• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.169-176
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• 2004

The clouds-shaped pattern is originated from Taoism, Buddhism, and Confucianism. It stands for good-luck, longevity and productivity. It has been used on its own or with other patterns since the ancient times. It also has various forms. It particularly was used more frequently than any other patterns as a typical good-luck pattern, representing auspiciousness, divine authority, and so on in Chosun dynasty. The pattern, according to its component parts, is classified as individual type and compound type, which is mixed with other patterns such as treasure pattern, plant pattern, letter pattern, or animal pattern. For both individual type and compound type, swastika-shaped cloud pattern was mostly used. For compound type, the pattern compounded of treasure pattern was extraordinarily used a lot. In terms of the arrangement, the most common arrangement methods were brick-shaped arrangement and dense type arrangement, the arrangement method that spreads the patterns all over the surface. Among the fabrics with clouds-shaped pattern, satin damask fabrics had the majority. Clouds-shaped pattern was used a lot in men's Po(coat), such as Dahnryoung, Jiknyoung, Chollik, etc. rather than in women's clothes. It was a typical pattern used in Dahnryoung, an official uniform that represented people in the highest class in Chosun dynasty. The divine power symbol of this pattern indicated the authority and dignity that the upper class people could have.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.18-37
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• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.24-37
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• 2023

This study analyzes the materials and external characteristics of the Angbu-ilgu, a kind of scaphe sundial, which was newly designated as a Korean Treasure in 2022. The Angbu-ilgu Treasure is owned by three institutions - the National Palace Museum Of Korea, Gyeongju National Museum, and Sungshin Women's University Museum - and is similar as a twin in its material, size, outward appearance, as well as production techniques that include casting, silver inlays, and metal joints. The Three-Treasure Angbu-ilgu is made of brass in the ratio of 90.6: 6.0: 1.8 with Cu: Zn: Pb. This composition clearly differs from Treasure No. 845, an Angbuilgu which has a composition ratio of 82.2: 3.7: 11.8 with Cu: Zn: Pb. In this new Angbu-ilgu Treasure, the hemisphere's stand has four vertical pillars sculpted in a dragon pattern and bilateral wings carved in a cloud pattern on the pillars, which are joined to the hemisphere's horizontal ring with rivets and silver solders, respectively. The dragon-in-clouds pillar (雲龍柱) shows the most outstanding formative beauty of the various Angbu-ilgu pillars produced in the late Joseon Dynasty. It can be seen that the altitude of the north pole engraved on the Angbu-ilgu was made after 1713. Production is, however, actually estimated to have occurred close to the 19th century, the era of the Jinju Kang family, who were professional Angbuilgu makers. Hopefully, this study will lead to a historical science and technology review with modern scientific instruments analyzing the materials and external characteristics of the three Angbu-ilgus designated as a Korean Treasure in 2022.

• Korean Journal of Child Studies
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• v.36 no.5
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• pp.37-58
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• 2015

This study explored the sandplay therapy case of an elementary school-aged boy who was mentally handicapped for the purposes of understanding his psyche. The goal of the therapy was to help him to adjust more appropriately to situations he commonly encountered within the free and protected space made possible during sandplay therapy. Fifty-five therapy sessions were held. The client showed a lack of fundamental care, which was accompanied with regression in the initial phase of therapy (1~14, my situations & regression). In the intermediate phase of therapy (15~52, rebirth), he experienced rebirth and grew psychologically with the death of both a spider and a king snake. In the final phase of therapy (53~55, the acquisition of treasure), he finished his journey with the acquisition of treasure in a free and protected space. By exhibiting a similar psyche with non-handicapped boys, this study confirmed an archetypal pattern existing even in a boy who was mentally handicapped.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.11-23
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• 2004

Bomun(Treasure Pattern), by its formative beauty and its symbol of good-luck, is mixed well with other patterns and produces another luxurious and gorgeous pattern with them. This study is to sort out Bomun patterned materials in the relics of Chosun dynasty, to classify the types of patterns according to its elements and to its arrangement, and to analyze their aesthetic characteristics in terms of fabrics, methods of putting patterns on fabrics, their usage, and symbols and aesthetics. The types of Bomun, in terms of their composition elements, are classified as Individual type, Compound Type Ⅰ, which is made with another Bomun, and Compound Type Ⅱ, which is compounded with plant patterns or with animal patterns. In terms of its arrangement, it is classified as Dense type, Sparse type, and Picturesque type, and the most popular type is the pattern of the dense type. Bomun was depicted in the fabric through a technique called Jimunbeop. It was used on both men's and women's clothing. It was mostly used in Po of men's clothing and in Jeogori(jacket) of women's clothing. Bomun connotes the meaning of good-luck, beating off evil spirits, Yin and Yang ideology, noble tastes, etc.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• 보존과학연구
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• s.24
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• pp.215-227
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• 2003

The gilt-bronze Sarira Reliquary was discovered when repairing three-stories east stone pagoda (Treasure No. 395) at Seungju-eup in Suncheon city in Jeollanam-do Province in August, 1986. Then it was appointed as Treasure in 1988. The Sarira Reliquary had been held in Seonamsa temple, but deterioration on the surface and corrosion had appeared affecting its surface detail. Consequently, the conservation treatment was carried out from November 2002 to March 2003.The corrosion and dirt on the surface of the Sarira Reliquary were cleaned with ethyl alcohol and Benzotriazole was applied to prevent further corrosion. Finally, NAD-10(Paraloid NAD-10), acrylic resin, was used to consolidate the structure. Moreover, after non-destructive analysis to confirm element of alloy, copper, gold, silver and mercury were discovered and this result tells us that it was plated with gold by amalgam. Fibers at the pedestal were examined under the microscope and identified as silk. The total height of this Sarira Reliquary is 6.0cm, the height of lotus pedestal and the roof is 2.7cm and 1.8cm, respectively. The roof and body are joined together, and the lotus pedestal can be separated, on which the octagonal reliquary is impaled. The pedestal consists of 3layers of petals and the surface is decorated with flower pattern. The reliquary is presumed to be created in the 14th century, and it becomes valuable historical material to reveal the secret of metal work in the late Goryeo Dynasty.

• Journal of the Korean Professional Engineers Association
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• v.17 no.3
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• pp.32-49
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• 1984

The East gate station area is 205M long and 24m deep which is located 13 meter in front of cultural treasure east gate. The area to be excavated by blasting is composed of granite rocks from 10M depth to 25M. Surface earth extends to up 10M depth. This job site has in involves heavy traffic congestion such as over 10,000 cars passing in rush hour where clossing No 1 lint of subway running 3 minitues head way. This east gate station construction is to be executed for the provent of the setting down of underground level and blasting vibration effects to cultural treasure east gate. Therefore, the caltural treasure committee approved this execution subject to the following condition. 1. Subway gelogical foundation and measured natural frequency 2. Execution of water tight wall 3. Sellection and test of damping material for wall and under rail 4. Measurement of monitoring system during the execution 5. Measurement of histogram system The above two projects was carried out by Dr. Kwang team in KAIST and prof, Han in Hanyang University under accadamic study contract. In the blasting work, for the pourpose of reduced vibration and low explosion velocity such as CCR, Kovex slurry. The 2nd, used electrical caps shall be delay cap and M/S caps in multi delay. The 3rd, drilling pattern is bench cut in open cut and applied control blasting in tunnelling and also shall drill anti-vibration holes as line drilling.

• 보존과학연구
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• s.23
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• pp.149-162
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• 2002

Gilt bronze locks(Treasure No. 1141) excavated from Hancheonsa temple are artifacts of Goryeo Dynasty. The locks underwent a conservation process from October 2001 to July 2002. The process included cleaning and the application of corrosion inhibitors, Benzotriazolesolution, as well as reinforcement treatment with Paraloid NAD-10 solution,an acrylic resin. Non-destructive XRF analysis unveil that the artifacts are made of an alloy of copper(Cu), tin(Sn) and lead(Pb), but the gilt layer is too thin to analyze the purity of the gold or the exact production method. Gilt bronze locks are important materials because they preserve all the structures of locks in Goryeo Dynasty to the smallest detail. The surface pattern is revealed through the conservation process and components of the alloy through material analysis.

• The Research Journal of the Costume Culture
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• v.30 no.2
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• pp.281-296
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• 2022

This study is designed to compensate for the lack of children's clothing relics from the early 18th century and to reproduce young upper-class girls' costume as hanbokcontent. The shapes and materials of costumes are based on the record of 『Sukjong-silrok』 in 1701 and the characteristics of adult ladie's costume relics in this period, but reproduced as miniatures of these relics as like Joseon children's clothing of another period. The reproduced costumes are formal wear for 3~4 year-old girls, consisting of yeoui [女衣], long unlined skirts, and lined skirts. Sizes were set at a height ratio of approximately 155:95. Yeoui is sam-hoejang-jeogori using pine pollen-colored damask with a grape-squirrel pattern and a purple damask with flower-treasure pattern. The full length of yeoui is 24.5cm. It has a square-dangko outer collar with square inner collar. The long unlined skirt is a six-width overskirt that is 82cm long, made with lotus patterned sa. The lined skirt is a five-width skirt that is 61.3cm made with flower-treasure patterned red damask and ju. Several long pleats on both sides of these two skirts have been omitted. The result provides meaningful content for children's clothing in the early 18^th century and will be used as costume for an educational trial performance.