries are being converged, compounded, or clouded computing, mobile, or big data. The emergence of a variety of skills and new jobs to match them is bringing the public out of the education and occupation of traditional metal crafts. In this change, craft education should find and study the education method suitable for the present times, and apply it to the educational field to raise public interest and revival. To this end, we will investigate the cases of education in other industries where new materials or technologies have been introduced, and use them in education of traditional metal craft techniques. In addition, we will investigate various cases and features of 3D printing technology and use it for education in craft techniques that have limited time, space and resources.

• Journal of the Korea Furniture Society
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• v.27 no.2
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• pp.69-79
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• 2016

This paper explores the inlaying technique of Geum-Cheol Kim, a joiner has made the traditional Korean furniture mostly popular in Tong Yeong in Gyeongnam province in Korea. He has adopted the technique in creating his furniture since he started learning and working the furniture making at sixteen years old. So he is only the cabinet maker with the technique in Tong Yeong GN. Samhojang, Seongtaenoemun, Gwuinoemun, and so on are the techniques inlaid in the furniture like Jang, Nong, Beoseonjang, Mungap and so on. The Tong-yeong techniques are even more difficult and take longer time than other ordinary inlays to be created, but they are very secured and last longer. And the techniques are very beautiful but today they are not well-known and used in Korea. Hence, the succession and preservation of the techniques are needed from the joiner to younger generation. Futhermore, the development on the easier and shorter process to create them is needed to be popular throughout Korea in order to be useful for contemporary furniture.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.24-41
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• 2020

The engraved line expression in metal crafts is a detailed technique of carving or decorating metal surfaces. This technique engraves a line using a tool on the surface of a metal craft. This technique was used extensively in articles made of various metal materials during the Goryeo Dynasty, and the range of patterns that could be expressed and the width of users was wide. In this paper, based on relics and literature, the concept of line representation of this engraving technique used in the metal crafts of the Goryeo Dynasty and the perceptions and terms of the Goryeo Dynasty were examined. In addition, the users engaged in this craft and the specific patterns and patterns of decoration were reviewed. Through these means, it was possible to confirm various aspects of a technique that was thought previously to involve just simple expression of lines using tools. In addition, through the literature, Geumseokmun Gate, and relics currently being transmitted, it was possible to confirm the utilization patterns of techniques used in various types of objects. Various uses have led to the combination with other metal craft techniques that were popular at the time, and while utilizing unique characteristics of the techniques, this maximized the molding of various patterns. In the meantime, it is true that the intaglio technique in metal crafts has not received much attention compared to the decoration techniques of other metal crafts, such as inlay, embossing, and openwork techniques in which decorative effects are maximized due to the recognition that the technique was used so widely in relics. However, the universality of the technique is premised on its wide use across all eras. As such, it was used in metal craft relics that reflect the various cultural characteristics of Korea and various cultural aspects that are currently passed down. On the one hand, technology has been passed down as a form of intangible heritage that embodies a longstanding craft culture which continues to the present in the fields of sculpture and intangible cultural properties. As such, the universality of Seongak contains many cultural meanings. In addition, the uniqueness of the technique is distinct, and it is deeply related to Goryeo, who was in charge of the use of technology and craftsmanship of the Joseon Dynasty and the metal craft technology that is currently handed down. I think research on future techniques should be continued in depth.

• 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.55 no.2
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• pp.6-21
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• 2022

This paper examines the material culture of the Goryeo-Joseon Period through changes in the design and crafting of the earpick. In Chapter 2, terminology regarding earpicks is presented, and the culture of using earpicks is examined through fragmentary literature of the late Joseon Dynasty. Earpicks were first a personal hygiene tool, and, secondly, they played a symbolic role as a style accessory used by men, analogous to the fan carried by women of the time. In Chapter 3, earpick form are classified by period, and characteristic decorative techniques for each form are examined. During the Goryeo Dynasty, earpicks were sanitary tools, and, according to their form, they were classified into single and complex types. From Unified Silla to Goryeo, there is an angled type of connecting rod, and in the Goryeo period, there appeared earpicks with colorful decorations on the handle, completely forged earpicks with a thin and long shape, and earpicks which were part of multitools. Common decorative techniques include line expression, gold plating, cheophomun on the background, and inlay. Earpicks of the Joseon Dynasty are classified into sanitary tools or ornaments, according to their purpose of use. Sanitary tools are divided into single type and complex type, and earpicks used as ornaments include headdress, norigae, and sunchu. For earpick accessories, headdresses and norigae were used for women, and sunchu was used for men. The decorative techniques of earpicks during the Joseon Dynasty were mainly seen in the headdress earpicks. They were decorated with various colors in the Cloisonné method or bejeweled. Research on everyday tools among crafts is lacking; greater attempts to read the flow of time and approaches to material culture through everyday tools should be made.

• Journal of Conservation Science
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• v.25 no.1
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• pp.1-16
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• 2009

Jeollabuk-do is bounded by the sea, and Mahan Baekje culture have been established around a wide plain. Also, in southeastern, it was closed by Gaya kingdom where iron culture was prosperous at that time, a variety of the handles of swords with round pommel is excavated at present. The handles of swords with round pommel is the best amount of excavated objects among the swords with round pommel and producted object for the time. It supposes them to become the foundation of making the decorated swords with round pommel. But, the handles of swords with round pommel that don't have a pattern in handle is indifferent to study because the production method is simple in spite of that the value of archaeological data is sufficient. Therefore, in this study, it examined changed production techniques with the change of times concerning the handles of swords with round pommel of Mahan Baekje Gaya period(before 6C) excavated from Jeollabukdo through using X-rays in order to clarify a variety of production techniques of the handles of swords with round pommel correctly in accordance with a period of production and excavated place. As a result, identified production techniques using X-rays of the handles of swords with round pommel excavated around remains of Mahan Baekje Gaya period shows that production progress improved in order of all-in-one shape, hammer welding shape of the handle of round pommel, and two in body formation in accordance with age. Especially, in two in body shape, it products the handle of round pommel separately, after that it welds the handle of swords and then links the sword blade like a riveting or bottleneck and so on. Despite of improved hammer welding technique, the reason why it didn't utilize is it regards as inlay or gilt will be damaged. And it is judged by using riveting or bottleneck. Also, it appears to techniques of metal craft such as decoration of the handle, decoration of point of sword, inlay, and silver-plating in the period of appearing two in body shape. As clarifying correctly, it provides fundamental database of scientific research about a study of production techniques of handle of swords with round pommel.