• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.184-191
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• 2008

This study is focused on a relic of "Baek-Jae Muryong Roayl Tomb", as an inheritance, and craft work of a modern accessories Art. Based on a conceptual design and component of relic ceramic accessories from "Baek-Jae Muryong Roayl Tomb" is one of our cultural heritages, a creative work is to present a several kinds of applicable ceramic accessories in our real life. Accordance of valuing three factors as above, seeking the productivity idea from traditional cultural goods with the originality has a potential to expand to global market, because the regional representative cultural relic and remains goods of Gong-Ju, Chungnam can be developed as cultural good of regional, and cultural indigenous product. In conclusion, a property matter of soil and diversity of visual presentation that is corresponding to recognizable design particular idea.

• The monthly packaging world
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• s.61
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• pp.100-101
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• 1998

• Journal of Digital Convergence
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• v.10 no.11
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• pp.603-612
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• 2012

When it comes to a country's traditional ideas. that country's geographic setting and religious thought show the people's consciousness, and the characteristics of historic sites and relics show their cultural aspects. Our country has 5000-year cultural history. Especially, the Baekje cultural history created very remarkable relics in our history. With regard to Baekje's own patterns and workmanship, their ornaments were more focused on the beauty of soft and voluptuous curves than that of Goguryeo and Silla This study researched design characteristics of ornaments and symbolic aspects of the patterns by focusing on crowns, crowns' accessories, earrings, necklaces, chignon ornaments of the Baekje's ornaments, To put emphasis on Baekje's ornaments by comparing Baekje's ornaments with Goguryeo's and Silla's. This study collected data on Baekje's ornaments, and reviewed domestic references and specialty publications at the Buyeo National Museum, Gong-ju National Museum, home and abroad, and studied the images of Baekje's metal crafts and patterns through theses. Baekje had splendid and glorious artistic culture, but there are not many historical data and supportive relics left these days. Therefore, a lot of attention, researches and development on Baekje culture are needed. This study found that the ornaments of the Baekje era have not only ornament functions but also the people's creative mind. The culture contents in recent technological development and industrialization change people's recognition, and now they have interest in Baekje culture. Therefore, the purpose of this study is to widely popularize Baekje by studying the patterns of the Baekje era more and developing various and new designs.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.172-197
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• 2009

The stone stupas of the Mireuk Temple Site and Jeongnim Temple Site were the beginning of Korean stone stupa and the unique ones stemming from the Baeje period. Therefore, the work of investigating the characteristics of these two stone stupas would give us a basis for understanding Korean stone stupas in a large scale and Baekje-style stone stupas in a narrow sense. As shown in some records, the excellent architectural skills of Baekje could be known by the fact that Abiji was invited to the building of Hwangryong Wooden stupa, one of the national undertakings of Shilla and the skills and styles related to stone stupas were thought to be disseminated in this process. However, it has not been very convincing that the stone stupas with Baekje styles were disconnected in an instant with the unification of Shilla, in terms that culture and art would inherited and developed. The current academic circle set a frame and defined all these types of stone stupas as Baekje-system stone stupas built in Goryeo period and put them in a uniformly chronological order. The popularization of Buddhism, support of regionally powerful clans and cultural revival were suggested as the factors of their appearance, but it seemed difficult to be assured that these led Baeje-style stone stupas to reappear in a moment by breaking the gap of about 300 years. Of course, it has not been active in Gyeongju area, but they have greatly influenced the stone stupas of Shilla; therefore, it would be possible to consider that they were developed but limited to certain areas. This study focused on the starting point of such development and investigated the formation of Baeje-style stone stupas through the stone stupas of the Mireuk Temple Site and Jeongnim Temple Site and their subsequent development through Wanggung-ri Stone Stupa.

• Journal of Digital Convergence
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• v.11 no.9
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• pp.325-331
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• 2013

The Baekje Gilt-bronze Incense Burner which was excavated in an ancient temple site in Neungsan-ri, within the City wall of Buyeo-Gun on 23rd December 1993, was a quintessence of the Bakje Arts that people could not have imagined until that time. The Baekje Gilt-bronze Incense Burner transcended 1400 years of time and space. The censer that finally came up to us delivered a kind of a powerful message to us. The power was so strong and mysterious that as if an ancestor who had been sleeping in the grave with a great silent had woken up and become alive to tell us something very precious. Baekje Gilt-bronze Incense Burner, unlike any other existing artifacts, might have a possibility that could provide an insight of the ancients' psych who once lived on our land. This kind of view from several archaeologists, therefore, made our hearts be filled with excitement and flutter. We call 21st century as an era of culture. This era requests that the culture needs to be ethnical but the culture also needs to go beyond that ethnic. In other words, a culture without an ethnic cannot exist, and a culture that puts an ethnic the very first before any other things cannot exist as well. Regaining our identities first and then embracing and harmonizing various cultures can be an wise way overcoming above problem. Hence, through this study, I intend to recognize characteristic of plasticity for Baekje Gilt-bronze Incense Burner, understand the world of Baekje people's spirit and thus provide an opportunity to shed new light on the Baekje Arts. By doing so, I would like to publicize a metal craft of Korea to the world. I also try to seek for an identity of Korea's craft culture which is receding and find a direction for the Korea's craft.

• Journal of Digital Convergence
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• v.12 no.11
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• pp.505-513
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• 2014

Modern metal craft is losing our tradition and personality with simple expressive methods and limited techniques without artistry with the purpose of mass production. In order for development of modern metal craft and to succeed our unique culture, there is a need to consider traditional craft techniques that have been delivered since the ancient. Inlay craft requires high concentration and technology, and it is typical traditional metal craft techniques that show contemporary culture and ideas well. the period of the Three States was the time when inlay technique was introduced the first, and it can be seen in Baekje, Gaya and Silla. Furthermore, when inlay craft is applied for modern metal craft, a possibility was found to grant artistic expression and historical value of our unique artistic expression and historical value. For this purpose, it is expected to establish development of modern metal craft and our unique individuality firmly when continuously seeking practical measures that can accept contemporary crafts and expanding opportunities of education to learn traditional techniques.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.120-126
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• 2010

As the importance of an historical area is getting increased in these days, the reconstruction of an bell chamber in Namhansansung has significant historial, educational and cultural meaning. The purpose of this study, as a study on an bell chamber in Namhansansung, is to assume an original location of the bell chamber and identify the size and shape of the original bell chamber through literature study, site inspection, and analysis on old maps. In addition, this study could provide useful information when new bell chamber is constructed. According to the literature study, site inspections(5 times) and analysis on old maps, the original bell chamber is assumed to locate near current Oroji tea house at the rotary, where was in the area of Hanggung. With regard to the traffic system, it is assume that there was an old road along with the current local road No.342 connecting the South Gate with North Gate and a Y or T shape intersection connecting the site of old bell chamber with the north. In addition, there was a government office street from the old bell chamber to Hanggung. The shape of old bell chamber is assumed to have Paljak or Woojingak roof. Samo roof was not found in all the five maps. Regarding the direction of bell chamber, three maps indicate that it faces the East and two maps show that it faces the South. Therefore, it is assumed that the length and width of the roof have similar size. However, a new bell chamber should face the East, which is the same direction with Hanggung. As there is a record which states that a bell in the Cheonheoungsa, Seonggeosan, Cheonan was used as a Namhansansung's bell when the Cheonheoungsa was closed, this study suggests that new Namansansung's bell should be built, considering histroical value and artistry of Cheonheoungsa's bell. This study is a basic research for the reconstruction of Namhansansung in 2009. However, as reconstruction of historical assets should be based on thorough historical evidences. Therefore, more detail researches by a indicator analysis are left for the topic of future studies.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.5-42
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• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.