• Journal for History of Mathematics
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• v.32 no.4
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• pp.159-173
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• 2019

In this paper, we examine the brief history of the ring of four almonds regarding Mesopotamian mathematics, and present reasons why the Omar Khayyam's triangle, a special right triangle in a ring of four almonds, was essential for artisans due to its unique pattern. We presume that the ring of four almonds originated from a point symmetry figure given two concentric squares used in the proto-Sumerian Jemdet Nasr period (approximately 3000 B.C.) and a square halfway between two given concentric squares used during the time of the Old Akkadian period (2340-2200 B.C.) and the Old Babylonian age (2000-1600 B.C.). Artisans tried to create a new intricate pattern as almonds and 6-pointed stars by subdividing right triangles in the pattern of the popular altered Old Akkadian square band at the time. Therefore, artisans needed the Omar Khayyam's triangle, whose hypotenuse equals the sum of the short side and the perpendicular to the hypotenuse. We presume that artisans asked mathematicians how to construct the Omar Khayyam's triangle at a meeting between artisans and mathematicians in Isfahan. The construction of Omar Khayyam's triangle requires solving an irreducible cubic polynomial. Omar Khayyam was the first to classify equations of integer polynomials of degree up to three and then proceeded to solve all types of cubic equations by means of intersections of conic sections. Omar Khayyam's triangle gave practical meaning to the type of cubic equation $x^3+bx=cx^2+a$. The work of Omar Khayyam was completed by Descartes in the 17th century.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.122-141
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• 2016

It is known that Sung-gyu Jeon and several other Korean artisans were invited to "Joseon-Najeon Company" of Kimura Tenko in Takaoka, Japan to teach the skills of making lacquerware inlaid with mother-of-pearl, however these artisans discovered a new tool called fretsaw during the visit, which can easily cut nacre. The introduction of fretsaw in the 1920s in Korea innovated the Jureumjil(filing) technique and dramatically changed the style of modern Korean lacquerware inlaid with mother-of-pearl. In this paper, I will focus on the case of Sung-gyu Jeon, Kimura Tenko and "Joseon-Najeon Company". I will also examine why and how the Korean lacquerware artisans went to "Joseon-Najeon Company" in Takaoka and exactly what they did there. This analysis will help in discovering how the Korean artisans' experience in Takaoka affected their works after they came back to Korea.

• Journal of architectural history
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• v.1 no.2 s.2
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• pp.9-38
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• 1992

In the study the documents in Ryu Hee-Choon's diary (Miahm-Ilgicho) from Oct. 29th 1575 to Feb. 9th 1577, for Kaeg-Chung(客聽) are arranged and analized. Ryu, Hee-Choon (Mi-ahm) was a civil minister in the era of Myung-Jong to Sun-Jo of the Chosun dinasty. This study would be one of the basal material for actually inquiring into the character of houses for the gentry in the late 16th century. Above all, the significance of this is that it study could show the details of the architectural economy, the organization of architectural society and the process of the supply of architectural material at that time. Craftsmen devoting themselves to this work are carpenters, artisans making roof titles, roofers and artisans constructing walls. And the content that are craftsmen of monks(僧匠), artisans of commoners(私匠) and slaves belong to government(官奴) is noticeable thing. In this construction work, monks in temples of the region and laboures commandeered by the government office are mainly mobilized. Except of them, private slaves and commoners mobilized by government office also devoted themselves to this work. But, it required more research whether this aspect could be the general character of the construction work of the gentry in the late 16th century. Architectural material, in the case of wood was cut and transported mostly from islands like Jin-do by labourers commandeered by the head officer of the region and monks. Superintendents seemed to come be non-specialists of noble families of the ruling class. So, it is thought that they managed mainly the manpower supply and administration. And some architectural ironworks, much provisions and marine products for labourers and craftsmen were proided by the government office of the region. This could be understood in the same context as above that goverment office of the region contributed to commandeering labourers and supplying architectural material in some degree. Carpenters and roofers took wages that is, about 7.7 pils(匹) of cotton cloth for each carpenter and 5 pils of cotton cloth and some provisions for each roofer. This would be a noticeable thing for researching wages of craftsmen at that time

• Cross-Cultural Studies
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• v.35
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• pp.215-235
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• 2014

The purpose of this paper look at the basis of the cultural differences of Korean and Japan by comparing the craftsmanship. Korean craftsmanship and master craftsman making traditional handcrafts and artwork would die out at a critical moment. The craftsmanship and system could not be established because of discrimination in the traditional four classes of society( scholars, farmers, artisans and tradesmen), invasions of other countries and discontinuity of tradition from modernization. On the contrast, in Japan, it was possible to establish traditional handcrafts and artworks, technique and craftsmanship with apprentice system and various social privilege and treatment even in the same traditional four classes of society ( scholars, farmers, artisans and tradesmen). It was common to pass down the family business for a hundreds of years with self respect between Japanese master craftsmen and lots of people succeed the family business will now. Japanese craftsmanship is originated from 'worship to god' Medieval Japanese believed that the thing changes human mind, artistic talent, masterpieces and faith were connected to sacred power. Therefore, master craftsmen and their works were also made by the power of god. In this context, craftsmen were protected and treated in socially and nationally. It is that the social treatments and supports in national level and their own pride and continuous training of techniques and abilities as the main driving force to maintain the craftsmanship in Japan. Korea has the sale level of competitive tradition and technique in comparison any other countries. Japanese craftsmanship study will be a critical data in the protection and maintenance of Korean traditional and technique.

• Journal of the Korea Furniture Society
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• v.23 no.1
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• pp.57-67
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• 2012

Recently, shows the possibility of providing such dyed-gathered woods after forming single boar This studyds with using cheap timbers generated by the thinning. It is helpful for master artisans are suffering from finding qualified materials. Traditionally, the master artisan has been used the beautiful grained wood from around roots of old zelkova trees and black persimmon trees. Instead, this study shows that dyed-gathered woods replace the natural grained wood and also produces a furniture made of an aggregate and a plate from walnut trees and ash trees which are a contrast to dyed-gathered woods. Dyed-gathered woods can reproduce the various colors to satisfy people's tastes, and the dignified grains that we can see in the old woods. Besides, dyed-gathered woods can replace rare materials and provide higher reliability of supplies.

• Asian Journal of Innovation and Policy
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• v.4 no.2
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• pp.132-153
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• 2015

Rural enterprise clusters in India have often been characterized by low-end products, poor income earning options and a near-absence of innovativeness. This has implied limited market access, inadequate organization of production and distancing from sources of formal knowledge. Policy neglect of rural industrialization notwithstanding this paper explores the nature of institutional constraints to innovation through intensive case studies of five rural artisan clusters (handlooms and handicrafts) in as many Indian states. Whether it relates to access to loan finance or technology support or linking to markets, the formal institutions (public or private) have been distanced by informality that typifies most rural enterprise clusters. An obsession with a sectoral approach to cluster development has negated addressing infirmities of the space of enterprise, even as scope for learning from some Asian economies in rural enterprise promotion exists. The paper also enquires if the innovation systems have been inclusive and pro-poor.

• Fashion & Textile Research Journal
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• v.11 no.4
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• pp.527-536
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• 2009

The purpose of this study is to consider the characteristics of fashion paradigm on contemporary fashion in pursuit of social change towards 'slowness'. As for the research methodology, literature survey has been undertaken. The results of this study can be summarized as followings. First, eco-friendly ethics towards sustainability is in taking action. The concept of 'cradle-to-cradle' is realized through reuse, recycle, organic material, and no use of chemical. Second, local diversity is revolving quality and longevity. Good quality of fashion made by artisans and specificity in local area is to be kept last. Third, people are recast in roles from simple consumers to self-made producers of their clothes. Users of clothes are more active and skilled role in practice of handmade, reform, DIY, and open-source design. In Conclusion, the fashion paradigm of 'slowness' is about designing, producing, consuming and living better to combine ideas for sense of nature's time, culture's time and people's time.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.9-17
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• 1992

According to the 17th century palace construction documents, head artisans were called Pyunsoo. In one building constructions, not only carpenters but also masons, plasterers and painters had their own head, Pyunsoos. This meant that Moksoo-Pyunsoo, head carpenter, could not manage the whole design of the building. Moreover, in many cases, selecting and laying the site of the building were determined by the geomancers. Under those working conditions, Moksoo-Pyunsoo could only have charge of designing the wooden parts, such as structural forms or detailed carvings. The documents showed that some dominent carpenters, like Kwak Ki Jong or Lee Choon Bong, had taken on the post of Moksoo-Pyunsoo in almost every palace constructions, especially inner palace buildings. Form the fact that the same carpenters had worked continuosly, it can be presumed that there would have many resemblance of structural forms or carvings among those inner palace buildings.

• Journal of Multimedia Information System
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• v.8 no.1
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• pp.61-68
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• 2021

The paper is based on data collected from the Amazon website (specific in the Handmade's Category) to understand and analyze Vietnamese artisans' business context. Data analysis is also applied to determine the factors that bring success Handmade products and compare products of the same industry among competitors to find out potential products. By collecting data from Amazon and analyzing the data, we extracted useful information for online business developers. Besides, the list of potential products in Handmade sector can be referred to improve the business and compete with competitors. This paper also proposes solutions to help Vietnamese products become more appealing to international customers on the Amazon website.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.205-210
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• 2023

Stone cave paintings are continuous interactions as independent mediums in places such as text, images and stone cave architecture. Unlike Buddha statues, the narrative of the text always fascinates and guides the viewer to the timeliness of the image, that is, the narrative. In particular, in Buddhist art, Buddha statues are never simple images, and murals are never simple paintings. Before the Tang Dynasty, most unknown artists were artisans, and many artists still worked on murals in temples and palaces, and independent paintings such as scrolls and sides became an important form of painting after the Tang Dynasty, changing the mechanism of painting creation. In this paper, the graphic creation process prioritizes dedication and service, but we can still feel the creativity of the painters strongly. The historical resources of how to paint these paintings, the clues to the copies, and the precursor to the foreground, encourage the painters to constantly try to resemble each other and discover problems...Therefore, in this paper, it was confirmed that reinvention and creativity are very important, and that Dunhuang Buddhist art is the basis for artists' creation and the source of vitality.