• Journal of the Institute of Electronics and Information Engineers
• /
• v.50 no.7
• /
• pp.225-230
• /
• 2013

In a bandpass sampling (BPS), the frequency of the sampler is lower than that of the signal being sampled. In this method, the baseband spectrum directly appears by the sampling operation, so that it is not necessary to use any frequency down-converter, which makes the receiver's hardware simpler. The second-order BPS uses two identical BPS samplers, of which sampling times are offset by each other. By exploiting the relationship between two sampled signals, it can be possible to cancel the aliased signal component or the interference due to the bandpass sampling. In order to cancel the interference, an interpolant filter is used to manipulate the phase characteristics of the BPS sampled signal. In this paper, it is introduced a multiband interpolant filter which can simultaneously cancel multiple interference signals that have been aliased from multiple frequency bands. In case of no need of interference cancellation, another method is suggested to enhance the signal quality by 3dB. A computer simulation has been performed, and the feasibility of the suggested methods has been verified.

• Journal of the Korean Society of Food Culture
• /
• v.6 no.2
• /
• pp.223-228
• /
• 1991

In the 7th century, Prince Shoudoku built the Horyu temple at Nara, when Buddhist culture in Japan had highly prospered after Buddhism were transmitted to Japan from Korea. At the same time, the three ancient country of Silla, Koguryo, and Baekjae had generally effected on Japanese culture and life as well as Buddhist events, religious services and sacrificial offerings in form. And even now there are kept above one thousand of tablewares which was used at the age and was made of wood and alloy manufactures from Han peninsular in Seisoin at Nara. Through these historical backgrounds, it could be presumed that the religious services and the sacrificial offerings for Prince Shodoku for above 1300 years help us to study and estimate the ancient dietary culture of Korean and Japanese. There are several points of similarities which are remained and maintained in Han Peninsular. 1. They used high filling method of the secrificial offerings and high receptacles in the religious service. 2. The cakes were mainly made of nonglutinous rice tharr glutinous rice 3. They decorated the pheonix instead of flowers and the other kinds of birds in Korea. 4. Kakiage of fried confectionary was founded in many kinds of them at present.

• Analytical Science and Technology
• /
• v.25 no.5
• /
• pp.324-332
• /
• 2012

Construction era of Pungnabtoseong earthen wall is one of the most popular controversial issues in Korean archaeological research. For the evaluation of construction era, OSL dating was carried out using seven pottery pieces collected in each construction stage. From TL/OSL characteristics, and the results of absolute zeroing test and recovery test, it was proved that the pottery samples were completely bleached. The reliable paleodose was evaluated by using the SAR method with preheat at $220^{\circ}C$, and the pottery OSL age was determined from the ratio of paleodose to annual dose rate. Considering the resultant OSL ages, archaeological context and the related 14C ages, the first construction era was determined as $294{\pm}52$ yrs AD ($1{\sigma}$ SE). Also we found that the enlargement of construction stage III was $328{\pm}30$ yrs AD ($1{\sigma}$ SE) and final construction was finished within $400{\pm}76$ yrs AD ($1{\sigma}$ SE). Therefore, it is suggested that the construction of Pungnabtoseong earthen wall was firstly started in the late $3^{rd}$ century AD and several enlargements and repairs had been carried out, before the transfer of the capital of Baekje dynasty to Woongjin (Gongju) at 475 AD.

• Conservation Science in Museum
• /
• v.24
• /
• pp.99-116
• /
• 2020

This study examines the results of analyses of the lead isotope ratio and chemical composition of lead glass and green glaze from ancient Northeast Asia in order to suggest their production sites and reveal further characteristics. The comparison of the lead isotope ratio of lead glass and green glaze from two Baekje remains in Iksan-the Wanggung-ri Site and Mireuksa Temple Site-suggests that they were produced to the west of the South Gyeonggi Massif (Zone 4) using lead extracted from the same area. With a few exceptions, it has proved difficult to identify the production sites of most of the green-glazed roof tiles from Unified Silla-period Buddhist temples across Northeast Asia. The major component of the lead glass from Baekje, Silla, China, and Japan during the seventh century is PbO, SiO₂, Al₂O₃, CuO, and Fe₂O₃, with a ratio of PbO and SiO₂ of 70 and 30 wt.%, respectively. The green-glazed roof tiles excavated from a temple from the Unified Silla period have a high proportion of lead, ranging from 64 to 90 wt.%. Green-glazed lozenge tiles excavated from the Sacheonwangsa Temple site in Gyeongju were shown to contain PbO, SiO₂, Al₂O₃, and CuO, a similar composition with lead glass. An experiment was conducted to reproduce a glaze according to the production method mentioned in the Zō hotokesho sakumotsu-chō (Buddhist statue workshop crop book) in the Shosoin Repository. In this experiment, an identical ratio of PbO was observed for Japanese green-glazed ceramics from the eighth to eleventh century as that found in Chinese lead-glazed ceramics excavated from kilns operated from the seventh to tenth century in Henan. This indicates that production methods for lead glass and glaze were shared across Northeast Asia.

• Conservation Science in Museum
• /
• v.23
• /
• pp.1-16
• /
• 2020

In this paper, Gilt-bronze Standing Avaolkiteshvara (National Treasure No. 293, M355) excavated at Gyuam-ri in Buyeo was observed with a microscope to identify the production technique applied to it. It was also analyzed with XRF and hard X-ray to identify the composition and the surface treatment techniques and casting method applied. In this statue, Avalokiteshvara is standing upright on a lotus pedestal. The lotus designs on the pedestal and those on the shawl flowing down on both sides of the statue are characteristic of Buddhist statues from the seventh century or later. The use of supports to affix the outer and inner molds and traces of injected cast were observed in the interior of the pedestal. The blisters on the arms and pedestal created during the bronze casting indicate the use of lost-wax casting, which was popularly employed for the production of mid- or small-sized gilt-bronze Buddhist statues in ancient times. The composition analysis identified a copper-tin-lead ternary alloy in the interior of the statue that was conventional used in the sixth and seventh centuries. It is likely that this simple alloy was used to facilitate casting and produce clearer expressions of designs and ornaments on the statue. Mercury (Hg) was detected on the surface of the statue, indicating the use of amalgam-plating with gold (Au) dissolved in mercury. This plating method is a common surface treatment technique used for small gilt-bronze statutes in ancient Korea.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.2
• /
• pp.154-169
• /
• 2009

Korea is famous for a number of stone pagodas. In particular, it is noticeable that the stone pagodas came after wooden pagodas in all the Kingdoms of Goguryeo, Baekje, and Silla. Since the advent of wooden pagodas, it was during the latter half period of Three Kingdoms(especially, in the early Seventh century) that the first stone pagoda appeared at Mireuksa Temple site in imitation of the wooden ones. Now that no one can deny that Korean stone pagodas have developed, imitating the wooden pagodas. It is also obvious that the Stone Pagoda at Mireuksa site is the prototype of Korean stone pagodas. However, this study casts doubt on the theory that the stone pagodas in the Silla Kingdom originated not from the wooden pagodas, but from the brick pagodas, whereas the stone pagodas in Baekje Kingdom which has been said to come from the wooden ones. The fact that the temples and pagodas in both Baekje and Silla were erected by the same builders and technicians is one of the evidences supporting the assertion of the study. This study, accordingly, examines on the origin of the Silla pagodas by supposing the two genealogies. The first one can be summarized in chronological order as follows: starting from wooden pagodas, Stone Pagoda at Mireuksa site, Stone Pagoda at Jungrimsa site, Stone Pagoda at Gameunsa site, and Stone Pagoda at Goseonsa site. The second one, on the other hand, runs as follows: starting from bick pagodas, Stone Pagoda at Bunhwangsa, Uiseong Tapri five-storied Stone Pagoda, Seonsan Jukjang-ri five-storied Stone Pagoda, and Seonsan Naksan-ri three-storied Stone Pagoda in order. As the above genealogies show, the origin of the stone pagodas has been an controversy, especially because of the two different points of view: the one is that the roof-supporting strata(Okgaesuk-Bachim) originated from the brick structure and the ancient tomb ceiling of Goguryeo Kingdom, and the other is that the strata is a sort of the simplified design of the wooden roof structure. This study, however, takes note of the difference in length of the strata between the brick pagodas and the stone pagodas; the former stretches out its strata longer than the latter. Consequently, the study points out that the roof-supporting strata of the stone pagodas is originally a sort of modification of the wooden roof structure.

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

• Korean Journal of Heritage: History & Science
• /
• v.53 no.2
• /
• pp.242-253
• /
• 2020

Six ornamental metal quiver fittings were excavated from stone chamber No.1 of the ancient tombs of Jeongchon, Bokam-ri, Naju. The ornamental quiver fittings are metal, but the body of the quiver was made of organic material, so that it corroded and disappeared in the burial environment. The ornamental metal quiver fittings were made in pairs, and decorated one quiver according to the location they were found in and their forms. The ornamental metal quiver fitting can be divided into two types: A band style ornament (帶輪狀金具) which decorates the arrow pouch, and a board style ornament (板狀金具) which decorates the board connecting the waist belt. Two ornamental metal quiver fittings excavated from wooden coffin 2 of stone chamber No.1, were made in the band style, while the ornamental metal quiver fittings from southeast of stone chamber No.1 were identified as two boardstyle ornaments and two band-style ornaments for what was presumed to be belt loops. Material analysis of the ornamental metal quiver fittings shows that they are made of a gilt bronze plate attached to an iron plate, and the surface is marked with a speck of chisel to make lines and patterns. Chemical composition analysis (XRF) established that 24~40wt% Au and 50~93wt% Cu were detected on the gold surface, and it was confirmed that bronze corrosion had taken place on the gilt surface. SEM-EDS analysis of the gold plating layer identified a working line for glossing, and 7~9wt% Hg and an amalgam of gilt layers was detected, confirming the amalgam gilding. CT and FT-IR analysis established that the band style was double-layered with silk fabric under the iron plate, and there was also a lacquer piece underneath. The band-style ornaments have two layers of silk under the iron plate, along with lacquer pieces. Adding the fabric to the arrow pouch increases adhesion and decorative value. It is assumed that the lacquer pieces indicate that the surface of the lacquered arrow pouch had fallen together with the ornaments. On the other hand, the board-style ornaments have a thick layer of organic matter under the iron plate, but this is difficult to identify and appears to be a remnant of the quiver board. The characteristics of these ornamental metal quiver fittings were similar in Baekje, Silla, and Gaya cultures from the late 4th to the late 5th centuries, and enable us to identify the art of ancient gold craftwork at that time.