• Journal of the korean academy of Pediatric Dentistry
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• v.30 no.3
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• pp.439-447
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• 2003

This was performed to evaluate the inhibitory effect of laser on the growth of S. mutans. The bacterial pallets containing S. mutans KCTC 3065 were irradiated with Er:YAG laser and Nd :YAG laser by non-contact method at an intensity of 50mJ for 5 sec with the pulse repetition rates of 10Hz and 30Hz, respectively. The following results were obtained on colony count, acid producing ability, and the amount of insoluble extracellular polysaccharide synthesis. 1. The irradiation of Nd:YAG laser after photosensitization with Chinese ink inhibited the proliferation of S. mutans the most, and the irradiation of Er:YAG also inhibited the proliferation. However, the irradiation of Nd:YAG laser alone could not inhibited the proliferation of S. mutans. The pulse repetition rate did not affect significantly on the proliferation of bacteria in overall. 2. The irradiation of Nd:YAG laser after the photosensitization with Chinese ink inhibited the acid production of S. mutans the most for a certain period of time. Er:YAG laser also inhibited acid production. When Nd:YAG laser was used alone, the acid production of S. mutans was not been inhibited. The irradiation of Nd:YAG laser after photosensitization with Chinese ink inhibited the acid production ability of bacteria the most as the pulse repetition rate increased. 3. Laser irradiation did not inhibited the synthesis of insoluble extracellular polysaccharide of S. mutans. From these results, we conclude that the irradiation of Er:YAG laser and Nd:YAG laser after photosensitization with Chinese ink would inhibit the proliferation and acid production by S. mutans, which may prevent dental caries. However, this effect does not last long time so that the laser irradiation should be repeated frequently in order to obtain clinical effect; thus, this laser irradiation would not have a clinical usefulness in preventing dental caries when used solely.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.40 no.4
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• pp.74-81
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• 2008

The writing brush, ink stick, paper, and ink stone were the four precious things of the studying and recording in oriental world until even nowaday. The oriental paper was comparatively well evaluated in many papers and reviews, but it is difficult to find some scientific reports or reviews about the ink stick. In this paper, the scientific aspect of ink sticks of oriental maine three country(Korea, China, Japan) were evaluated by the physical, chemical and microscopic analysis. The result could summarized as fellows; 1. The Korean lampblack ink stick contains more carbon and less nitrogen and the Chinese ink sticks contain less carbon and more oxygen. 2. The Korean lampblack and cowhide glue contain relatively higher amount of sulphur. 3. The particle size distribution of carbon in the ink stick was not change after grinding in the ink stone. 4. The particle size of carbon and the pore size in the charcoal ink sticks of three country were larger than those of the lampblack ink sticks. 5. The ink solution of the charcoal ink sticks shows high roundness on Hanji while the ink solution of the lampblack ink sticks is spread readily to Hanji surface. 6. The change of whiteness in printing of the ink sticks is notable in thermal treatment.

• Journal of Korean Library and Information Science Society
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• v.39 no.3
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• pp.457-477
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• 2008

The purpose of this experimental study is to analyze the techniques of producing the traditional Korean ink sticks, in order to restore them. The major findings are as follows: (1) Korean traditional ink is a name which people generically calls a block of ink mass made from soots and pine pitch, and it can be classified into pine-pitch ink and oil-pitch ink according to the type of soot. (2) Pine-pitch ink is made from soot of burnt pine trees, and oil-pitch ink is made from soot of burnt plant, animal or mineral oil. Both are mixed with glue made from resin, and hardened into block form. (3) Raw materials of ink include soot, glue made from resin, and spices, and the techniques of making Korean traditional inks were documented in etc. (4) The techniques of making Korean traditional inks have not been handed down, but some craftsmen in modern Korea have restored those traditional techniques.

• Journal of the Korean Society for Library and Information Science
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• v.29
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• pp.345-382
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• 1995

The type printing of first Ch'ing dynasty term in China is worthy to be studied because the type printing during that period included metal type, wood type, and clay type as well as the development phase was similar to Chosun dynasty culturally and technologically. This paper studied typography during the first Ch'ing dynasty term, including Shunzhi(1662-1722), Yongaheng(1723-1735), Qianlong(1736-1795), Jiaqing(1796­1820) period. The main results of the study is as follows. 1. The main body of type printing was bookstore, lecture-hall, and individual as well as the royal court that is the central government. 2. The content of type edition covers classics, history, philosophy, and literary works. Specifically, even though Wuyingdienjuzhenban series is excluded, the content includs study of the classics, class of the history, class of the philosophy, literature works that include collection works and novel and government official bulletin. 3. The printing technique of bronze type was very popular In Beijing. Jiangsu, and Taiwan. It's scale and production technique was more elaborate than in Ming dynasty. 4. Wood type was very popular in Beijing, Jiangsu, Zhejiang, Anhui, Sichuan, and Fujian. In addition to wood type, chinese ware type was applied to book printing in Shandong. However, most of them were wood type and they were used after Qianlong period. 5. The production technique of type was skilled enough to present the fine view of a style of type. The typesetting technique was improved as much as woodblock printing. With regard to the making technology of Chinese ink, the light and darkness of chinese ink was not even sometimes. But, the technology was improved significantly when comparing with the failure experience of printing that chinese ink was not developed in early type invention. 6. In case that the book was printed in bookstore with the intention of profit and the number of book was large, the proofreading attitude was rough. However, overally, it was made correction carefully applying the various methods of proofreading. 7. The support of government made a great contribution in the area of all printing technology, including production, typesetting, and brushing of type.

• Journal of the Korea Convergence Society
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• v.9 no.7
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• pp.193-198
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• 2018

Applying VR technology to animation areas is emerging as a trend of recent years. So if you use this VR technology in traditional ink animation, 2D art piece is expected to be equipped with a new narrative style and visual and auditory language, making it a new animation genre. There's a lot of technical difficulties in putting the existing 2D ink image on a 360 degree display. VR ink animation has been created that gives depth to VR space by using layer extraction method based on depth of distance and placing layers extracted on curved surface that is aligned with depth in 360-degree space in the image of ink painting, which is the background of traditional ink animation. In the text, we took an overview on problems generated in extracting layers of distant view, close-range view and middle distant view from the existing image of ink painting and made suggestions of an effective way to approach them.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.37 no.2 s.110
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• pp.78-86
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• 2005

Hwaseonji(Korean traditional paper) used for writing and painting has been made from the mulberry bast-fiber and the short-length fiber pulps, wood pulps. However, besides wood pulps, other short-length fiber pulps also can be used instead of wood pulps. Hence, this research was carried out to make the various Hwaseonjis with the different properties, using the five kinds of short-length fiber pulps respectively. The short-length fiber pulps used in this research were softwood bleached kraft pulp(SwBKP) hardwood bleached kraft pulp(HwBKP), rice-straw bleached sulfite pulp(RsBSP), bamboo bleached kraft pulp(BbBKP) and recycled pulp from vellem paper(RP). And, the mixture ratios of the mulberry bast-fiber pulp and short-length fiber pulps were 100:0, 80:20, 60:40, 40:60 and 20:80. After various Hwaseonjis were made from different mixtures mentioned above with hand-made method, physical properties and chinese ink blot property of each paper were measured. The strengthes were the highest in the Hwaseonji made from the mixture of the mulberry bast-fiber pulp and SwBKP. However, chinese ink blot property and smoothness were better when RsBSP, BbBKP or RP were mixed into the mulberry bast-fiber pulp. As a result, the various kinds of Hwaseonjis which the users can choose based on their needs were made.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.32 no.4
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• pp.81-86
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• 2000

Hanji is a traditional handmade paper, which has been famous for its excellent qualities in strength, whiteness, gloss, and smooth feel in painting and writing in ancient Far East for many years. Nowadays, however, its old fame has declined and it has been used only in limited extent such as in traditional Korean brush painting and writing. In this study, 9 kinds of commercial handmade papers made in Korea, China, and Japan were collected and their printing and writing properties were evaluated by image analysis. Chinese handmade paper showed the best result in absorption area of China ink, the roundness and feathering of China ink blots, followed by Hanji. Abrasion coefficient of the Chineses papers was higher than that of the others, which was regarded to contribute to the difference in touch feeling of the writing brush on the papers. It was shown that absorption rate and blot area of China ink were increased by Dochim. Hanji which has recently been made by so called \"traditional method\" showed no quality difference from the modified Hanji.ied Hanji.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• International Journal of Contents
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• v.17 no.1
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• pp.11-17
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• 2021

This article takes Disney animation as the research object to analyze the Chinese and American culture in the animation. The first part introduces the background of the animation. The theme of the animation comes from the long-standing narrative folk song Mulan Ci during the Southern and Northern Dynasties of China, and it introduces the parallel montage of animation narrative. The second part narrates the Chinese cultural elements in Mulan, and expounds on Disney's use and blending of Chinese cultural elements from three aspects of ink painting effect, national costumes and Confucianism. From the perspective of Western culture, the third part analyzes how to integrate Western thought and characteristics, and contrast with Chinese culture in Mulan from three aspects: Mushu, character and hierarchy.

• Journal of the Korean Wood Science and Technology
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• v.20 no.2
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• pp.43-50
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• 1992

This study was carried out to investgate the possiblity of using waste bamboo and bast fiber from paper mulberry for Hwaseonji production. 3 types of Hwaseonji were made in an experimental system, 100% bamboo pulp, bamboo pulp mixed with bast fiber in two different ratios, 70% : 30% and 40% : 60%, respectively. The result were as follows: 1. The chinese ink blots of Hwaseonji made from bamboo pulp only was satisfactory, but its tensile strength showed a low value. In order to improve the tensile strength, we must develope a new beating method with musilige. 2. The burst strength increased as the bast fiber content increased. But it is a special characteristic of Hwaseonji, that an even formation of paper is required. Therefore, only the short bast fiber is needed. 3. The tensile strength was raised by increasing the bast fiber content to 60%, resulting in a more durable Hwaseonji. 4. In even thickness, the higher opacity showed the more bast fiber. So the opacity of product III (bamboo: 40%, bast fiber: 60%) is the highest. 5. The commodity value of hand-made paper should be grade-up after a dedusting process.