• Korean Journal of Heritage: History & Science
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• 제41권2호
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• pp.61-78
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• 2008

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

• Korean Journal of Heritage: History & Science
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• 제44권4호
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• pp.112-129
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• 2011

This paper was written to understand, through the types and production techniques, how cooking vessels of Baekje Hanseong period had evolved, - the cooking vessels that were excavated from the historic sites of Baekje Hanseong Period such as Mongchontoseong and Pungnaptoseong of Seoul, the ancient tomb group of Seokchon-dong, and Misari historic site of Hanam. First, the results produced through the analysis of types of these cooking vessels are as followings: as for deep bowls, the maximum body diameter is found on the top of pottery, while as for an egg-shaped pottery, the maximum body diameter is found on the middle height of pottery. However, as for the rim diameter ratio to the neck diameter ratio of pottery, the said two typed potteries were shown to have smaller ones. In consideration of each historic site, as for deep bowls, the ancient tomb group of Seokchon-dong had potteries that had less volumes, were deeper, and had higher maximum body diameters. When it comes to an egg-shaped pottery, Pungnaptoseong had the potteries that were deeper than those of Misari historic site, and their potteries also had the maximum body diameter found on the middle height of pottery, and larger rim diameter ratio to the neck diameter of the pottery. The results produced though the analysis of the production techniques of these cooking vessels are as followings: in the case of deep bowls, as the width of a volume category gets larger, the pottery stamping with an anvil including patterns was more frequently used for pottery production. In this case, simultaneously braid patterns were frequently found on the outer sides of these potteries. In addition, it was found the basal walls of these potteries were thinnest in all typed potteries. This shows there occurred technique transitions according to the time flow. When it comes to an egg-shaped pottery as well, the pottery produced by using an anvil had the thinnest basal wall and its rim diameter ratio to its neck diameter ratio was smaller. Also around the mouth of this pottery, traces were found on its front, the traces formed by the strong rotating power. It is determined these two typed potteries were all produced by using an anvil to have thinner walls. Then, how these potteries were used? In the case of deep bowls, liquid food was put on a hearth or ground to be cooked whereas in the case of an egg-shaped pottery, the pottery was put on a puttumak(kitchen stove) mainly for boiling water. The deep bowls and egg-shaped potteries excavated from the center areas of Baekje Hanseong Period were not clearly determined about when their pastes or firing times were, but as for their production techniques, it was possible to check how they had developed. Moreover, it was determined that in the changing aspects of their production techniques, temporalite is also reflected.

• Korean Journal of Heritage: History & Science
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• 제50권4호
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• pp.148-165
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• 2017

Mural paintings drawn inside ancient tombs are very sensitive to changes in the environment such as temperature and humidity, especially the finish layer of the tomb murals differ in preservability depending on the material properties and humidity conditions. In this study, I examined the mural painting of Songsan-ri Tomb No.6, where the finish layer was made of earth, and identified the physical changes that can occur due to drying, depending on the material properties of the finish layer. I found out through particle size analysis that the finish layer of the mural painting in Songsan-ri Tomb No.6 is about 85.0wt% below silt, about 14.0wt% clay therein, mostly composed of silt and below clay. I also found out through physical property evaluation that surface change rate of samples showed the largest change at 15.5% in reproduced finish layer sample made up of bentonite, followed by 7.8% of reproduced finish layer sample made up of celadon soil, 6.3% of reproduced finish layer sample made up of loess, 6.2% of reproduced finish layer sample composed of white clay and the same order of change in appearance was confirmed in each sample consisted of soil. In addition, it showed the same trend of surface change rate, and the bentonite condition showed the largest change, in the measurement of shrinkage rate and expansion rate. The experiment shows that the finish layer composed of soil is affected by cohesion among particles according to the content of fine parts and the relationship between the agglomeration due to the content of the differentiated part and the stress due to the expansibility depending on the kind of the clay mineral etc. Therefore, it can be concluded that the physical damage occurred in the mural painting finish layer of the Songsan-ri Tomb No.6 is related to the factors such as the material characteristics of the soil and the highly humid environmental change inside the tomb.