• 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.40 no.4
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• pp.1-14
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• 2022

The ancient North-East Asian royal garden is divided into three types, located in the north inside the palace, in the north outside the palace, and in the south inside or outside the palace, depending on the location relationship between the royal capital and the royal palace. The first is a typical royal garden that follows the ancient Chinese court system of the Chao-hu-chim(前朝後寢). The second is a royal garden located independently of the royal palace, which extends to Geumwon(禁苑). The third is located in the south of royal palace and is the royal garden specialized in Yurak(遊樂) or Hyangyeon(饗宴). The types of ancient North-East Asian royal gardens are classified according to the relationship between main palace(正宮) and secondary palace(別宮), detached palace(離宮), and Geumwon(禁苑), and each has unique characteristics. The first has been established as the garden of the main palace, including the royal garden at Wanggung-ri site in Iksan(益山 王宮里 遺蹟), Han Chang'an capital(漢 長安城), BeiWei Luoyang capital(北魏 洛陽城), Jiankang capital in Southern Dynasties(南朝 建康城), and Daminggong(大明宮) in Tang Dynasty. Here, the royal garden is divided into Naewon(內苑) inside the royal palace and Geumwon(禁苑), outside the royal palace. On the other hand, the second is the royal garden that the royal palace and Geumwon(禁苑) are united. The third is the royal garden that forms part of the royal palace or is independent of the royal palace, and has been specialized as a secondary palace(別宮) and detached palace(離宮). China created the model of ancient North-East Asian royal gardens, and based on this, Baekje, Silla, and Japan of Korea influenced each other and developed a unique palace by showing their originality. The royal garden at Wanggung-ri site in Iksan(益山 王宮里 遺蹟) was influenced by royal gardens of Wei-Jin and Northern & Southern Dynasties(魏晉南北朝). And royal gardens of the Sabi Capital(泗沘都城) were influenced by royal gardens of Jin(秦), Han(漢), Sui(隋), and Tang(唐), and royal gardens of Silla(新羅) were influenced by the royal gardens of Baekje(百濟) and Silla. However, each of these royal gardens also has its own unique characteristics. From this aspect, it can be seen that the ancient North-East Asian court had different lineages depending on the region. Anhakgung Palace in Pyongyang(平壤 安鶴宮) is more likely to be viewed as the Three Kingdoms period than the Goryeo Dynasty. However, it is difficult to raise it to the 5th and 6th centuries due to the overlapping relationship and relics of the lower part of Anhakgung Palace(安鶴宮), and it is generally presumed to be the middle of the 7th century. The royal garden at Anhakgung Palace is a secondary palace(別宮) or detached palace(離宮) that corresponds to the palace of Jang-an capital(長安城) in Pyongyang and is believed to have influenced Dongwon garden(東院庭園) of Heijokyu(平城宮) and Donggung(東宮) and Wolji(月池) in Gyeongju. From this point of view, Dongwon garden(東院庭園) of Heijokyu(平城宮) seems to be related to the palaces of Goguryeo, Baekje, and Silla. This study has many limitations as it focuses on its characteristics and transitions due to the location of the palace in the large framework of ancient North-East Asian royal capital. If these limitations are resolved little by little, it is expected that the understanding of ancient North-East Asian royal gardens will be much wider.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.36-48
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• 2010

The objectives of this study are to research and analyze the positioning of Mt. Back Hwa(白華山) and the characteristics of its neighboring cultural scenery based on the Two Seated Buddah Temple, a small Buddhist temple of Taeul in Taean and to view both landscape geographic codes and religious attractions over Mt. Back Hwa by discussing its expression and meaning for the scenery scattered or nested over this districts. The panoramic view of west shows the character of Mt. Back Hwa as a magnanimity of Buddhist Goddess of Mercy which is viewed as a view point field no less than its location as a landscape target and its singularity as a rocky mountain. The ancient castle, signal beacon post and the small Buddhist temple of Taeul to be read importantly in the old map and SinjeungDongkukyeojiseungram(新增東國輿地勝覽) form the core of place identity, and a number of carve(engrave) letters such as Eopungdae(御風臺), Youngsadae(永思臺), etc. show the prospect of this mountain and monumentality derived from place characteristics. In addition removing of Taeiljeon, a portrait scroll of Dangun, national ancestor makes possible to guess the national status hold by Mt. Back Hwa in advance and to know that it has symbiotic relationship with indigenous religion and shares with the universal locality which have been continued for a long time through a portrait scroll of Dangun enshrined in Samsunggak. More than anything else, however the Rock-carved Buddha Triad in Taean, Giant Buddha of Baekjae era enshrined in the small Buddhist temple of Taeul is not only why Mt. Back Hwa, magnanimity of Buddhist Goddess of Mercy exists but also a signifier. In spite of such a placity, the union ideas of confucianism, buddhism and doctrinism of buddhism prevailed in the Late Joseon Dynasty allows the cultural phenomenon of taoism to be read in the same weight through Ilsogae(一笑溪) and Gammodae(感慕臺) which are mountain stream and pond area respectively centered in the carve letter, 'Taeeuldongcheon(太乙洞天)' constructed in front of the small Buddhist temple of Taeul, the Baduk board type of rock carvings engraved over them and a number of traces of carve letters made by confucian scholars since the Middle of Joseon Dynasty. The reason such various cultural sceneries are mixed in Mt. Back Hwa is in the results of inheritance of religious places and fusion of sprit of the times, and the various type of cultural scenery elements scattered in Mt. Back Hwa are deemed as unique geographic code to understand the multi-layered placity and the characteristics of scenery of Mt. Back Hwa in Taean.

• Journal of the Korean Society of Food Culture
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• v.6 no.3
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• pp.281-291
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• 1991

Kasugadaisha was built in the 9th century at Nara, Japan and it was the powerful Fujiwara's Shrine at that time. And also Wakamiyasai which has transmitted from generation to generation about for 1200 years at Kasugadaisha is typical sacrificial service of Nara Ages and it was built up with the historical background from Korean peninsula, especially Bekje. So it could be presumed to be important data to survey the sacrificial service in order to study on the ancient dietary culture of Korean and Japanese. 1) They used a live flower or paper flower in every sacrificial services. But in Korea, it has been used not only in the sacrificial services but also in happy events. And also it has been changed to use silk or developed rice cake instead of paper. 2) Steamed rice cake in Siru has been taken after boiled rice and unpolished rice. 3) Fried rice cake like doughnut was beginning of fried cake like Yak-kwa. 4) Four colors of red, yellow, green and white are symbolic at the high offering. There are a lot of cake, candy and some kind of biskuit four colors used in every events even now in Korea.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.24-35
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• 2024

Recently, research using deep learning technologies such as artificial intelligence, convolutional neural networks, etc. has been actively conducted in various fields including healthcare, manufacturing, autonomous driving, and security, and is having a significant influence on society. In line with this trend, the present study attempted to apply deep learning to the classification of archaeological artifacts, specifically ancient Korean roof-end tiles. Using 100 images of roof-end tiles from each of the Goguryeo, Baekje, and Silla dynasties, for a total of 300 base images, a dataset was formed and expanded to 1,200 images using data augmentation techniques. After building a model using transfer learning from the pre-trained EfficientNetB0 model and conducting five-fold cross-validation, an average training accuracy of 98.06% and validation accuracy of 97.08% were achieved. Furthermore, when model performance was evaluated with a test dataset of 240 images, it could classify the roof-end tile images from the three dynasties with a minimum accuracy of 91%. In particular, with a learning rate of 0.0001, the model exhibited the highest performance, with accuracy of 92.92%, precision of 92.96%, recall of 92.92%, and F1 score of 92.93%. This optimal result was obtained by preventing overfitting and underfitting issues using various learning rate settings and finding the optimal hyperparameters. The study's findings confirm the potential for applying deep learning technologies to the classification of Korean archaeological materials, which is significant. Additionally, it was confirmed that the existing ImageNet dataset and parameters could be positively applied to the analysis of archaeological data. This approach could lead to the creation of various models for future archaeological database accumulation, the use of artifacts in museums, and classification and organization of artifacts.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.140-159
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• 2013

The wooden stupa of Hwangyongsa temple - which was designed and constructed by master craftsman Abigi of the Baekje Dynasty during the Silla Dynasty between the 12th year of Queen Seondeok (AD 643) and AD 646 - can be regarded as a typical Korean wooden stupa. However, it was destroyed by fire during an invasion by the Mongolians in AD 1238 during the Koryo Dynasty. In spite of progress in research for the restoration of the wooden stupa, there are some remains to be re-considered in regard to ruins, relics and literature previously discovered. In particular, research conducted on frame construction and structure can be considered an important basis for restoration. However, previous studies seem to have not attempted to establish structural and formative characteristics of the wooden stupa based on the indigenous techniques and styles of traditional Korea, but general characteristics of the wooden stupa biased toward cultural interchange with neighbouring countries. As such, in this study the frame construction and structure of the wooden stupa of Hwangyongsa temple were analysed and considered in detail based on the re-interpretation of literature which can be a clue about the structure of the stupa, related ruins of the 7th century period, and previous studies. As a result, this paper supposed and presented a model picture for the plane arrangement of pillars, structural methods for Dwibburi (뒤뿌리) of Haangjae (하앙재), Shimju (심주), and other key areas. The author hopes that this study contributes substantially to research on the wooden stupa of ancient Korea and to the establishment of construction and structural methods.

• 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.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.243-272
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• 2022

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won's role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won's played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won's collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a 'Confucian scholar' is "a Confucian term referring to a person or class that embodies Confucian ideology," and in its contemporary meaning it suggests " ⋯ an example of a personality, but not an identity, and the conscience of one's time period as a source of human morality inwardly and social order outwardly." In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

• Journal of Ginseng Culture
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• v.1
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• pp.43-56
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• 2019

Korean ginseng (Panax ginseng) has been known as one of the representative special and healthful products originating from Korea for 4500 to 5000 years. The word of ginseng was first mentioned in JiJuZhang(急就章), written by ShiYou during the reign of King Yuah Di of the Chien Han Dynasty, China (33-48 BC). It has been known that wild Korean ginseng grows in Korean peninsula including Manchuria and the ginseng is found only between the $33^{rd}$ and $48^{th}$ parellels of north latitude. Since the times of three kingdom in Korea at 4-7 century, which is Kokuryo, Baekje and Shila, Korea has been the chief ginseng producing country. A large quantity of ginseng was exported from Korea to China for medicinal use at that times. That was written in SamGukSaGi(三國史記) by BuSik Kim of Koryeo Dynasty in Korea in 1145. The cultivation of Korean ginseng was also recorded in Bencaogangmu(本草綱目) written by LiShi Zen during the regin of the Ming Dynasty in 1596, China. The ginseng seedling, which was known as an original method invented by imitating the method of rice transplantation, appeared in the SeungJeongWon Ilgi(the diaries of the royal secretariat, 承政院日記), 1687 in the regin of King SukJong in Korea. It was suggesting that ginseng cultivation was firstly established in the early 1600s in Korea. On the other hand, red ginseng(written as 熟參) was reported firstly in GoRyeoDoGyeong(高麗圖經)(a record of personal experience in Korea, written in 1123) by SeoGung in Song Dynasty, China. The names of Pansam(written as 板蔘) and Pasam(written as 把蔘), which were the another types of red ginseng products, were came on in the JoSeon Dynasty Annals in 1552 and 1602, respectively. Although the term of red ginseng(Hongsam in Korean) was firstly appeared in the JoSeon Dynasty Annals in 1797, it is believed to have been developed a little earlier periods from the King Jungjong(1506~1545) to the King SeonJo(1567~1608) in Korea. Then, the Korean red ginseng has begun production on a large scale in SamJeong Department of NaeJangWon(內藏院 蔘政課) in the Korean Empire(大韓帝國) in 1899. More detailed records about red ginseng production method were written in the SohoDanag Miscellany(韶濩堂集) by Taekyoung Kim at 1916 year in Korea. On the while, the efficacy of ginseng was first recorded in Shennongbencaojing(神農本草經) written in China(BC 83-96) and the efficacy has been continuously inherited.