• Title/Summary/Keyword: 낙랑

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Japanese perception of Nakranggun and the Establishment of Pyongyang Governor General Museum in Japanese colonization (일제강점기 일본인의 낙랑군 인식과 평양부립박물관 설립)

  • Kook Sung-ha
    • KOMUNHWA
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    • no.63
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    • pp.109-127
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    • 2004
  • The Japanese colonialist studying the history of Korea thought that after Gochosun, Nakrang became the center of the four ruling districts of Han. This perception was based on the existence of Nakranggun near Pyongyang. This perception was extended by the

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Scientific Analysis for the Lacquered Pottery wares Uncovered from Nangnang Region - Tomb No. 53 at Namjeong-ri in Pyongyang - (낙랑군 지역 토제칠기의 자연과학적 분석 -평양 남정리 53호분 출토 토제칠기-)

  • Hwang, Hyun Sung;Yun, Eun Young
    • Journal of Conservation Science
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    • v.30 no.3
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    • pp.277-286
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    • 2014
  • This is the scientific analysis of lacquered pottery cup and lacquered pottery plate excavated from Pyongyang Tomb No.53 at Namjeong-ri, Nangnang Tomb, which were under conservation treatment as a part of the Project of Unregistered Artefacts Uncovered in the Japanese Colonial Era. It is very rare to have a lacquered pottery cup and plate, lying on a lacquered pottery table, as a set of grave goods. In particular, they are not wooden but pottery items. Of that on this analysis Lacquered pottery cup and lacquered pottery plate use red pigment and black pigment mixed with lacquer. Analysis results of red pigment is cinnabar(HgS) and black pigment is estimated carbon-based pigment.

게임리뷰-삼국지10

  • Sin, Seung-Cheol
    • Digital Contents
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    • no.3 s.142
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    • pp.92-94
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    • 2005
  • 10여년간 게이머들로부터 사랑을 받아온 PC게임‘삼국지’의 10번째 시리즈가 국내에서 발매됐다. 삼국지 시리즈의 집대성이라 평가받고 있는‘삼국지10’은 완성도 및 역사왜곡 등이 문제가 되면서 국내에서 수차례 출시가 연기돼 왔다. 문제가 됐던 낙랑 지명에 대한 수정작업을 거쳐 발매된 삼국지10을 살펴봤다.

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A Study on the Manufacturing of Lacquer Ware Objects of Nangnang(I) (낙랑칠기(樂浪漆器)의 칠기법(漆技法) 조사(調査)(I))

  • Kim, Kyoungsu;Yu, Heisun;Yi, Yonghee
    • Conservation Science in Museum
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    • v.4
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    • pp.79-88
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    • 2003
  • The lacquer ware objects of Nangnang were treated for conservation and seven of them were studied on the manufacturing technic. When we examined them using microscopes and an SEM-EDS analysis, the lacquer layer was proved to consist of two parts: the ground and the upper lacquer. The ground coating was made of several mixed materials such as powdered bone and minerals. Many forms of powdered bone were observed. We could find out that HgS, PbO and AgS were used as pigments. We could also find out a specific process and materials were used for those objects, although we could not say definitely what they were because the number of the sample was not big enough.

The Modern Representations of Prince Hodong stories (호동왕자 서사의 근대적 재현 양상 연구)

  • Yu, In-Hyeok
    • Journal of Popular Narrative
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    • no.26
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    • pp.413-433
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    • 2011
  • What this study aims is to analyze that how the stories of Prince Hodong are represented in modern historical fictions. The stories have been reproduced in many forms such as TV dramas, films, fictions, plays. It can be depicted that the narratives are indeed national and popular. Interestingly, however, the description of Hodong has not been found in pre-modern documents or fictions. The story began to appear and became popular in 1935 by Yoon Baek Nam. It can be explained that the narratives are the one of the example of the invented tradition since it became visible in modern period. Yoon, Lee Tae Joon, and Yu Chi Jin have constructed the character of Hodong what we are familiar with. Yoon depicted Hodong as a romatic lover with the motif of a lovers suicide. Lee and Yu put a context of nationalism by explaining Nakrang as a Nakrangkun of Hansagun(the four colonies of China). These are pure invention of the writers which cannot be found in The History of Three Kingdoms(三國史記). These characters are closely related with the surrounding of their own society. Yoon shows how the past can be seen as a nostalgic object by modern aesthetic perspective. Lee illustrates the ambiguous thought of a colonial intellectual who (anti)internalizes the ideology of militarism. Yu tries to find the way to recover the muscularity of the nation by re-colouring the memory of the past. These, the representations created in various contexts, make our common knowledges of Prince Hodong nowadays.

잘된 콘텐츠에는 고전이 보인다②

  • Bae, Ju-Yeong
    • Digital Contents
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    • no.11 s.138
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    • pp.90-98
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    • 2004
  • 사랑만큼 인간을 변함없이 사로잡은 테마가 있을까? 아담이 혼자 있는 것이 보기 좋지 않아, 이브를 탄생시켜 에덴동산에서 같이 살게 만들었 다는 <성서>, 질투와 짝사랑, 그리고 이뤄질 수 없는 자기애 등 사랑에서 생기는 많은 모티프의 원형으로 가득한 <그리스,로마 신화>, 그리고 바보 온달 왕자를 사랑의 힘으로 훌륭하게 만들었다는 낙랑공주의 이야기 등이 담긴 <삼국유사>. 역사의 고전에는 어디에나 사랑의 이야기가 넘쳐날 정도로 풍부하다. 그러나 이렇게 많은 사랑의 이야기에도 불구하고 우리는 새로운 사랑 이야기를 찾는다. 그리고 언제나 다시 사랑의 이야기에 주목하게 된다. 디지털 시대라고 해서 다를까? 그렇지 않다. SF영화, 미래를 다루는 영화에서도 사랑은 빠지지 않고 등장하는 중요한모티프이다. <매트릭스>만 봐도 그렇다. 궁극적으로 모든 갈등과 위기를 구원하는 것은‘사랑’이지 않은가. 이처럼‘사랑’은 인류 최대의 난제이자 영원한 테마인 것이다.

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An Archaeological Review of the Inscribed Bricks Excavated from the Tomb of Jang Mui: A Focus on the Collection of the National Museum of Korea (장무이묘 출토 명문전(銘文塼)의 고고학적 검토 -국립중앙박물관 소장품을 중심으로)

  • Lee Nakyung
    • Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
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    • v.1
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    • pp.36-73
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    • 2024
  • The Tomb of Jang Mui located in Bongsan-gun, Hwanghae-do Province has attracted much attention since its first investigation due to the inscribed bricks found there that have allowed the guessing of the name and official title of its occupant and construction date. Inscriptions on these bricks, such as the "Prefect of Daebang Commandery Jang Mui" and the "Mu" (戊, the fifth sign of the Chinese calendar), and "Sin" (申, the ninth sign of the Chinese zodiac), have become the basis for believing the location of the government office of Daebang Commandery to be in Bongsangun, Hwanghae-do Province rather than somewhere in the Hangang River region. From the early days of its investigation, the tomb was suggested as historic remains of the Daebang Commandery along with the Earthen Fortress in Jitap-ri. Inscribed bricks excavated from the Tomb of Jang Mui were featured in several books and articles in the form of photographs and rubbings, leading to a vast body of studies on its construction period and the characteristics of its occupant that drew upon interpretations of the inscriptions. However, the inscribed bricks themselves were not publicly available outside those held in the collection of the University of Tokyo, making it difficult to expect consistent research findings on the types of inscribed bricks and their contents. Following previous studies re-examining the structure of the tomb and the materials used for its construction, most scholars dated the Tomb of Jang Mui to 348, a period after the collapse of Daebang Commandery. However, there is still a lack of adequate examination of the bricks, which account for the majority of the artifacts excavated from the tomb. Among the bricks excavated from most brick chamber tombs, including the Tomb of Jang Mui, only those with inscriptions or designs have been collected. Moreover, among these, only those with inscriptions or designs on the stretcher faces have been documented. Accordingly, the bricks themselves have been notably understudied. This paper intends to reorganize the contents of the inscriptions on eleven types (out of sixty-one pieces) of bricks in the collection of the National Museum of Korea, which make up the majority of the bricks excavated from the Tomb of Jang Mui. It also classified them according to their shapes. Furthermore, it examined the bricks from the Tomb of Jang Mui as architectural materials by focusing on their production techniques, including their forming, drying, and firing. Taking a more specific approach, it then compared the results to other bricks from the second century through the fourth century: those from the brick chamber tombs of the Nangnang and Daebang Commanderies and those from the brick chamber tombs built after Nangnang and Daebang Commanderies were ousted. The examination of bricks from the Tomb of Jang Mui has revealed that these bricks were basically produced using the brick manufacturing techniques of Nangnang, but they incorporated new elements found in bricks from brick chamber tombs or brick-and-stone chamber tombs constructed around the mid-fourth century in terms of their size, the use of lime, and the number of inscribed bricks. This supports the prevailing view that the date of the construction of the Tomb of Jang Mui is 348. The Tomb of Jang Mui sustained the existing brick chamber tomb burial tradition, but its ceiling was finished with stone. It demonstrates a blending of the brick chamber tomb practice of the Nangnang and Daebang Commanderies by using bricks produced based on related techniques, but with new elements such as the addition of a lime layer to the bricks. This fusion reflects the political circumstances of its time, such as the expulsion of the Daebang Commandery and the advance of the Goguryeo Kingdom, leading to diverse interpretations. Given archaeological evidence such as the structure, materials, and location of the tomb, the Tomb of Jang Mui appears to be highly related to the Goguryeo Kingdom. However, the forms of the inscribed bricks and the contents of the inscriptions share similarities with brick chamber tombs constructed during the third and fourth centuries in the Jiangsu and Zhejiang regions in China. Further studies on whether the use of lime was an influence from Goguryeo or a continuation of the Daebang tradition and a comparative examination with contemporaneous stone ceiling tombs will provide a more refined understanding of the Tomb of Jang Mui.

Lead Isotope Ratio Data Base for Bronze Objects at the National Museum of Korea (II) (국립중앙박물관소장 청동유물의 납동위원소비 데이터베이스 구축(II))

  • Kang, Hyungtae;Ahn, Jooyoung;Jeon, Hyosoo
    • Conservation Science in Museum
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    • v.9
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    • pp.105-116
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    • 2008
  • The Conservation Science Team of National Museum of Korea has established the data base of lead isotope ratio as the scientific research of bronze patina, which was acquired from conservtion process of metal objects, and based on this result, it intends to conduct the research related to the origin of raw material for the bronze objects. As the equipment for analysis of lead isotope ratio of the bronze patina, the thermal ionization mass spectrometer(TIMS) was used. As a part of this study, in 2nd year 2008, lead isotope ratios of total 18 samples inclding 2 samples of Round-type gold-bronze belong to Baekje period, the 2 items of head of bronze arrow belong to Nangnang(Lelang) and 10 items of the flower-shaped bronze dishes from the Unified Silla period, the 4 items of the bronze patina from the objects(era of 1 item not identified) of Wonpungtongbo(year 1078-North Sung) were analyzed.

Analysis of Lacquer Coating Found from Daesungdong No.88 Tomb of Gimhae (김해 대성동 88호분 출토 칠도막 분석)

  • Lim, Ji Young;Okada, Humio
    • Journal of Conservation Science
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    • v.34 no.1
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    • pp.51-57
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    • 2018
  • Herein, we present the results of the analysis of a lacquer coating fragment excavated from 'Daesungdong No.88 tomb of Gimhae'. We observed the fragment with an optical microscope and used scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS) as well as Fourier-transform infrared spectroscopy analysis to determine the structure of the lacquer coating and the technique used for coating. The sample was identified as a Moksim Jophy Lacquer. It is made from wood, painted with textile fabric and coated with soil clay. The SEM-EDS analysis revealed residues of bone meal at the bottom part of the sheath layer. The incorporation of bone meal in a lacquer coating layer is one of the characteristics of the Han Dynasty, and was also found in the Nangnang Region and the United Silla Dynasty. Inside the sword sheath is a specific adherent structure of silk fabric, the same type of leguminous plant found in another sword sheath excavated from the Eastern Han-tomb of Xi'an. Results constitute the latest information about lacquer ware found in the southern district of the Korean peninsula. Moreover, the findings shed light on an international relationship with Kumkwan-Kaya where the sword sheath was produced.