• Journal of Korean Library and Information Science Society
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• v.30 no.3
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• pp.323-344
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• 1999

First, having noticed that the paper on which the Mugujongkyong from the Sokgat'ap was Broussonetia Kazinoki Siebold, produced under the Tochim process, it is confirmed that the paper used for printing the Mugujongkyong form the Sokgat'ap was Broussonetia Kazinoki Siebold produced in Shilla, by introducing the common fact that the papers on which : written in 755 A.D.) and in Soochung-sokt'ap Hwaomasa were written were the same paper fabricated by the Tochim process. Therefore it is proved that the printing place of the Mugujongkyong from the Sokgat'ap was also Kyongju region in Shilla. Furthermore it is proved that the year of storing Broussonetia kazinoki Siebold n which tarani of the Mugujongkyong was written was circa 705 A.D., provin12g that Broussonetia Kazinoki Siebold was in production in Shilla in 8th Century. Also by confirming the fact that very thin -- mere 0.019mm thick -- Broussonetia Kazinoki Siebold was in production in Shilla in 8th Century, it is proved that Shilla has ability to produce Broussonetia Kazinoki Siebold for Woodblock printing purpose. Second, concerning the Muju Characters written in the ugujongkyong from the Sokgat'ap, mixed use of the Muju Characters was noticeable in written in 755 A.D. from the Sooch'ungsokt'ap at the Hwaomsa written in the same era and the Tripitaka Koreana in Japan was printed in 690's A.D. because of appearance of the Muju Characters in the Saddhamapun-darika is erroneous.

• Journal of the Korean Society for Library and Information Science
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• v.15
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• pp.267-280
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• 1988

After the Koryo government moved to Kanghwado Island to escape the invading Mongols, Ch'oe I who was the government irstman ordered in 1239 the recarving of Nanmingchuan Huoshangsung Chengtao-ko (남명천화상송증도가) widely used by an adherent of Son Buddhism to gain a greater understanding of Son principles. Ch'oe I's postscript indicate that the original edition printed with metal type was no longer available and woodblocks were carved to produce facsimiles of that edition. It is assumed that the copies of the original edition were limited in number due to the primitiveness of printing skills and had either not been taken to Kanghwado Island in the flurry of evacuation or were almost all used up. Demand for the book seemed to have surged sharply due to need for spiritual solace during the period of invasion. It is believed that the original edition of Chengtao-ko was published with metal type in Kaegyong(개경), the capitial, before the government took refuge on Kanghwado Island. Two copies of the recarved woodblocks were recently found in the collectiion of Kim Chong-gyu(김종규). and Park Tong-sop (박동섭). It is presumed that one of the copies was recarved again the other one some time, But the carving of the woodblocks were very sophisticated and faithfully reproduced the characteristics of the original metal type edition; first, there were many slanted characters; second, the lines of the main text were not straight but wavy; third, no bottom stroke of any character overlaps the upper stroke of the following character; and fourth, the characters are relatively uniform in size and shape. The printing techniques reflected in the woodblock reproduction were much better than that at the end of the Koryo dynasty and the beginning of the Yi dynasty. It can be assumed that printing with official type had reached a high level of skill before the transfer to Kanghwado Island.

• Journal of the Korean Wood Science and Technology
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• v.46 no.3
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• pp.270-277
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• 2018

This study was conducted to identify wood species of two printing woodblocks either from the Park clan's documentary or Ji-dang documentary of Songok clan of the Milseong Park, Songok, Gyeongju, Korea. Eighty-eight woodblocks out of the total 282 woodblocks were randomly selected to compare anatomical features for the identification of wood species, using a light microscope. As a result, seven wood species were identified, and all of them were diffuse-porous hardwood species. The most significant portion, i.e., 39.8% of wood species was Carpinus laxiflora Blume. Then, Pyrus pyrifolia Nakai, Acer mono Maxim, Prunus sargentii Rehder, Tilia amurensis Rupr, Diospyros kaki Thunb, and Betula costata Trautv was 25.0%, 15.9%, 10.2%, 3.4%, 3.4% and 2.3%, respectively, indicating that all diffuse-porous hardwood species had been used for the woodblocks. It was believed that diffuse-porous hardwoods had been used because they provided an easy of engraving complex Chinese letters, of acquiring these wood species in Gyeongju areas, and a high resistance to repeated printing.

• Cartoon and Animation Studies
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• s.20
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• pp.63-74
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• 2010

For several decades in history of cartoon, it was about the era of publishing tendency based on printing technique just until few years before now. The media critic Marshall McLuhan said, "The cartoon of the 20th century have characters of printing or woodblock printing yet. Coming in to the 1980s, unlike traditional printing, cartoons of more various form appeared such as 'Moving cartoon, CD-ROM cartoon, Click-cartoon'. These phenomenons diversified and accelerated during the electronic equipments and internet that cartoon were able to be produced and distributed on not printing forms were progressing and popularizing. Like these, base on the progress of various forms in webtoon, this study will suggest 3 concept about expansion of Spatial Expressions of expression and cognition such as 'Reminiscent of The Vertical Image', 'The Vertical Panorama' and 'The Morphing into Spaces'. Also, , , the works of Doha Kang who is in the spotlight as the webtoonist of avant-garde and dynamic works, will be examined and analysed as the texts. Doha Kang was selectied as a 'Contemporary Twenty Webtoonist in Korea' from a survey of the cartoon's experts in korea by Bucheon Cartoon Information Center in 2009. He has recognized as the most experimental and be influential webtoonist from beginning of webtoon era to today. In this context, the analyses of his two works that was published in 2007, 2009 each, will helps understanding from diverse viewpoint about webtoon's expressions and structures. Furthermore, this study helps focus on values of webtoon as expansion art of Spatial Expression.

• Journal of Conservation Science
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• v.37 no.6
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• pp.791-800
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• 2021

Photographic images of the Samseong-version (三省本: Korea's Treasure No. 758-1) and the Gongin-version (空印本: Korea's Treasure No. 758-2) of Nammyeongcheon Hwasangsong Jeungdoga (南明泉和尙頌證道歌: Nanmingquan Song Zhengdaoge) were compared and analyzed to investigate the differences between the two versions. According to a report in 2012 at the time of the designation of the Gongin-version as Korea's treasure, both versions were printed from the same woodblocks. The Gongin-version is presumed to be a later print than the Samseong-version. The two versions are very similar in format and shape of border lines and characters. It is difficult to determine the differences with the naked eye, even for experts. In this study, based on the printing characteristics observed from each version through image analysis, useful evidence to determine whether it was printed using the same or different woodblocks and the order of printing was collected. As a result of careful image comparison and analysis, we concluded that the Samseong- and the Gongin-version were printed from different woodblocks, or possibly different typesetting. It was difficult to agree with the content of the report that the Gongin-version was a later print than the Samseong-version. In addition, it was noted that the Gongin-version print has characteristics quite different from the typical characteristics of woodblock printing seen in the Samseong-version. Additional investigations and follow-up studies on the printing technology used for Gongin-version print and the timing of printing are recommended.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.66-79
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• 2018

Daejangjeon of Geumsansa Temple was built to store the Tripitaka Koreana, although it does not contain the Tripitaka at present and instead contains a Buddha Triad. According to Geumsansaji (Historical Record of Geumsansa Temple), this structure was originally a wooden pagoda. It is said that Geumsansa became a Buddhist temple due to its tradition of preserving a statue of Buddha and the Buddhist sutras. It is special that the Wooden Pagoda which keeps its ashes turned into a Daejangjeon. Also, it is symbolic that the Daejangjeon is symbolic and it does not store the stura, but this building is symbolic and complex. By analyzing the changes in the building process and religious beliefs, it is possible to ascertain the relationship between faith and religion in the latter phase of the Joseon Dynasty.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• Archives of design research
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• v.14
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• pp.321-333
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• 1996

The typeface of the Shhnch 'ongjon woodblocks is unsophisticated and old-fashioned while at the same time having a tidiness and strength that give it its special appeal. This is the typeface used in publishing novPls for sale to the common people during the latter half of the Choson Dynasty_ Their demands could not be satisfied with most currently available literature. which was intended to suit the tastes of the official class. As a result of a development to overcome the unbalanced use of space characteristic of letterforms that followed the geometric principles of early Hangul. the typeface followed the refined. feminine "hrushstroke" style of kungch 'e. establishing itself as a "rough" face displaying the characteristics of carved. woodblock printing in answer to the needs of the common p-eople who had the greatest need of Hangul during the time of its f1owering. The Shhnch 'ongjon face is characterized by thin horizontal strokes. thick vertical strokes. and the appearance of being condensed left to right. They possess simple yet varied form. With these characteristics the Shimch' ongjon typeface. if revived and compared to other typefaces. has a beauty of structure and composition and a unique. modern lmage with excellent readability. giving it great significance for modern r langul typography.r langul typography.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.