• Korean Journal of Heritage: History & Science
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• v.38
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• pp.387-419
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• 2005

Material characteristics and provenance interpretation of the raw materials for the stone moulds of bronze artifacts excavated in Galdong Prehistoric site were studied. The stone moulds are made of igneous hornblendite with coarse-grained holocrystalline textures. The surface color shows greenish grey to dark green with greasy luster. The value of magnetic susceptibility of the moulds ranges from 19.2 to 71.0 (mean ; $39.2{\times}10^{-3}$ SI unit).High value of magnetic susceptibility indicates high contents of magnetite as a ferromagnetic mineral and the wide range of the values are due to heterogeneous distribution of magnetite. These are characteristics of basic igneous rocks. The rock-forming minerals of the moulds mainly consist of amphibole, plagioclase and biotite. Pyroxene, chlorite and opaque minerals are also rarely present. A large quantity of carbon was detected on the dark black crust near the surface of the moulds by quantitative analysis. Geological field survey was carried out to identify a source of the raw materials of the stone moulds around Galdong site. Hornblendite or gabbroic rocks being similar to the moulds forming rock occur at Daeseongri, Sikcheonri and Gyodongri in Jangsoo, and Illdaeri in Namwon about 50 kilometers away from the site in a straight line. They have similarity with the moulds forming rock in magnetic susceptibility ranging from 16.1 to 72.4 (mean ; $39.9{\times}10^{-3}$ SI unit). Among those hornblendite or gabbroic rocks, one in Jangsoo area is the most similar to the moulds forming rock on the basis of petrological and mineralogical characteristics. Comparing normalized patterns of major, minor, rare earth and immobile elements contents of the moulds to them of hornblendite in Jangsoo area, geochemical evolution trend and behavior characteristics show affinities between them. It suggests that the moulds forming rock and hornblendite in Jangsoo area have been originated from cogenetic magma. This hornblendite is easy to engrave an inscription or detail graphics on the surface because of its softness, and has good thermal conductivity. Hornblendite in Sikcheonri, Jangsoo is particularly produced and used for stone wares until the present day. Therefore, it is probable that the stone materials of the moulds has been imported from Daeseongri, Sikcheonri and Gyodongri in Jangsoo area. However, it cannot be completely excluded the possibility that the material of the moulds was supplied from Illdaeri in Namwon area appearing the same type of hornblendite on a small outcrops. It is necessary to carry out further archaeological studies to identify several possibilities of migration process of raw materials.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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• v.1
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• pp.150-173
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• 2024

The Gyeongsang region experienced an epoch-making social transformation approximately around the second to first century BCE, including the replacement of Bronze Age types of tombs (such as dolmens, stone cist tombs, and earthen tombs with flat capstones) with clusters of wooden coffin tombs and the emergence of wajil pottery (soft stoneware) and ironware. These shifts in the archaeological material evidence have been discussed in the context of the formation of the states that comprised the three Han confederacies and in relation to wooden coffin tombs built in later periods. This paper explicates the appearance of clustered wooden coffin tombs with accompanying ironware by categorizing them. In particular, it examines the emergence of wooden coffin tombs by creating the Wolseong-dong type, which differs from Tomb No. 5 in Joyang-dong and Tomb No. 1 in Daho-ri with their deep burial pits and large quantities of prestige goods and soft stoneware items. The Wolseong-dong type of tomb commonly features ironware, including flat-bladed iron axes, oblong cast iron axes, iron wire, iron chisels, and iron swords; a small slender, rectangular wooden coffin tomb with a shallow burial pit of less than sixty centimeters; and pottery of a type preceding soft stoneware, such as long-necked jars, triangular attached-rim pottery bowls and pots, and mounted vessels. There are also a few bronzeware items found in them, but no prestige goods. This study scrutinizes tombs in Tamni-ri in Uiseong, Hagu-ri in Gyeongju, and Hakjeongdong in Daegu by comparing them with the Wolseong-dong type, and it confirms that in Sinseodong in Daegu, Wolseong-dong type tombs and later Joyang-dong type tombs have separate spatial distributions within the site. This also indicates that the Wolseong-dong type is a valid categorization among wooden coffin tombs. Although the rise of the Wolseong-dong type tomb is associated with the migration of a group, I reserve judgement on whether its origins should be understood in the context of the iron culture in the southwestern region of South Korea that was sparked by King Jun's advance to the south or if they lie in the western region of North Korea. Either way, the Wolseong-dong type is thought to be the tombs of a group of people with lower hierarchical status than the occupants of the later Joyang-dong type.

• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.67-88
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• 2011

Pungsu is an ancient logic that systemizes geography based on the Yin-Yang and The Five Elements Principle. It is defined as the unique and highly systemized ancient Eastern art of selecting auspicious sites and arranging harmonious structures such as graves, houses, and cities on them by evaluating the surrounding landscape and cosmological directions. Pungsu helps allegedly one improve life by receiving vital energy(Shengqi, 生氣)-energy flow that flows under the ground. It is traditional belief that the living lead their lives on the ground, indirectly receiving the energy coming out of the ground, whereas the dead are buried under the ground, allowing them to directly absorb energy from the ground, which makes Shengqi the dead receive bigger and more obvious than that the living receive. This energy absorbed by the dead from the ground was believed to be passed on to their descendants. This phenomenon is called "Induction of vital energy between Ancestors and Descendants". People searched for the sites which were believed to contain rich and positive vital energy flow. They also tried to bury their ancestors under such sites hoping to receive the Shengqi coming from underground which they believed would help them thrive and prosper. The efforts to locate the sites which have the most vital energy, auspicious sites or "Bright Yard(明堂)", are easily observed in Asia including China and Korea. The ultimate goal of searching for auspicious sites lies in human(whether alive or dead) receiving vital energy from the nature to enjoy happy lives. In choosing a place to live or to bury their dead ancestors, people tried to understand the energy flow of the site considering the factors related with mountain, water, and direction. If we take a closer look into the methods of finding auspicious sites, we can see that people have tried to see the outer conditions of lands, mountains and waters within the perfect harmony if possible. Auspicious site or Bright Yard is the site with those elements in perfect order and harmony, that is, it is the place which derives the most vital energy from the best order and harmony of nature. As this shows, an auspicious site symbolizes totality-the Self, and it seems to be projected to the land. It is believed to be an attempt that the reason why we try to find auspicious sites to internalize the totality that we projected to the outer world. Therefore, this auspicious site is what our foremost values, symbol of the Self, such as harmony, equilibrium, perfection, and uniqueness are reflected to the land. Through the process of finding such a site, we try to gain totality of psyche.

• Journal of Korean Society of Forest Science
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• v.13 no.1
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• pp.25-39
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• 1971

Recently successful induction of haploid plant by means of anther culture method has become a big topic among geneticists and plant breeders. The haploid plant can be used as a precious material for such basic researches as mutation or genetics. Once the haploid is obtained, production of homozygous plant is not a difficult problem. The method of producing homozygous plant can, also, be applied to the practical breeding works. When applied to the hybridization of self-fertilizing breeding period would be greatly shortened and in cross-fertilizing vegetables production of uniform hybrid seed would be very easily obtained. Last few years many scientists attempted anther cultures using various plant species, but it was successful only in several species. Unlike the other tissue cultures which use somatic organs or tissues as explants, anther culture seems to be very difficult because the plants or calli have to be induced from the haploid microspores or pollen grains. In the present experiment anther culture of fruit trees and ornamental shrubs of four genera and seven species was attemped. Anthers of Various stages ranging from tetrad and late microspore were cultured on the modified Murashige and Skoog's medium supplemented with various concentrations of auxins and kinetin as growth regulators. Handling of materials, sterilization, and other operations of culture were done by routine methods. The results were summarized as follows: 1. Calli were induced in the anthers of Forsythia Koreana Nak., Rhododendron mucronuratum Turcz., R. yedoense Max. var. Poukhanense Nak., and Prunus armeniaca L. var. ansu Max. No signs of callus were observed in Prunus persica Sieb. et Zucc. var. vurgaris Max., Pyrus ussuriensis var. macrostipes (Nak.), and Prunus salcina Lindley. 2. Calli were easily formed in any of the media with differing concentrations of auxins and kinetin. 3. In F. Koreana calli developed from anther surface and connective. Callus emerging out of anther locule was not observed. 4. Somatic calli arose from filament, connective, and inside of anther wall in R. mucronulatum. Many of the microspores accumulated starch grains. 5. The anther lobes located opposite the filament of R. yedoense turned easily to calli. This phenomenon was not observed in R. mucronulatum. Microspore embedded for a period in the medium became starch pollen. No callus was observed arising from microspore. 6. In P. armeniaca calli were not induced from somatic anther tissues. Instead, callus emerged out of anther locule rupturing the anther slit. Starch was not formed in the microspore. 7. In P. persica, Pyrus ussuriensis, and P. salcina, calli were not observed in the anthers examined more than 60 days after culture. Microspores of these species, however, were free of starch grains even after long period of subculture. 8. It was learned that somatic calli of the species examined arose usually from endothelium of anther wall, septum of two neighboring anther locules, parenchyma tissues of connectives, or anther lobes. 9. In the anther locule of P. armeniaca cultured long in medium, swollen microspores, polynucleate microspores, multicellular pollen grains, or callus mass were frequently observed, this indicating that the callus of this species was microspore-origin. 10. It was clarified that in P. armeniaca production of haploid plant by anther culture might be possible.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.

• Journal of the Korean Society of Groundwater Environment
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• v.7 no.3
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• pp.103-115
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• 2000

The formation of brown-colored precipitates is one of the serious problems frequently encountered in the development and supply of groundwater in Korea, because by it the water exceeds the drinking water standard in terms of color. taste. turbidity and dissolved iron concentration and of often results in scaling problem within the water supplying system. In groundwaters from the Pajoo area, brown precipitates are typically formed in a few hours after pumping-out. In this paper we examine the process of the brown precipitates' formation using the equilibrium thermodynamic and kinetic approaches, in order to understand the origin and geochemical pathway of the generation of turbidity in groundwater. The results of this study are used to suggest not only the proper pumping technique to minimize the formation of precipitates but also the optimal design of water treatment methods to improve the water quality. The bed-rock groundwater in the Pajoo area belongs to the Ca-$HCO_3$type that was evolved through water/rock (gneiss) interaction. Based on SEM-EDS and XRD analyses, the precipitates are identified as an amorphous, Fe-bearing oxides or hydroxides. By the use of multi-step filtration with pore sizes of 6, 4, 1, 0.45 and 0.2 $\mu\textrm{m}$, the precipitates mostly fall in the colloidal size (1 to 0.45 $\mu\textrm{m}$) but are concentrated (about 81%) in the range of 1 to 6 $\mu\textrm{m}$in teams of mass (weight) distribution. Large amounts of dissolved iron were possibly originated from dissolution of clinochlore in cataclasite which contains high amounts of Fe (up to 3 wt.%). The calculation of saturation index (using a computer code PHREEQC), as well as the examination of pH-Eh stability relations, also indicate that the final precipitates are Fe-oxy-hydroxide that is formed by the change of water chemistry (mainly, oxidation) due to the exposure to oxygen during the pumping-out of Fe(II)-bearing, reduced groundwater. After pumping-out, the groundwater shows the progressive decreases of pH, DO and alkalinity with elapsed time. However, turbidity increases and then decreases with time. The decrease of dissolved Fe concentration as a function of elapsed time after pumping-out is expressed as a regression equation Fe(II)=10.l exp(-0.0009t). The oxidation reaction due to the influx of free oxygen during the pumping and storage of groundwater results in the formation of brown precipitates, which is dependent on time, $Po_2$and pH. In order to obtain drinkable water quality, therefore, the precipitates should be removed by filtering after the stepwise storage and aeration in tanks with sufficient volume for sufficient time. Particle size distribution data also suggest that step-wise filtration would be cost-effective. To minimize the scaling within wells, the continued (if possible) pumping within the optimum pumping rate is recommended because this technique will be most effective for minimizing the mixing between deep Fe(II)-rich water and shallow $O_2$-rich water. The simultaneous pumping of shallow $O_2$-rich water in different wells is also recommended.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.22-53
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• 2020

This paper analyzes the contents, characteristics, and historical significance of the dedicatory inscriptions (josanggi) on the Amitabha Buddha and the Maitreya Bodhisattva statues of Gamsansa Temple, two masterpieces of Buddhist sculpture from the Unified Silla period. In the first section, I summarize research results from the past century (divided into four periods), before presenting a new perspective and methodology that questions the pre-existing notion that the Maitreya Bodhisattva has a higher rank than the Amitabha Buddha. In the second section, through my own analysis of the dedicatory inscriptions, arrangement, and overall appearance of the two images, I assert that the Amitabha Buddha sculpture actually held a higher rank and greater significance than the Maitreya Bodhisattva sculpture. In the third section, for the first time, I provide a new interpretation of two previously undeciphered characters from the inscriptions. In addition, by comparing the sentence structures from the respective inscriptions and revising the current understanding of the author (chanja) and calligrapher (seoja), I elucidate the possible meaning of some ambiguous phrases. Finally, in the fourth section, I reexamine the content of both inscriptions, differentiating between the parts relating to the patron (josangju), the dedication (josang), and the prayers of the patrons or donors (balwon). In particular, I argue that the phrase "for my deceased parents" is not merely a general axiom, but a specific reference. To summarize, the dedicatory inscriptions can be interpreted as follows: when Kim Jiseong's parents died, they were cremated and he scattered most of their remains by the East Sea. But years later, he regretted having no physical memorial of them to which to pay his respects. Thus, in his later years, he donated his estate on Gamsan as alms and led the construction of Gamsansa Temple. He then commissioned the production of the two stone sculptures of Amitabha Buddha and Maitreya Bodhisattva for the temple, asking that they be sculpted realistically to reflect the actual appearance of his parents. Finally, he enshrined the remains of his parents in the sculptures through the hole in the back of the head (jeonghyeol). The Maitreya Bodhisattva is a standing image with a nirmanakaya, or "transformation Buddha," on the crown. As various art historians have pointed out, this iconography is virtually unprecedented among Maitreya images in East Asian Buddhist sculpture, leading some to speculate that the standing image is actually the Avalokitesvara. However, anyone who reads the dedicatory inscription can have no doubt that this image is in fact the Maitreya. To ensure that the sculpture properly embodied his mother (who wished to be reborn in Tushita Heaven with Maitreya Bodhisattva), Kim Jiseong combined the iconography of the Maitreya and Avalokitesvara (the reincarnation of compassion). Hence, Kim Jiseong's deep love for his mother motivated him to modify the conventional iconography of the Maitreya and Avalokitesvara. A similar sentiment can be found in the sculpture of Amitabha Buddha. To this day, any visitor to the temple who first looks at the sculptures from the front before reading the text on the back will be deeply touched by the filial love of Kim Jiseong, who truly cherished the memory of his parents.