• Conservation Science in Museum
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• v.25
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• pp.1-8
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• 2021

This study investigated White Porcelain Water Dropper with Openwork Lotus Scroll Design and Eight Trigram Design in Cobalt-blue Underglaze (hereinafter, the "water dropper") in the collection of the National Museum of Korea using computed tomography (CT). A replica was produced to examine both the structure and its original production method. The CT scanning identified no joint lines or pores in the clay, which suggests that the body (the lower part of the water dropper) was shaped in a single piece using a mold and was then matched with a mold-formed lid (the upper part of the water dropper). The inner container of the body portion was roughly trimmed with a bamboo knife so that its upper surface could be securely attached to the bottom of the lid and prevent any leakage in the joined surface. It appears that the inner container for storing water was made first in a cylindrical shape that met the unit of quantity used at the time and could be easily formed by molding. It was transformed into a trapezoid shape during the process of combining it with the lid. A cylindrical inner container was reproduced using silicon 3D printing to compare its capacity with that of the original inner container. The comparison revealed that the reproduced container had a capacity of 152.5㎖, whereas the original container holds approximately 168.6㎖, a figure similar to three hop (around 174㎖) in Joseon-period units of quantity. Since the capacity of the cylindrical inner container corresponds to a known measure from the late Joseon dynasty, it is likely that the water dropper was originally produced to contain a cylindrical inner container.

• (The)Study of the Eastern Classic
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• no.33
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• pp.253-278
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• 2008

Samkookyusa is a valuable book, which shows us ancestor's fomality, being folklorically highly evaluated. So I focus on this, look into Samkookyusa's formality especially the ceremonies of coming of age, marriage, funeral and ancestral worship. Coming of age ceremony on Samkookyusa performed by a ruler or the nobilities whoes age are uncertainly assumed as thirteen, fifteen or eighteen. In the times, our own ways of ceremonies were performed by them. Marriage ceremony on Samkookyusa, especially king Sooro and Heohwangok's amrriage procedure shows a part of royal family's ceremony before Korea dynasty and have a precious meaning as the earliest outset. Through premarital relation between Yoohwa and Haemosoo shows that there was an non-arranged match for marriage. A record of a marriage between near relatives at the early Korea dynasty is worthy. The funeral ceremony record of king Hyeockgeose on Samkookyusa could be regarded as the first one. The record pointed that using a mound as feudal lords and king Talhae's funeral ceremony showed having Seagoljang customsand making a clay figure for the ceremony. Those facts are crucial documents as helping us understand our ancient time's funeral ceremonial customs. Ancestral ceremony on Samkookyusa, specific record about ancestral ceremony for king Sooro such as fomulas, procedures, ritual fields and foods, sanctuary and portrait is a worthful record to understand a side of national ancestral ceremony of the times. Samkookyusa is a valuable book ceremonially and folklorically to understand the ancient times' ceremonies of coming of age, marriage, funeral and ancestral worship.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Archives of design research
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• v.19 no.5 s.67
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• pp.85-94
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• 2006

In the 2000s, character animation technique is used at domestic TV character animation ads of diverse items displaying new character patterns and expression techniques of a high level. This study intends to identify the characteristics of TV character animation ads based ell character aesthetic theory and advertising rhetoric theory, and based on these findings, analyze trend and stream of expression in TV character animation ads by examining and classifying advertisements released in the past four years by items, character patterns and expression techniques. The results showed that TV character animation ads have been concentrated on confectionery, beverages and foods in the past, but the items have been diversified through the years. With reference to character patterns, personal and animal characters had made the main pattern, but recently product, virtual and composite characters are on the increase. In expression techniques, cell animation technique was found to be the most frequently used technique, which was followed by full-3D, cell and live action, cell and 3D and the clay animation technique. A trend like this suggests that TV character animation advertising items will continue to increase in line with the participation level of targets. In the meantime, personal and animal characters will continue to make the leading character pattern, while virtual and composite character patterns emerge in new forms. In expression techniques, live action combined with 30 technique and techniques using new expression materials will appear with cell animation technique as a central figure. As a whole, Korean character animation advertisement is expected to keep on growing to a new dimension in the aspect of items, character patterns and expression technique.

• Magazine of the Korean Society of Agricultural Engineers
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• v.15 no.1
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• pp.2913-2924
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• 1973

This study was to investigate the drying mechanism of stratified soil by investigating 'effects of the upper soil on moisture loss of the lower soil and vice versa' and at the same time by examining how the drying progressed in the stratified soils with bare surface and with vegetated surface respectively. There were six plots of the stratified soils with bare surface($A_1- A_6$ plot) and the same other six plots($B_1- B_5$ plot), with vegetated surface(white clover). These six plots were made by permutating two kinds of soils from three kinds of soils; clay loam(CL). Sandy loam(SL). Sand(s). Each layer was leveled by saturating sufficient water. Depth of each plot was 40cm by making each layer 20cm deep and its area. $90{\times}90(cm^2)$. The cell was put at the point of the central and mid-depth of the each layer in the each plot in order to measure the soil moisture by using OHMMETER. soil moisture tester, and movement of soil water from out sides was cut off by putting the vinyl on the four sides. The results obtained were as follow; 1. Drying progressed from the surface layer to the lower layer regardless of plots. There was a tendency thet drying of the upper soil was faster than that of the lower soil and drying of the plot with vegetated surface was also faster than that of the plot with bare surface. 2. Soil moisture was recovered at approximately the field capacity or moisture equivalent by infiltration in the course of drying, when there was a rainfall. 3. Effects of soil texture of the lower soil on dryness of the upper soil in the stratified soil were explained as follows; a) When the lower soil was S and the upper, CL or SL, dryness of the upper soils overlying the lower soil of S was much faster than that overlying the lower soil of SL or CL, because sandy soil, having the small field capacity value and playing a part of the layer cutting off to some extent capillary water supply. Drying of SL was remarkably faster than that of CL in the upper soil. b) When the lower soil was SL and the upper S or CL, drying of the upper soil was the slowest because of the lower SL, having a comparatively large field capacity value. Drying of CL tended to be faster than that of S in the upper soil. c) When the lower soil was CL and the upper S or SL, drying of the upper soil was relatively fast because of the lower CL, having the largest field capacity value but the slowest capillary conductivity. Drying of SL tended to be faster than that of S in the upper soil. 4. According to a change in soil moisture content of the upper soil and the lower soil during a day there was a tendency that soil moisture contents of CL and SL in the upper soil were decreased to its minimum value but that of S increased to its maximum value, during 3 hours between 12.00 and 15.00. There was another tendency that soil moisture contents of CL, SL and S in the lower soil were all slightly decreased by temperature rising and those in a cloudy day were smaller than those in a clear day. 5. The ratio of the accumulated soil moisture consumption to the accumulated guage evaporation in the plot with vegetated surface was generally larger than that in the plot with bare surface. The ratio tended to decrease in the course of time, and also there was a tendency that it mainly depended on the texture of the upper soil at the first period and the texture of the lower soil at the last period. 6. A change in the ratio of the accumulated soil moisture consumption was larger in the lower soil of SL than in the lower soil of S. when the upper soil was CL and the lower, SL and S. The ratio showed the biggest figure among any other plots, and the ratio in the lower soil plot of CL indicated sligtly bigger than that in the lower soil plot of S, when the upper soil was SL and the lower, CL and S. The ratio showed less figure than that of two cases above mentioned, when the upper soil was S and the lower CL and SL and that in the lower soil plot of CL indicated a less ratio than that in the lower soil plot of SL. As a result of this experiments, the various soil layers wero arranged in the following order with regard to the ratio of the accumulated soil moisture consumption: SL/CL>SL/S>CL/SL>CL/S$\fallingdotseq$S/SL>S/CL.