• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.100-116
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• 2023

The Sinamsa Temple was built in the late Goryeo Dynasty and a gilt-bronze seated Buddha is enshrined in Geungnakjeon hall in the precinct. Various damages occurred in the gilt layer of the Buddha, such as peeling of the gilt layer and deteriorating gloss. In the study, the conservation conditions of the inside and outside on the statue were accurately investigated, and the making technique was interpreted through the material characteristics and non-destructive diagnosis of the statue. As a result, it is estimated that gold-gilding layer is pure gold, coloration pigment of black is carbon, green is malachite, atacamite and verdigris, red is red lead and cinnabar, respectively. In the deterioration evaluation, peeling, cracking, break out and exfoliation of the gilt layer are confirmed as damages, but the conservation condition is relatively wholesome. However, the gloss of the gilt layer is calculated to be wider in the poorer part than the maintenance part. The ultrasonic velocity of the statue was calculated to be 1,230 to 3,987 (mean 2,608) m/s and showed a relatively wide range. In infrared thermography, peeling was not confirmed, and no special bonding marks were found. In endoscope, some biological damage and corrosion were observed on the surface of the internal metal, and sealed artifacts were identified. Manufacturing technique based on the study, it is considered that the gilt-bronze seated Buddha was cast at once, and the mold was inverted to inject molten metal.

• Economic and Environmental Geology
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• v.43 no.3
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• pp.269-278
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• 2010

We investigated characteristics of the coloring material of Dancheong pigments and hope that this study contributes the revival of traditional Dancheong pigments color. For this purpose, we collected Dancheong fragment samples that fell off naturally from old wooden buildings in Gwangju and Jeonnam and analyzed the natural coloring material by XRD and EDS-SEM analysis method. In white pigments of Dancheong fragments, it is confirmed that gypsum$(CaSO_{4}{\cdot}2H_{2}O)$, quartz$(SiO_{2})$, white lead$(PbCO_{3})$ and calcite$(CaCO_{3})$ which have been used for white pigments since ancient times and $TiO_{2}$ which is common used in modern times. In red pigments of Dancheong fragments, it is confirmed that hematite$(Fe_{2}O_{3})$ and red lead$(Pb_{3}O_{4})$, which have been used for red pigments since ancient times and C.I. pigment orange $13(C_{32}H_{24}C_{12}N_{8}O_{2})$ but there is no cinnabar(HgS) which has been used since B.C. 3000 in China. In yellow pigments of Dancheong fragments, it is confirmed that crocoite$(PbCrO_{4})$ and massicot(PbO). In blue pigments of Dancheong fragments, it is confirmed that sodalite$(Na_{4}BeAlSi_{4}O_{12}Cl)$ and nosean $(Na_{8}Al_{6}Si_{6}O_{24}SO_{4})$ as coloring material of blue pigment and C.I. pigments blue $29(Na_{7}Al_{6}Si_{6}O_{24}S_{3})$ which is used in modern times. In green pigments of Dancheong fragments, it is confirmed that calumetite$(Cu(OHCI)_{2}{\cdot}2H_{2}O)$, escolaite(Cr2O3), dichromium trioxide$(Cr_{2}O_{3})$, emerald green$(C_{2}H_{3}As_{3}Cu_{2}O_{8})$, and C.I. pigments green$(C_{32}H_{16}-XCl_{x}Cu_{8})$ which is used in modern time. In black pigments of Dancheong fragments, Chiness ink(carbon black) is confirmed.

• Journal of Conservation Science
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• v.30 no.2
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• pp.219-234
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• 2014

Fabrics, natural dyed fabrics, papers, natural dyed papers and paints were examined effects of colors and mechanical properties for materials of museum collections under anoxic treatment. Anoxic conditions using nitrogen and argon were oxygen concentration 0.01%, temperature($20^{\circ}C$, $25^{\circ}C$, $30^{\circ}C$), 50% RH and exposure time 30 days. Examined fabrics were raw silk fabric, UV irradiated raw silk fabric, degummed silk fabric, UV irradiated degummed silk fabric, cotton fabric, and UV irradiated cotton fabric. Natural dyed silk and cotton fabrics were dyed with fresh indigo, indigo, safflower, gromwell, madder sappanwood, amur cork tree, turmeric, gardenia, barberry root, pagoda tree flower, cochineal, lac, alnus japonica, gallnut, chestnut shell, and combination(indigo and safflower, indigo and amur cork tree, indigo and pagoda tree flower, indigo and sappanwood). Papers were Korean papers(mulberry paper, mulberry(70%) and rice straw(30%) mixed paper), Japanese paper(gampi paper), cotton paper, refined linen paper, cotton, linen & manila mixed fibre furnish, copy paper, news print, and alum sized mulberry paper. Natural dyed papers were dyed with indigo, sappanwood, madder, safflower, gardenia, amur cork tree, and pagoda tree flower. Paints were painted on alum-sized papers and silk fabrics using glue and pigments(azurite, malachite, cinnabar, vermilion, orpiment, gamboge, red lead, haematite, iron oxide red, indigo(lake), lac, cochineal, safflower, madder root lake, celadonite, smalt, ultramarine blue, lapis lazuli, prussian blue, kaolin, lead white, oyster-shell white, and clam-shell white). The color differences(${\Delta}E^*$) of all examined materials were below 1.5 or lowered than control samples after anoxic treatment. The variations of tenacity of yarns of fabrics and natural dyed fabrics after anoxic treatment were within that of standard silk and cotton fabrics. Gases(nitrogen and argon) and temperatures of anoxic treatment did not also affected color differences and variations of tenacity of materials.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.142-154
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• 2012

This study aimed at learning the characteristics of place identity of the Buan county hall garden and Sangsosan(上蘇山) by looking over the pattern and content of letter-engraved rocks and nearby facilities and history. Especially, we focused on the meaning and contents of the letters in Sangsosan and a Government Office of Buan engraved on rocks in order to learn what the place means. The results of our study are as follows. Buan-hyun(扶安縣) in the Joseon dynasty period blossomed literary culture of enjoying poetry and melody, and this was faithful realization of the concept of "Rakto(樂土)" of 'Saengubuan(生居扶安).' The grand scale letters written by Si-SooPark(朴蓍壽: 1767~1876), head of the office in the early 19th century, in the cursive style on the basis stone of the garden of Buan county building, which was the site of the office of Buan-hyun in the Joseon dynasty period, such as 'Bongraedongcheon(蓬萊洞天)', 'Jurim(珠林)', and 'Okcheon(玉泉)' mean that "'Bongrae', the another name of Buan', is a place where Taoist hermits would live because the spring water of Seorim flows down to be Okcheon.", showing his pride of living Buan. The regions like Seorimjeong, Geumdae(琴臺), and Hyecheon(惠泉) where letters engraved on rocks are located intensively are closely related with those who communicated with Mae-ChangLee(李梅窓: 1573~1610), the slave of the government, and are local attractions and garden traces where the literary culture and scholar's spirit of Buan are well-harmonized. Most of the letters were written from the 19th century to the early 20th century, showing that 4 for landscapes, 8 for Kyungseck(景色: imaginary scenry), 5 for figures, 15 for poems and 2 for others. The ratio of poems is much higher than that of poems in other regions' letters on rocks, and the keyword of the letters is Haecheon. A piece of the place identity heavily influenced by the Taois thermit ideology is revealed by the expressions of 'Bongraedongcheon', 'Sosansaho(蘇山四皓)' or 'the spring water of Haecheon' that was considered as an elixir of Taoist hermits. Seorim the forest, which had been managed after Yeon-Myeong Cho(趙然明: 1797~?), head of the office, planted trees in the 11th year of the reign of King Heonjong(1845), Seorimjeong in the forest, and rocks with engraved letters on them are proof of literary culture and the garden traces showing the characteristics and aspect of Imcheon(林泉) Garden of the office heavily influenced by the Taoist hermit ideology. Along with Naebyeon-san national park and Kyeokpo region, the center of Buan tourism, we hope that cultural heritages including rocks with engraved letters over Seorim park would become a representative cultural heritage and attraction of Buan.

• Journal of the Korean Wood Science and Technology
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• v.36 no.3
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• pp.1-8
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• 2008

The lateral strength test of bending type was done to investigate the lateral capacity of the double bolt connection of domestic larix glulam according to bolt spacing. In the shear specimen, which is bolted connection in the inserted plate type, the hole of bolt was made, changing the diameter of bolt (12 mm and 16 mm), the number of bolt (single bolt : control and double bolt), the direction of bolt row (in parallel to grain : Type-A and in perpendicular to grain : Type-B) and the bolt spacing (Type-A : 4 d and 7 d and Type-B : 3 d and 5 d). Lateral capacity and failure mode of bolt connection were compared according to conditions. In prototype design (KBCS, 2000), the reduction factor of the allowable shear resistance that the bolt spacing is reduced was calculated. The results were as follows. 1) Bearing stress per bolt in the single and double bolt connection of Type-A was directly proportional to bolt diameter and bolt spacing. Bearing stress of Type-B decreased as bolt diameter was increased, and decreased by 2~10% when bolt diameter was increased. 2) In the single bolt connection and the double bolt connection of Type-A, the splitted failure was formed in the edge direction. When the bolt spacing was 3 d in Type-B, bolt was yielded more in the part of tension than in the part of compression, and the splitted failure started at the bolt in the part of tension. In the 5 d spacing specimen, the bolt in the part of tension was yielded similarly to bolt in the part of compression, and the splitted failure started in the part of compression. 3) In the prototype design, the reduction factor was calculated by non-dimensionizing the yielding load in the standard of bolt spacing (Type A : 7 d and Type B : 5 d). In 12 mm bolt connection, the reduction factor of bolt spacing 4 d (type-A) and single bolt connection was 0.87 and 0.55, respectively, and the reduction factor of bolt spacing 3 d (Type-B) and single bolt connection was 0.91 and 0.55, respectively. In 16 mm bolt connection, the reduction factor of bolt spacing 4 d (type-A) and single bolt connection was 0.96 and 0.76, respectively, and the reduction factor of bolt spacing 3 d (Type-B) and single bolt connection was 0.91 and 0.77, respectively.

• The Journal of Korean Philosophical History
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• no.43
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• pp.231-266
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• 2014

The main contents of Baopuzi inner chapters becomes the basis for the claim "to be achieved Xian the way people can be" named and Shenxian theory that is deployed in the center of the universe body theory with a focus on Xuan and YI and Tao and a problem of "demonstration of Shenxian exist", or ancient science that describes the Chinese alchemy and Taoism spell in other words, inner chapters are writing and how to get prescription way of Shenxian, of medicine to become a predecessors, elephant of some of the changes in the ghost apparition, the longevity, how to avoid the epidemic out of the evil. Inner chapters are presented a regimen thought, the rationale for its mystical religion and philosophy of Monasticism ship on the basis of the theory Shenxian so. Baopuzi Inner chapters is presented in detail how to reach a comprehensive and realistic Shenxian long life in prison without the pre-Qin dynasty Taoism and Qinhan dynasty and times across the Weijin dynasty Shenxian ideas. And is presented in a typical Waidan and Neidan Taoism exercise this system and that in Taoism (Regimen) Thought the important position. Thought of Regimen is very important right information Inner chapters which constitutes the establishment of an important theoretical basis Shenxian Taoism of Gehong this research right in that you can see at a glance the thought of Regimen of Inner chapters is the desperate need for this requirement. It aims to illuminate the entire look of Regimen ever appeared immediately in Inner chapters this paper. After the analysis of the body Tao theory, The theory of the body and the spirit, The theory of Xingming, The theory of Shenxian theoretical foundations of thought appeared in Inner chapters Based on this, the first one conducted regulating the qi flowing in the channels method, Daoyin method, Pranayama, Closed breath, I saw one at the specifics of regimen method such, art of controlling and swallowing breath from the mouth, Convinced, Tuna breathing, Sishenshouyi method, Jinehuandan method, Fangzhongshu. And reporting features found Inner chaptersfinally saw the spirit of Regimen weigh its value.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.263-295
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• 2021

Until recently, academic consensus held that Zhou Dunyi's Taijitu (Taiji Diagram) originated from Cantongqi. However, a new debate has arisen wherein some scholars question that theory and related theories. They criticize these previous theories because the books and charts used as evidence in those theories were published after the lifetime of Zhou Dunyi, and this disqualifies their influence on his thought. However, identifying certain authors as being of a slightly later period than Zhou Dunyi does not definitively answer whether or not Zhou Dunyi's diagram was based on Cantongqi. I approached this problem from a different perspective. Zhou Dunyi's Taijitu is based on the system of taiji (Taiyi), yin-yang, and the five movements. Consequently, the formation of this system should be traced back historically. In the process of tracing it back, I intended to explain that the main character of Cantongqi is closely related to the formation of the system of taiji (Taiyi), yin-yang, and the five movements. The system of taiji (Taiyi), yin-yang, and the five movements was first established as a religious theological system in the Han Dynasty. In this process, yin-yang and the five movements were combined by Dong Zhongshu, and the five movements were introduced by Han Dynasty scholars as a method of interpreting the I-ching. However, Han Dynasty scholars did not form this system. In the late Han Dynasty, Cantongqi adopted the theological system of yin-yang and the five movements to theoretically form the system of taiji (Taiyi), yin-yang, and the five movements. Cantongqi was able to form this system because of the logic that yin-yang is the essence of the I-ching. Cantongqi does not have the same schematic as Taijitu. However, the system of taiji (Taiyi), yin-yang, and the five movements appears and extracts the components that make up Taijitu. Therefore, I do not think we should hastily agree with the recent claims made by scholars.

• Journal of Conservation Science
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• v.37 no.6
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• pp.723-737
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• 2021

This study analyzed the composition and structure of materials with Buddhist paper scriptures excavated from architectural sites in 'Sum Tolgoi' of the 17^th century and carried out conservation treatment base on the result of the analysis. The scriptures were covered in dust and foreign sub stances, and were so crumpled that it was impossible to identify the form. The damage, loss, and discoloration have been identified. Buddhist scriptures written in Tibetan used indigo and ink sticks on paper as a result of UV-Vis analysis, and ink sticks as black character materials from scriptures written ancient Mongolian. SEM-EDS and Micro-XRF analyses revealed that the outlines were drawn with red lines using a mix of Minium (Pb₃O₄) and Cinnabar (HgS), or Cinnabar (HgS) alone, and the contents of the scriptures were written with silver paint. Silver chloride (AgCl) and Calcium (Ca) were identified in the silver paint component of the characters, while Calcium and Orpiment (As₂S₃) were identified in the yellow lines. Concerning the paper ground, Buddhist scriptures written in ancient Mongolian were characterized by herbal plant fiber and bast fiber, and those written in Tibetan, by bast fiber. Radiocarbon dating indicates that the paper for the scriptures was produced between the 15^th and 17^th centuries. Conservation treatment of the scriptures was carried out based on the experiment on the production of pre-coated paper and how to coat that to prevent the second damage due to the deformation and fragility of the excavated paper. The scriptures were preserved and mounted, and a neutral box was made to identify the contents of the scriptures recorded on both sides after the treatment. This conservation treatment is the result of a study that applied new conservation treatment materials and methods according to the principle of conservation treatment reversibility.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.10-20
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• 2023

Zhū Xī, the representative of Confucianism, and Báiyùchán, the representative of Taoism in the South Song Dynasty, showed different sense of appreciation and enjoyment on the same space that was Mountain Wǔyí in their ideologically cultural ways. Based on the temples Wŭyíjīngshè(武夷精舍) where Zhū Xī stayed and Zhĭzhĭān(止止庵) where Báiyùchán resided, this study revealed their lives in such temples to look into their appreciation on ideology and space. Then, based on the words 'YiBoEumYeong [移步吟詠]' shown on the poetry they chanted in relation with Wǔyíjiǔqū from its 1^st valley to its 9^th valley, this study examines their understanding of scenery and system of appreciation that appeared in dynamic ways to conclude: First, even same scenery shows different understanding of scenery and appreciation of space in accordance with the viewers' thinking ways of culture. Second, as the Confucianism and Taoism influenced in ideologically cultural ways to develop each other in the Song dynasty, they absorbed their merits each other to supplement shortcomings in their own. In this process, they made it clear that their own propositions were different between them in their essential meanings although they used common terms for such propositions. Third, as the Confucian master who compiled the Neo-Confucianism of the South Song dynasty, Zhū Xī regarded Wŭyíjīngshè and Wǔyíjiǔqū as a place of learning and a place of seeking the truth to go for 'being unified with nature' so that everyday life can be united with Tao of Li [理] everywhere beyond the limited appreciation of the scenery. That is, this thought works for 'recovery of nature of our own [復其性]', the learning goal of Confucianism, and is aimed to 'cultivate the essential nature of our own(性情涵養)' through such beautiful nature. Fourth, as the master of Keumdan family of the South Song Taoism, Báiyùchán regarded Zhĭzhĭān and Wǔyíjiǔqū as a Taoist temple that has a long history rooting from Taesangwon temple, a clean place of discipline to become a Taoist hermit through hard training. He, therefore, directly referred to Zhĭzhĭān and Wǔyíjiǔqū in relation with the Taoist legends remaining in Wǔyíjiǔqū such as hermits' dinners, female hermits, leaving the human world as a hermit and so on as ways for becoming a hermit so that he went for the level of perfectly going out of human world and becoming a hermit. He, therefore, defined Mountain Wǔyí as a world and universe of hermits where he himself too hovered between outside and inside of poetry literature as a hermit through the mood and attitude of keeping himself enjoying the scenery as a hermit.