• 한국의류산업학회지
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• 제6권2호
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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.

• 헤리티지:역사와 과학
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• 제52권4호
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• pp.18-37
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• 2019

국립중앙박물관의 외규장각 의궤 중 운보문단(雲寶紋緞) 책의(冊衣)를 대상으로 운보문의 편년 설정 방법을 도출한 결과는 다음과 같다. 첫째, 외규장각 의궤 중 운보문단 책의는 현종 즉위년(1659) 『효종국장도감의궤(상·하)』부터 영조 20년(1744) 『사도세자가례도감의궤』까지 86년간 89책(冊)에서 사용되었다. 둘째, 의궤 책의에 사용된 보문 종류는 14종으로 파악되었는데 잡보(雜寶)인 금정(金錠), 만자(卍字), 방승(方勝), 방승(쌍), 보주(寶珠), 산호(珊瑚), 서각(犀角), 서보(書寶), 애엽(艾葉), 여의두(如意頭), 전보(錢寶), 전보(쌍), 특경(特磬), 화보(畵寶)이다. 셋째, 운보문 판독 방법은 다음과 같다. (1)보문의 명칭을 결정한다. (2)운두(雲頭) 꼭지점을 기준으로 운두가 일방향(一方向)으로 배열되었는지 양방향(兩方向)으로 배열되었는지를 확인한다. (3)운두에 연결된 만자꼬리 중 상하꼬리 방향이 좌향인지 우향인지 파악한다. (4)운두를 중심으로 사분면에 배열된 보문 조합이 '1조(組) 보문형'인지 '2조 보문형'인지 확인하고 운두 꼭지점을 기준으로 좌향꼬리는 좌상(左上) 면에서 시계 역방향으로 보문을 판독하고 우향꼬리 운보문은 우상(右上) 면에서 시계 순방향으로 보문을 판독한다. 2조 보문인 경우는 첫 보문의 명칭을 가나다 순으로 따져 '제1조 보문'과 '제2조 보문'을 결정한다. (4)운보문에서 판독한 내용을 유물명부터 유물번호, 소장처, 왕조, 연도, 1-1면, 1-2면, 1-3면, 1-4면, 방향, 2-1면, 2-2면, 2-3면, 2-4면, 운두 크기, 단위문 크기 등 16항목으로 정리한다. 이러한 판독법의 활용을 용이하게 하기 위하여 운보문의 연대 파악을 위한 '정하 운보문 판독법'으로 명명하였다. 넷째, 현종 즉위년(1659)부터 영조 20년(1744)까지 86년간의 의궤 89책 책의에서 28종의 운보문단을 확인하였다. 그리고 운보문에 사용된 보문은 단독보문과 조합보문을 포함하여 45종으로 확인되었는데, 특히 보주(85건), 산호(84건), 서보(42건), 방승(쌍)(41건) 등이 많이 사용되었음을 알 수 있었다. 다섯째, 운보문 판독법을 연대가 정확한 초상화와 출토복식, 전세유물 등에 운보문 판독법을 적용해본 결과, 유물의 연대 파악에 도움이 될 수 있음을 확인하였다.

• 헤리티지:역사와 과학
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• 제56권4호
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• pp.24-37
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• 2023

본 연구는 2022년에 새롭게 보물로 지정된 앙부일구의 재질과 외형적 특징을 분석하였다. 국립고궁박물관, 국립경주박물관과 성신여자대학교박물관의 세 기관에서 소장하고 있는 보물 앙부일구는 그 재질, 규격, 형태(외형), 은상감 등 제작기법이 쌍둥이처럼 비슷하다. 이 세 점의 앙부일구은 구리: 아연: 납이 90.6: 6.0: 1.8의 비율인 황동으로 제작되어 있다. 이 성분비는 82.2: 3.7: 11.8의 조성비를 가지고 있는 보물 제845호 앙부일구와 분명한 차이를 보인다. 새 보물 앙부일구에서 반구의 받침부분은 용의 문양이 수직기둥에 그려지고 구름의 문양이 기둥의 날개를 형성하여, 반구 지평환에 각각 리벳과 은땜으로 결합되어 있다. 이러한 운룡주(雲龍柱)의 문양은 조선 후기 제작된 다양한 앙부일구 받침대 중에서도 가장 뛰어난 조형미를 보여주고 있다. 앙부일구에 새겨진 북극고도는 1713년 이후에 제작되었음을 알 수 있는데, 실제 제작은 19세기 진주 강씨 앙부일구 전문제작자의 활동 시기에 근접할 것으로 추정된다. 본 연구가 2022년 지정 보물 앙부일구의 재질과 외형적 특징을 분석함으로써 근대 과학기기의 과학기술사적 고찰을 견인할 수 있기를 기대한다.

• 아동학회지
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• 제36권5호
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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.

• 복식
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• 제54권2호
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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.

• 복식
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• 제65권7호
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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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• 통권24호
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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.

• 기술사
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• 제17권3호
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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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• 통권23호
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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.

• 복식문화연구
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• 제30권2호
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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.