• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.4-15
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• 2012

Sam-Tai-Ji has been used as one of the korean traditional symbol patterns including the emblem of the Seoul olympic. Despite Sam-Tai-Ji included in 태극(Tai-Ji:太極), it has been interpreted widely as Sam-jae(三才)theory called Tian(天), Di(地) and Ren(人), or Tian, Di and Ren harmony thought(天地人 調和思想) by some religion groups and some intelligent people without exact philosophical poofs. For this reason, this research on Tai-Ji(太極) pattern follows. Although Joseon dynasty selecting Confucianism as a ruling principle, it accepted Buddhism, Taoism and Shamanism by applying them to royal tombs not officially but privately. For example, If Confucianism has to be expressed in the public places, Er-Tai-Ji(二太極) pattern having an expressing type of Li-Ben-Lun(理本論) was employed, in the private places like royal tomb construction, Er-Tai-Ji(二太極) pattern having an expressing type of Qi-Ben-Lun(氣本論) was employed. To figure out clear identification of Sam-Tai-Ji(三太極) and Er-Tai-Ji(二太極), this research was conducted to study on the change process of Tai-Ji(太極). It has been considered that Tai-Ji(太極) pattern has something to do with universe in these countries such as Korea, China and Japan. In Tai-Ji(太極) pattern, Sam-Tai-Ji had been used more widely than Er-Tai-Ji(二太極) untill the Han Dang dynasty. The meaning is also indicated as Yin-Yang-Te(陰陽德) in the books like "Hanseo(漢書)" "Yulryeokji(律曆志)". But, in the chinese history, there was a change of the pattern into white spot Er-Tai-Ji(二太極) in "KoTaiJiDo(古太極圖)". It had been interpreted as "Yin-Yang and vitality(陰陽生氣)." since Song Dynasty when Confucianism settled down. In this process, unlike Wu-Ji(無極), Li(理) means immateriality. So Yin-Yang(陰陽) and Li(理) were expressed with the form of Er-Tai-Ji(二太極). Therefore, Sam-Tai-Ji(三太極) is the pattern that stands for Yin-Yang-Te(陰陽德). It means that Yin-Yang(陰陽) gives a life to all the living things, grows them along with Te(德). It developed and flourished in Taoism and Buddhism accepting spirit existence. It is the universe view that Qi(氣) is an entity.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.212-228
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• 2013

Stone cultural heritages are repaired by the use of metal stiffeners. The problem is that this type of repair has been based on the experience of workers without specific guidelines and has caused various problems. This is to suggest the structural reinforcement and behavioral characteristics of metal rods to minimize the secondary damage of materials and have the specimens tested and verified to establish the guidelines on how to insert metal stiffeners. When only epoxy resin is applied to the cut surface, only 70% of the properties of the parent material are regenerated and it is required to structurally reinforce the metal stiffener for the remaining 30%. The metal rod is under the structural behavior after the brittle failure of stone material and the structural behavior does not occur when the metal stiffener is below 0.251%. When it accounts for over 0.5%, it achieves structural reinforcement, but causes secondary damage of parent materials. The appropriate ratio of metal stiffener for the stone material with the strength of $1,500kgf/cm^2$, therefore, should be between 0.283% and 0.377% of the cross section of attached surface to achieve reversible fracture and ductility behavior. In addition, it is more effective to position the stiffeners at close intervals to achieve the peak stress of metal rod against bending load and inserting the stiffener into the upper secions is not structurally supportive, but would rather cause damage of the parent material. Thus, most stiffeners should be inserted into the lower part and some into the central part to work as a stable tensile material under the load stress. The dispersion effect of metal rods was influenced by the area of reinforcing rods and unrelated to their diameter. However, it ensures stability under the load stress to increase the number of stiffeners considering the cross section adhered when working on large-scale structures. The development length is engineered based upon the diameter of stiffener using the following formula: $l_d=\frac{a_tf_y}{u{\Sigma}_0}$. Also, helically-threaded reinforcing rods should be used to perform the behaviors as a structural material.

• 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.43 no.4
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• pp.4-23
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• 2010

Danggol, in other words the hereditary shaman, is a person who is performing the Gut(the Korean shamanistic ritual) as the job but fortuneteller simply tells someone's fortunes. Nowadays most of fortunetellers think their works are wholly managed the Gut as the holy jobs. But Generally this kinds of jobs, we think it is lower than ordinary people's level of education in the korea. Actually we can meet eleven fortunetellers who have a college diploma out of them, so we can know that their education's level is increasing gradually. On the other hand a house of fortunetellers is the place where can lead the way of our lives in the method of seeing one's past life or making predictions of someone's coming events etc. Gradually this place seems to be separated with a private home, so the most of them is managing as the monthly rent. Consequently this houses are heavily located at the Gyerim five-way crossing, the Yang-dong Dakjeonmeory street, Jungheung-dong local culture street area. Each fortunetellers have the different ways of fortune-telling because this methods are decided by their one's characters. So their fortune-telling time and its time required for a task is far different. The methods of telling it is very much different in accordance with the learning fortuneteller or spiritualistic fortuneteller. But the process of fortune-telling is common like as a preparatory stage, carrying a Jumsa(fortune-telling) stage and acting by a Jumsa stage. These steps are sequential but linked together. There are six special features of fortune-telling culture in Gwang-Ju. 1. The role of a fortuneteller and Bosal(spirit-descended shaman) runs at the same time. 2. The house of fortune-telling is doing Gutdang(ritual house)'s works. 3. Its location are heavily collectivized at the specific districts. 4. The learning fortuneteller are increasing gradually. 5. The youth are growing use in the fortune-telling house. 6. There are many person that are visiting this house because of individual problems not their family's problems.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.122-147
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• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• 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.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.142-153
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• 2011

'Silla Monument Stone in Jungseong-ri, Pohang' was discovered in Pohang City, Gyeongsangbuk Province of Korea in 2009. The monument stone with irregular shape has dimensions of maximum height of 105cm, width of 47.6~49.6cm, thickness of 13.8~14.7cm and weight of 115kg. The results of monument stone was found to be granitite. Conservation treatment procedure was carried out in the order of production of Weathering map, cleaning of surface pollutants, consolidation using ethyl silicate. Black pollutant(crust) that covered more than 60% of the surface was analyzed first in order to remove the pollutants on the surface of the monumental stone by cleaning of surface pollutants using laser. The purpose on analysis was not only to verify the pollutants on the stone but also to carry out preliminary cleaning by securing rocks with same pollutant as the monumental stone. As the results of analysis using p-XRF(PMI. INNOV-X, USA) on the site, high level of Mn and Fe were detected, and the analysis of small section that had been fallen off with SEM/EDX for the purpose of quantitative analysis also detected high level of Mn. The Similar contaminants on Stone secured in the manner described above were made into 10 samples ($5cm{\times}5cm$) and was subjected to preliminary cleaning by Nd-YAG Laser(Laser&Physics, Korea). The results of surface observation through portable microscope during cleaning revealed that the power of 460mJ, wavelength of 1064nm and irradiation frequency of 1,800~2,300 per $25cm^2$ were most effective. Evaluation on the preservative treatment was made through confirmation of the extent of removal through color-difference meter measurement and component analysis prior to and following removal of the pollutants. As the result of color-difference meter measurement increase in the brightness was evidenced by the increase in the brightness ($L^*$)value from 33 to 49, and it was possible to ascertain the reduction in the pollutants as the content of Mn was reduced by about 80% from $50,000{\pm}5,000ppm$ to $10,000{\pm}2,000pmm$ from the result of component analysis.