• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.40-59
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• 2010

Anssolim is the unique technique which standing columns lean in a inward direction of buildings in traditional architecture, which has not been thoroughly investigated to this day. With a dearth of previous studies, the anssolim technique can only be examined through detailed three-dimensional surveys. The main halls of Korean palaces can be seen as buildings that were built with the regulations of the day in mind, making them excellent research subjects when studying the anssolim technique. The findings can be summarized as follows. 1. In the main halls that were studied, anssolim was applied most to main space (eokan) columns, then lessened for peripheral columns. 2. The largest second-floor cheoma columns were placed inward in the eokan, then became smaller as with the peripheral columns. In the case of the eokan, the columns were arranged according to the size of the anssolim. 3. The second-floor cheoma column anssolim in the middle-floor main hall were generally a third or a quarter of the size of those on the first floor. As on the first floor, the largest anssolim were applied to the eokan columns, then became gradually smaller towards the periphery columns. 4. In the palace main halls, the largest anssolim were used for the eokan columns, and became smaller with the peripheral columns. This unique structure can be seen to be a Korean technique that deviates from the Chinese "Yingzaofashi(營造法式)" techniques. Although this study is limited in that it only studies the main hall of Korean palaces, it is significant in that it shed new light on the technological implications of the anssolim technique, and can be used as important data for research into the history of technology. Although this type of data is difficult to extrapolate, it has been made as accurate as possible by minimizing the margin of error in the data for the palaces that were actually studied.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.61-78
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• 2008

Celadons painted in underglaze iron brown 'Sung(成)' inscription are characteristic celadons excavated only at the No. 7 kiln site located at Sadang-ri(沙堂里), Daegu-myeon(大口面), Gangjin-gun(康津郡), Jeollanamdo(全羅南道), Korea and has inscription in the inner center of the foot by brush. The inscription was marked where it is not easily seen. it can be assumed that since it showed a variety of hand writings, many people were involved in manufacturing these celadons and the 'Sung' inscription was marked after workshop rather than manufacturer. It was also found that quality of glaze, paste, shape, pattern and firing method were same and these were manufactured with the same techniques in the same period. Kinds of these celadons were mainly sets of tablewares including bowl with handle, bowl, plate, cup, bowl with cover and bottle. Raised relief designs using extrusion technic were especially preferred rather than incised designs and inlaid designs. Cases of using inlaid designs were not frequently found compared to incised designs, thus it can be assumed that in this period, inlaid designs were not generally used. Special designs having the meaning of authority or dignity such as chrysanthemum, peony, parrot and lotus plate designs were not found. Foot was molded with 'U' type except some bowls with cover and plates and firing was done after glazing the whole surface of the ceramic with the support of quartzite at 3 to 4 places of inner bottom of foot. Production period of these celadons with 'Sung' inscription can not be confirmed from other excavation sites outside of No. 7 kiln site at Sadang-ri since there are no other excavation sites whose relics bear 'Sung' inscription. Through comparison research with other relics bear the characteristics of these celadons from tombs, temple sites, shipwrecks, production period of these celadons with 'Sung' inscription can be assumed as second quarter of 13th century. And since the quality of these celadons are generally inferior to the top-quality celadons which were supplied to royal familes and high-ranking aristocrats, it can be deducted that these celadons with 'Sung' inscription were supplied to classes lower than royal familes and high-ranking aristocrats. So it is considered that Celadons with 'Sung' inscription have a great significance as a chronological material to complement the blank of the first half of the 13th century because most of celadons with raised relief designs and engraved relief designs were attributed to 12th century, the period of prosperity.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.242-281
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• 2010

There are a large number of Buddhist cultural relics in Mt. Namsan. The cultural relics carry the spirit of people of Shila who dream of Buddhist Elysium and the establishment of Buddhist nation. In the valley and the top of the mountain and on various rock cliff, stone statues of Buddha and stone pagodas stand in harmony with nature. For that reason, Mt. Namsan is called an open-air museum. And it played an important role in establishing 'The UNESCO World Heritage' status for Gyeongdju in December 2000. But sadly, there are many stone relics that have eroded away and damaged from collapsing in the passage of time. The seated stone statue of Buddha in Samreoung valley of Mt. Namsan is one of them. It was created between the 8th and 9th century, and restored without much care nor extensive historical research in 1923. As a result, The face of the Buddha remained with concrete mortar and its nimbus fallen backward and destroyed. Therefore, restoration and repair as well as creation of a statue environment for the statue were urgent. So we immediately started in restoration and repair. First, through the archaeological excavation around the stone Buddha, we carried the stone Buddha on the original position. In order to restore the statues to its original glory created by the Unified Shila Dynasty, we created a restoration plan in corporation with art historians and historians, then restored the jaw and the damage nimbus. Second, we made the weathering & damage map of the stone Buddha. In order to prevent second damage, we cleaned the surface of contaminants with distilled water. Third, we studied restoration method to prevent artificial damage. We recreated parts of his face and halo. Then each parts of the statue were restored to their original position. In the whole process of restoration, we tried to use traditional techniques.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.148-173
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• 2012

The rear garden in Donggwol Palace which shared with the Changdeok Palace and the Changgyeong Palace is the salient places of technology and idea reflected the phases of the times of the Joseon Dynasty, so it is certainly one of the best Korean garden cultures. The rear garden in Donggwol which was not only the secret garden for the rest of royal family but also used as symbolic places for the various ceremonies and training its human resources has been considerably destroyed through the period of Japanese colonial rule. Thus the rear garden areas at north of Changkyung Palace were entirely transformed and a few territory from Juhabru(宙合樓) to Ongnyucheon(玉流川) keep up its surviving as the rear garden. The area of Jondeokjeong(尊德亭) which become subject on this studies from among these was constructed as flower garden after development of Ongnyucheon. The areas of Simchujeong(深秋亭), Cheoknoedang(滌惱堂), Pyemwoosa(?愚?), Mangchunjeong(望春亭), Chunhyagak(天香閣), Chungsimjeong(淸心亭) around Jondeokjeong, were situated among the beautiful scenery with the flowers and ponds. But there are only Jondeokjeong and Pyemwoosa at this moment, and the other pavilions was destroyed and transformed. For these reasons, in this studies, the formative purposes were investigated through analysing water elements, planting, ornaments and so on. According to these reasons, historical records and realities of garden construction of five pavilions : Simchujeong, Mangchunjeong, Cheoknoedang, Chunhyagak, Chungyeongak(淸燕閣) were considered to give authenticity to the restoration and reorganization as well as to accumulate basic knowledge about the conservation of environment surrounded garden architectures. These pavilions appeared at Gunggwolgi(宮闕志) and Joseonwangzosilok(朝鮮王朝實), but their names were not appeared at Donggwoldo(東闕圖). So they were ascertained through all of literatures on Donggwol Palace. Cheoknoedang and Simchujeong among these buildings could be found out as the existed buildings and the uncertain building at the northwest of Jondeokjeong was estimated as the name to Chunhyagak or Mangchunjeong. And the hypothesis that the wall surrounding Taichungmoon(太淸門) should be belong to Chungyeongak was supported. In addition, the area which did not known in connection with name and use on northeast at the Changdeok Palace, and had regarded as an impasses in the studies of Donggwoldo and the rear garden in Donggwol Palace, but the historical records of using by Yeonsangun(燕山君) and Sukjong(肅宗) were discovered at this study. And it could be uncovered that the obscure spatial space was a separate house only for king and he enjoyed play there unnoticing to others belong to palace.

• Phonetics and Speech Sciences
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• v.11 no.3
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• pp.69-76
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• 2019

This study aimed to investigate the effects of vocal aerobic treatment (VAT) on the improvement of voice in patients with voice disorders. Twenty patients (13 males, 7 females) were diagnosed with voice disorders on the basis of videostroboscopy and voice evaluations. Acoustic evaluation was performed with the Multidimensional voice program (MDVP) and Voice Range Profile (VRP) of Computerized Speech Lab (CSL), and aerodynamic evaluation with PAS (Phonatory Aerodynamic System). The changes in F0, Jitter, Shimmer, and NHR before and after treatment were measured by MDVP. F0 range and Energy range were measured with VRP before and after treatment, and the changes in Expiratory Volume (FVC), Phonation Time (PHOT), Mean Expiratory Airflow (MEAF), Mean Peak Air Pressure (MPAP), and Aerodynamic Efficiency (AEFF) with PAS. Videostroboscopy was performed to evaluate the regularity, symmetry, mucosal wave, and amplitude changes of both vocal cords before and after treatment. Voice therapy was performed once a week for each patient using the VAT program in a holistic voice therapy approach. The average number of treatments per patient was 6.5. In the MDVP, Jitter, Shimmer, and NHR showed statistically significant decreases (p < .001, p < .01, p < .05). VRP results showed that Hz and semitones in the frequency range improved significantly after treatment (p < .01, p < .05), as did PAS, FVC, and PHOT (p < .01, p < .001). The results for videostroboscopy, functional voice disorder, laryngopharyngeal reflux, and benign vocal fold lesions were normal. Thus, the VAT program was found to be effective in improving the acoustic and aerodynamic aspects of the voice of patients with voice disorders. In future studies, the effect of VAT on the same group of voice disorders should be studied. It is also necessary to investigate subjective voice improvement and objective voice improvement. Furthermore, it is necessary to examine the effects of VAT in professional voice users.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.4-37
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• 2019

Buncheong Ware, which was produced for approximately 200 years from the end of the Goryeo Dynasty to the beginning of the Joseon Dynasty, was used for royal house and state affairs during the early Joseon Dynasty. Records of Buncheong Ware can be found with Jagiso and Dogiso, considered the place of production, in the 'Sejongsylrok jiliji'. This is notable, unlike celadon and white porcelain. However, compared to Gyeongsangnam-do and Gyeongsangbuk-do, the study of Jagiso and Dogiso in Jeollanam-do and Jeollabuk-do has been unsatisfactory. In this paper, we examined the locations of Jagiso and Dogiso in the Jeollanam-do prefecture. This study is focused on Najumok, located in the western part of Jeollanam-do. The following research results were obtained: First, the locations of Jagiso and Dogiso in nine areas were examined. These nine areas comprised Najumok and its immediate provinces of Haejingun, Yeongamgun, Yeonggwanggun, Hampyeonghyeon, Muanhyeon, Gochanghyeon, Heungdeokhyeon and Jangseonghyeon. Previous research results exist for some of the regions; however, only Buncheong Ware was used to estimate Jagiso and Dogiso. In this paper, we tried to discover a more accurate position of Jagiso and Dogiso through a comparison of the place names recorded in the 'Sejongsylrok jiliji' and the place names recorded in the 'Hoguchoungsu'. Also, pottery-related area names and Buncheong Ware obtained from the field survey were reviewed. Table 2 shows the specific positions of Jagiso and Dogiso in the areas examined. Second, it would appear that pottery was produced not only in Jagiso but also in Dogiso. This is because much of Buncheong Ware was unearthed in Najumok, Yeongamgun, and Muanhyeon Dogiso. However, it was only excavated from the Buncheong Kiln Site in Yucheon Village, Sangweol-ri, Yeongam-gun; there could be limitations regarding to the rest of the areas because only a field survey was conducted, not an excavation. A recent excavation at Donggok Village in Cheongdo-ri, Gimje also confirmed a Buncheong Kiln Site. There were two Buncheong Ware ('公', '上') artifacts excavated from the site, believed to be Gongnapjagi. In addition, Cheongdo-ri, where the Buncheong Kiln Site is located, was found to be an area in Wurimgokmyeon, a former Wurimgok at a Dogiso in Jeonjubu. Consequently, it would seem that Dogiso also produced porcelain (Buncheong Ware). If more data can be obtained from the excavations at sites considered to be Dogiso, the results of Dogiso-related research will be strengthened. Third, in previous surveys, field surveys and excavation surveys were based on estimates using artifacts, but the name of the location of the Jagiso and Dogiso may be confirmed more accurately by tracking the changes in the names of the administrative areas. Therefore, although it is important to conduct research using the results of surveys or excavations, changes in the place names or places related to porcelain must not be overlooked.

• The Journal of the Petrological Society of Korea
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• v.28 no.3
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• pp.171-193
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• 2019

This study aims to identify the geometry and internal structures of the Yeongdeok Fault, a branch fault of the Yangsan Fault, by detailed mapping and to characterize its kinematics by analyzing the attitudes of sedimentary rocks adjacent to the fault, slip data on the fault surfaces, and anisotropy of magnetic susceptibility (AMS) of the fault gouges. The Yeongdeok Fault, which shows a total extension of 40 km on the digital elevation map, cuts the Triassic Yeongdeok Granite and the Cretaceous sedimentary and volcanic rocks with about 8.1 km of dextral strike-slip offset. The NNW- or N-S-striking Yeongdeok Fault runs as a single fault north of Hwacheon-ri, Yeongdeok-eup, but south of Hwacheon-ri it branches into two faults. The western one of these two faults shows a zigzag-shaped extension consisting of a series of NNE- to NE- and NNW-striking segments, while the eastern one is extended south-southeastward and then merged with the Yangsan Fault in Gangu-myeon, Yeongdeok-gun. The Yeongdeok Fault dips eastward with an angle of > $65^{\circ}$ at most outcrops and shows its fault cores and damage zones of 2~15 m and of up to 180 m wide, respectively. The fault cores derived from several different wall rocks, such as granites and sedimentary and volcanic rocks, show different deformation patterns. The fault cores derived from granites consist mainly of fault breccias with gouge zones less than 10 cm thick, in which shear deformation is concentrated. While the fault cores derived from sedimentary rocks consist of gouges and breccia zones, which anastomose and link up each other with greater widths than those derived from granites. The attitudes of sedimentary rocks adjacent to the fault become tilted at a high angle similar to that of the fault. The fault slip data and AMS of the fault gouges indicate two main events of the Yeongdeok Fault, (1) sinistral strike-slip under NW-SE compression and then (2) dextral strike-slip under NE-SW compression, and shows the overwhelming deformation feature recorded by the later dextral strike-slip. Comparing the deformation history and features of the Yeongdeok Fault in the study area with those of the Yangsan Fault of previous studies, it is interpreted that the two faults experienced the same sinistral and dextral strike-slip movements under the late Cretaceous NW-SE compression and the Paleogene NE-SW compression, respectively, despite the slight difference in strike of the two faults.

• The Journal of the Petrological Society of Korea
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• v.28 no.3
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• pp.157-169
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• 2019

Pseudotachylytes, produced by frictional heating during seismic slip, provide information that is critical to understanding the physics of earthquakes. We report the results of occurrence, structural characteristics, scanning electron microscopic observation and geochemical analysis of pseudotachylytes, which is presumed to have formed after the Late Cretaceous in outcrops of the Paleoproterozoic granitic gneiss on the Bulil waterfall of the Jirisan area, Yeongnam massif, Korea. Fault rocks, which are the products of brittle deformation under the same shear stress regime in the study area, are classified as pseudotachylyte and foliated cataclasite. The occurrences of pseudotachylyte identified on the basis of thickness and morphology are fault vein-type and injection vein-type pseudotachylyte. A number of fault vein-type pseudotachylytes occur as thin (as thick as 2 cm) layers generated on the fault plane, and are cutting general foliation and sheared foliation developed in granitic gneiss. Smaller injection vein-type pseudotachylytes are found along the fault vein-type pseudotachylytes, and appear in a variety of shapes based on field occurrence and vein geometry. At a first glance fault vein-type seudotachylyte looks like a mafic vein, but it has a chemical composition almost identical to the wall rock of granitic gneiss. Also, it has many subrounded clasts which consist predominantly of quartz, feldspar, biotite and secondary minerals including clay minerals, calcite and glassy materials. Embayed clasts, phenocryst with reaction rim, oxide droplets, amygdules, and flow structures are also observed. All of these evidences indicate the pseudotachylyte formed due to frictional melting of the wall rock minerals during fault slip related to strong seismic faulting events in the shallow depth of low temperature-low pressure. Further studies will be conducted to determine the age and mechanical aspect of the pseudotachylyte formation.

• Journal of the Korean Applied Science and Technology
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• v.36 no.3
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• pp.915-929
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• 2019

This study attempted to investigate the effects of natural henna-treated permanent wave on degree of damage and morphological changes of hair. For this, amino acid was analyzed, and hair thickness and surface were observed through SEM. In addition, hair curl formation & retention, methylene blue coloring, tensile strength and elongation were measured. The results found the followings: Total amino acid contents rose as the number of natural henna treatment increased, hair protection effects are expected. In terms of curl formation, in an experimental group hair became more elastic as the number of natural henna treatment increased, compared to a control group. In both control and experimental groups, hair retention decreased as shampooing frequency increased because of extension of (C) and (C)', According to analysis of hair thickness using SEM, hair became thick in an experimental group after natural henna treatment, compared to a control group. In morphological observation of hair surface, it was mostly clean, and cuticle was tidy and healthy. In methylene blue coloring, as the number of natural henna treatment increased, absorbance went up. In addition, tensile strength declined in an experimental group, compared to a control group. As the number of natural henna treatment increased, elongation in an experimental group increased, compared to a control group. The above results show that as the number of natural henna treatment increased, hair became thicker, and curl formation and retention improved. In addition, hair elasticity and flexibility were enhanced, reducing a risk of hair damage. Therefore, the study results would be available as basic data in reducing scalp and hair damage, proposing the natural henna treatment as a method to reduce hair damage from chemical perm in cosmetology industry.