The purpose of this study is to research about the usage of a symbol of Geom “劔” in the books of Korean martial arts which was written in Choson Yi dynasty, and to mention about that the background of the usage in Korea. There are two types of symbols to describe a sword. One of them is Geom “劔” that means as a sword with double edges. Another one is Do “刀” that means as a sword with a single edge. We focused on it and analyzed the descriptions in the books. We also researched about the background of these issues and found some of circumstances in the Korean history. The conclusions of this study are as below.
1. Some of the techniques of a sword with a single edge in the books of Korean martial arts were taken from the book named Ji-Xiao-Xin-Shu “紀效新書” that was written in Ming dynasty China. To describe the techniques of a sword with a single edge, the symbol of Do “刀” was used in the Ji-Xiao-Xin-Shu in Ming dynasty China; however, the same kind of techniques were described with the symbol of Geom“劔” in the Korean martial arts books. Ji-Xiao-Xin-Shu was also published in Choson Yi dynasty, then the technique of a sword with a single edge was described with the symbol of Geom “劔”.
2. Mye-jebo “武藝諸譜” is one of the books of Korean martial arts. The usage of a symble of Geom “劔” in Mye-jobo effected to the usages in the other Korean martial arts books.
3. The usage of the symbol of Geom “劔” for a sword with a single edge was found in some of books about Korean courtesy rituals that were written in the middle of the 15th century.
4. A single edged sword called Geom “劔” was wore in the early times of Korean courtesy rituals. We think that the custom influenced the usage of a symbol of Geom “劔” in the books of Korean martial arts.
5. We also think that some of the traditional idea that was related to the symbol of Geom “劔” in Tang, Sung China, and ancient Korea influenced the usage of a symbol of Geom “劔” in the books of Korean martial arts.

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中国における意匠権に関する認識の実態を明らかにする一環として、伝統工芸「惠山泥人」の特質と発展史を概観したうえで、江蘇省無錫市泥人研究所、無錫惠山泥人工場においてその制作に従事している職人へのアンケートならびに聴き取り調査を実施した。その結果は、次の3点に要約される。(1)職人たちは、知的財産権としての意匠権という概念を特段に意識化したかたちとして持ち合わせていない。(2)他の親方職人が行った仕事を盗んで真似ることは、職人の世界では禁忌とされていた。すなわち、意匠の盗用などは、元来、職人たちの世界ではありえなかった。それが、職人文化である。(3)個々の職人たちの意匠権に関する認識は必ずしも高くないものの、真摯にものづくりに取り組む気質のなかで、社会的規範として、意匠権保護が自ずとなされていた。しかし、伝統的な工芸文化のなかに経済的利益を目的とした意匠の模倣・盗用が生起しつつあることを考えると、「惠山泥人」を自らの風土に対応して展開される生活文化の造形表現として位置づけ、その文化的価値の再認識が求められる。

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