• Culinary science and hospitality research
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• v.14 no.2
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• pp.237-248
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• 2008

This study is on the carving decoration which makes visual beauty and luxury mood upon serving foods to customers in the food service industry. It investigated 413 cooks working for hotels and luxury restaurants to examine how they recognize carving decoration. The purpose of this study is as follows. First, it examines the present condition of educating cooks about carving decoration. Next, for their general perception of carving decoration, it investigated the most popular field in which carving decoration is used, the types of carving decoration they want to learn most, and the types of business which need carving decoration most by the type of carving. The research result finds out that many cooks have much interest in carving decoration, and it seems that carving decoration is necessary when they are working. However, educational institutions they can learn the skills have not been established. This research shows its necessity in the education system with fundamental data.

• Culinary science and hospitality research
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• v.14 no.4
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• pp.150-160
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• 2008

This study examines carving decoration which makes visual beauty and luxury mood upon serving foods to customers in the food service industry. 413 cooks working for hotels and luxury restaurants were investigated for how they need carving decoration. First, general importance upon serving foods to customers and upon carving decoration was examined; and it was considered if such importance shows statistically meaningful difference by cooks' general characteristics(e.g., gender, academic career, age, work experience). Also, this study explores the necessity of carving decoration in their situation. As a result, cooks regard carving decoration as very important, and its necessity was as high as cooking experience. In addition, necessity was high in buffet, Japanese foods and Chinese foods. A cook can provide visual pleasure to customers and heighten the artistry of foods with carving and decorating skills, so opening a relative course of study seems to be required in cooking-related fields and institutes in order to foster manpower with learned carving and decorating skills.

• Asia Pacific Journal of Business Review
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• v.5 no.1
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• pp.21-36
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• 2020

This paper examines the effect of the choice properties of food carving decoration lectures on the recommendation and revisiting intention. As the culinary industry grows, consumers seek not only the value of satiety through food but also the value of aesthetics. They perceived satisfaction from the taste and appearance of the food as well as the interior of the restaurant and the service. Food carving is an important means of fulfilling consumer satisfaction value which is ever-changing. This study attempts to analyze the relationship between the choice properties of food carving lectures and the course recommendation and revisiting intention. This study hypothesis was formulated and the survey was conducted on 125 respondents who had experienced food carving lectures. The reliability and validity of measurement items were verified through Cronbach's Alpha and factor analysis. As a result, all measurement items showed no abnormality. The results of the analyses are as follows. The education satisfaction, education commitment, and brand image, the choice properties of food carving decoration lecture, were found to have a positive effect on the recommendation intention. The results also showed that the education commitment and brand image of food carving decoration lectures were positively associated with revisiting intention. Lastly, the implications of these findings were suggested and for future research were discussed.

• Culinary science and hospitality research
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• v.16 no.4
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• pp.28-42
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• 2010

The purpose of this study is to examine consumers' recognition, purchase intention, price acceptability of carving decoration, which can be said to be one part of food-space presentation, food styling, and table decoration. For this, a survey was carried out to target adults in over 20 years old who use a bus and a subway during morning and evening time in Daegu area from May 18, 2009 to May 22, 2009, and 296 copies were used for the final analysis. As a result of the research, over 50% of the consumers know about carving, saying they have come to mow it mostly through TV. Carving was mentioned to be probably used the most in buffet restaurants and other types of restaurants, and to be likely to be used the most in buffet restaurants and Japanese-style food Also, they responded that flower-butterfly carving & Japanese-style food, animal-form carving & Chinese-style food, and watermelon carving & buffet are harmonized the most. In addition, consumers with high recognition of carving decoration were indicated to be high in purchase intention and price acceptability. Also, Consumers with low recognition of carving decoration perceive very low price acceptability even if being high in purchase intention. However, when purchase intention of consumers with high recognition of carving decoration was high, price acceptability was indicted very highly.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• Journal of the Korean housing association
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• v.25 no.6
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• pp.111-121
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• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.

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

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.325-334
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• 2016

This study explores developing a large round table with Bosang flower pattern for a contemporary meeting room made by a cabinet maker, Kim Byeung-soo, who has built the traditional Korean furniture in Korean Western Gyeongnam Province since after his elementary school. He uses the post finger joint from one of the middle level of his education process based on the traditional Korean technique, develops it into flower stem joint, and adds flower patterns' carving decoration called Bosang flower patterns. Hence, the table makes the table be strong, useful, and beautiful. Therefore, the modernized round table will be able to make the people access more easily and to make more demand on the traditional Korean furniture and the adopted furniture than ever.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.3-10
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• 2007

In the 7th century, Sachunwang-sa temple had two extra building-sites behind the Main hall. These two building-sites were found to be in peculiar form different from any another existing stone bases. The stone bases of northern put of these building-sites were decorated to molding as the protruding comers of eaves, which was pierced into a circular hole, and was carved into a form of Gomeck-ii(the stone bases lot supporting the wall). The northern building of sachunwang-sa temple was found to be used as the altar following munduru(文豆婁) method, through the observations of the archives of Samkukyusa(三國遺事) and the Abhiseka stura(skt. 灌頂經). The molding as the protruding cornets of eaves of stone bases was shaped as the roof of a building and the carving of Gomeck-ii gives a proof of the existence of the wall between columns in the altar. The hole of the stone bases protected the wooden cylinder of munduru from the exterior world. The author concludes, through this research, that the altar of Schunwang-sa temple was used lot the religious service during the war for worthship and protecting from the enemies. Also he concludes that these buildings must have been in wooden pagodas constructed upon a square plan, that is with both front and side width equal, haying a quite small scaled and low floored building with its first floor closed on all sides, being different item the usual form.

• Conservation Science in Museum
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• v.16
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• pp.14-31
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• 2015

Sword with round pommel discovered in tomb No.39 in the Jisandong tumuli group (M310) is a large sword with a looped pommel enclosing a sculpted dragon head. The sword was produced using different techniques; gold decoration, plating, openwork carving and hammering by using gold and silver. This sword treated conservation work because it has deformation and damages of handle decoration, missing part of sword, and corrosion. Conservation treatment was that foreign material and corroded metal were removed from the surface, and performed to stabilize and reinforce the weakened metal. During the conservation treatment, the object was examined to understand its materials and production method. The result of research, the dragon head inside the looped, amalgam-plated pommel has surface gold decorations. The pommel has a thin gold plate placed over a bottom plate made of copper, which was hammered to create an embossed design. The silver plate-covered hilt, cylindrical in shape, has an openwork lattice design. The steel blade is single-edged. Finally, the locket of the sheath has an embossed design also created through hammering on a thin gold plate placed over the copper bottom plate.