• Journal of Conservation Science
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• v.36 no.4
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• pp.296-305
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• 2020

Konbaung Dynasty was the last unified dynasty that ruled Myanmar from 18^th to 19^th century. During this time Buddhist art flourished in Myanmar due to the interest of the rulers toward their traditional culture. Metal decorative artifacts in the 18^th century are classified into structures and Buddha statues. They are further subdivided into gilt-bronze and bronze objects, depending on their material component. Three-dimensional gilt-bronze decorative artifacts were cast with a brass alloy of Cu-Zn-Sn-Pb and their surfaces were gilded with extremely thin gold leaves (less than 1 ㎛ in thickness). The gilded layer approximately comprised 10 wt% silver in addition to the main element, gold. The lack of Hg in the gilded layer, indicated that the amalgam gilding technique was not applied. The analysis results indicated that the lacquered gilding technique was applied to the objects. Bronze decorative artifacts without gilding were cast with materials containing Cu-Sn-Pb. The bronze pavilions and bronze Buddha staues were crafted using the same alloy of high-tin bronze, which approximately contained 20 wt% Sn. No heat treatment was applied to reduce the brittleness of the objects after they were cast with a large amount of Sn. The most significant difference between the gilt-bronze and bronze decorative artifacts lie in their elemental compositions. The gilt-bronze decorative artifacts with their gilded surface were manufactured using brass containing zinc, while the unplated bronze decorative artifacts were composed of bronze containing tin. Artifacts of the same type and size are classified differently depending on the materials utilized in the surface treatment such as gilding.

• Journal of architectural history
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• v.11 no.3 s.31
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• pp.69-86
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• 2002

Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.155-168
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• 2006

The purpose of this study focusing on the gather decorations shown in the modern fashion was to review needlework techniques and design features of gather decorations and thereupon, analyze the aesthetic characteristics of gather decorations shown in designers' works to examine the gather decoration trend in today's fashion. First, the decorative features of gather decorations different from the conventional costumes are shirring, lace and trimming combined or shirring repeated. Second, in view of sensualism, the gather decorations seem to play a role of enhancing the exposure as a mode of expression, while the indirect exposure or beach is mixed with the materials to widen the range of gather decoration expressions. Third, in terms of history, the conventional decorative techniques are combined with new techniques and materials to create a fantastic and romantic mood different from the conventional costumes. Fourth, in view of rhythms, the wave line of the rim for gather decorations serves to express some vivid effects; on the human body, its monotonous plane repetition will turn into a new expression or a voluminous physical sense of motion. However, since expressions or meanings of the gather decorations are much diversified, they should not be regarded as simple decoration details. Our modern designers searching for new expression of creases use unique structural forms to explore the possibility of creative gather decorations. In all, since gather decorations seem to be significant as unique details conducive to a structural pragmatism and aesthetics, it is deemed necessary to continue to develop gather decorations.

• 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 the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.1-15
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• 2003

Buttons in general reflect the culture of the society, and their values depend on practicality, decorative feature, and symbolism. Their infinite potential enables us to attempt various original changes in formative factors such as forms, patterns, colors, materials and sizes. In addition new styles, methods, and techniques are tried to show that the decorative feature becomes stronger today than it did in the past when the function was more important. Now buttons are not only a factor of clothing but have value as composite art works reflecting the pride, idea and culture of a nation. Moreover consumers' interest in new designs increases everyday as the moderns' desire for unique individuality rises. Button designs of Korea, however, are still far behind in the aspects of materials, qualities, and methods, facilities, and scale of production. And uniform mass production prevails without the buttons of creative and artistic values made due to the lack of specialized designers. Therefore it seems necessary to carry out historial studies simultaneously with the rising interest in button designs now. Prior to developing new designs, the study will examine those of western buttons that are the origin, going through relevant literature and data to define the characteristics of each era and type. It may provide basic data for developing the backward button designs of Korea.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.109-124
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• 2005

The object of this study was to identify the production technique and immediate constituent of lingerie by examining the materials and the sewing techniques. Various papers are referenced for theoretical study and the elements and techniques of lingerie are analyzed based on photographical materials. From the late 20C century to the present time was the research time period. This paper concludes as follows: 1 Decorative method: Lace, Ribbons, piping, elastic bands were some of the decorative materials attached to the garments by zigzag stitch. 2. Flat pattern making: Lingerie patterns were drafted in smaller size than the patterns of outer garments. Bias cut would be applied for the noll-stretchable fabrics. 3. Draping: Bias grain would be applied for the non-stretch fabric. When draping stretch fabrics, follow the grain line of the fabrics and pull the fabric so that it could fit onto the body. 4. Production technique: Straight stitch would be applied for non-stretch fabrics. Zigzag stitch would be applied for stretch fabrics.

• Journal of KIBIM
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• v.5 no.2
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• pp.12-18
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• 2015

Bridge piers typically have circular or rectangular shapes without decorative design. Prefabrication for accelerated construction has been widely adopted in bridge structures. Cost for steel formwork is a main restriction of creative irregular shapes. 3D modelling techniques allow creative design of columns and 3D printing provides possibility to minimize the fabrication cost. In this paper, 3D design process of bridge piers was suggested by converting 2D picture into 3D decorative shape. Formwork design using 3D printed panels was also proposed and mock-up tests were conducted. Precast columns need accurate geometry control from fabrication to assembly. Laser scanning and geometry control devices were adopted. Through the digitalized process of design, fabrication and assembly, creative design of structures can be realized in reasonable cost range.

• Journal of the Korea Furniture Society
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• v.27 no.4
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• pp.375-382
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• 2016

This study focuses on the shape of the bottle, the Chinese Qing Dynasty porcelain decoration. Consideration given to understand the basic form of the catheter, and the basic division. To study the binding form to the principles of the design work to prepare a lacquer on the basis of the results obtained here. When classified by type illness Qing Dynasty porcelain decorative porcelain six types, semi-porcelain could be classified into five types. Production form to pursue work in this study design is produced in the form of asymmetrical vases object type curve. These bottles of Qing Dynasty porcelain for decoration. The basic type of pottery types and selected six of its basic and applied work. Production design work was produced Hyupjeotae production techniques that facilitate formative representation.

• Acta Via Serica
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• v.8 no.1
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• pp.71-86
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• 2023

This article aims to reveal the history of traditional Mongolian carpeting techniques and their development and application based on archeological findings as well as related research from field researchers. Furthermore, the article highlights some of the ancient traditions in modern carpet decorative motifs and pattern designs. The paper focuses on traditional carpeting techniques, decoration motifs, pattern designs, and representations of embroidered felt carpets from Xiongnu Dynasty (209 BCE - 48 CE) elite burials. Main themes for this research are: 1. Traditional materials and techniques for making Xiongnu carpets. 2. Xiongnu embroidered felt carpet pattern designs, decoration motifs, and representations. 3. The development of modern Mongolian carpet decoration motifs and pattern designs. This research considers archeological evidence and socio-cultural factors together to hypothesize that traditional Xiongnu embroidered felt carpet techniques, main featured motifs, and pattern designs are widely used in modern Mongolian carpet design and have a significant influence on its development.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.31-48
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• 2007

The purpose of the this study is to make a historical review of changes in the structural decorations of men's costume from ancient times to modern times and to provide basic materials for developing handicraft decoration techniques and sewing methods in contemporary fashion. Their gorgeousness of collars and sleeves reached its peak along with the exaggerated expression of the human body during the Renaissance when people were free from Christian traditions of the Middle Ages and pursued human pleasures. Huge and decorative collars gave great dignity and formality to the wearer. Sleeves were slim and cuffs were small or nonexistent after the French Revolution. Various decorated pockets had been developed since pockets began to be attached to coats in the 17th century. Pockets were at the bottom of coat in the late 17th century, but they were gradually placed much higher on the coat. Buttons began to be used as the tool for sticking fast body to clothes in the 12th century and became extremely sumptuous accessories in the $16th{\sim}18th$ centuries. Men's clothes were simpler and more practical after the French Revolution. The result was that decorative buttons begun to disappear and metal buttons came out for practical purpose. The number of buttons worn on sleeves was also noticeably reduced. This research suggested the possibility that various decoration techniques could create the unique details in the each part of clothes. In order to develop high value-added products, we need to study various decoration-sewing methods and put to practical use them for creative fashion design.