• Journal of Conservation Science
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• v.25 no.1
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• pp.101-114
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• 2009

Potsherds and kilns of the AD 3th century excavated from Gundong and Majeon sites, Korea were studied to investigate the production techniques and provenance of potsherds and kilns on the pastes. For potsherds, kilns blocks and in-situ paleo-soils, provenance of raw materials were estimated through mineralogy and geochemistry, while production technique and thermal feature of kilns were investigated through observation of textures and compositions as well as firing experiment on paleo-soils. As a result of study, potsherds and kilns were found to have similar mineralogical compositions as the neighboring paleo-soils and to have same evolution path with that of geochemistry. The potsherds were divided into 3 groups according to firing temperature and production technique. Group 1 consists of reddish stamped pattern pottery with loose textures, which has many pores and contains many iron oxides. Its temper is less than about 0.5mm, and was probably fired between 700 to $800^{\circ}C$. Group 2 contains ash to grayish blue stamped pattern pottery, which has vitrified texture and few pores. Its temper is less than about 0.5mm, and was probably fired from 900 to $1,000^{\circ}C$. However, some potsherd belongs to the group 2 in terms of features for temper and pastes, but it was probably fired over $1,100^{\circ}C$. Group 3 contains reddish and grayish stamped pattern pottery. It has vitrified matrix, few pores and temper consists of polycrystalline quartz and feldspar over 2mm, and it was probably fired around $1,000^{\circ}C$. The kiln had experienced temperature from 600 to $700^{\circ}C$ on the wall, from 900 to $1,000^{\circ}C$ on the bottom, suggesting the function of high temperature firing.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.113-124
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• 2012

The Confucian culture of the Chosun Dynasty has a great effect on the construction of ByeolSeo gardens. Among them, especially the gardens built in Gyeongsang Province areas, where a great number of Confucian scholars were produced in the beautiful natural environment, have maintained various heritage of Confucian culture established by the scholars. Along with the Nakdong River, we can find so many cultural assets of buildings such as head houses, ByeolSeo gardens, including the literary remains such as administrative certificates, poetry and prose, and records of pavilions, which show the trace of the scholars who followed the instructions of the doctrines of Chu-tzu. The Geumseonjeog located in Punggi County, Gyeongsangbuk Province, which was the ByeolSeo gardens possessed by Geumgye Whang Jun-ryang(1517-1563), who was the governor of the area and one of the representative students of Toigye Lee Whang. The building is located nearby the Geumseon Valley with beautiful natural scenery under Sobaek Mountain. Especially the pine forest around the valley boasts a unique natural setting. This study is aimed to analyze the value of natural scenic spot of the Geumseonjeong through the surveys on surroundings, topography, vegetation and water system. including the value of humanistic elements focused on the writings such as 'Geumgyejip' written by Whang Jun-ryang and Lee Whang, another 'Geumgyejip' written by Ryu un-ryong, and 'Geumgyejeongsajungsugi' written by Hong Gyeong-ryeom. And also, the scenic spot value of the signboards such as the 'Geumgyejeongsajungsugi' written by Ryu un-ryong, 'Geumgyejeong' by Lee Han-il, 'Geumgyejeong' written by Jo Un-hyeong and 'Geumgyejeongsa, written by Lee Jung-gi, was analyzed. And the historical and cultural value was analyzed through the semantic interpretation of the series of poetry and pose and the old map established in 1872. In respect of the scenery, the surroundings of the Geumseon Valley boast the outstanding settings as the clean mountain stream in front of the Geumseonjeong makes a beautiful harmony with the pine forest. The pine forest surrounding the Geumseon Valley has played a secret role in the history of the village. Considering the fact that the pine forest was expressed in the map of Punggi County produced in 1872, it may be assumed that the forest was regarded to have historical and scenic value in those times. Considering the fact that the words like 'Beautiful' and 'Scenic spot' were used in the writings like 'Geumgyejip' and there were meeting places around the valley, we can recognize the value of the place as a scenic spot. The beautiful natural scenery surrounding the ByeolSeo gardens, and the increase in humanistic value of the poetry and prose, including the administrative certificates, has recently brought about the cases in which some scenic spots of the ByeolSeo gardens were designated as cultural assets. According to the value as a scenic spot and semantic interpretation of the Geumseonjeong, the pavilion appeared to have a great scenic spot value as a ByeolSeo gardens, so that this study was designed to prepare criteria with which the pavilion may be designated as a scenic spot of ByeolSeo gardens.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.174-191
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• 2021

Gangdo (江都), a reproduction of Gaegyeong, was the capital of Goryeo for 39 years. However, due to the urgent wartime situation of the Mongol invasion and the geographical features of Ganghwa Island, the castle system and palace layout were somewhat different from those of Gaegyeong. Gangdo's castle can be understood as a triple castle system consisting of outer castle, middle castle, and inner castle. First, the outer castle was the first to be completed, and it was built at the forefront to prevent the Mongol army from invading in the first place. It is presumed that the section was between Huamdon and Hwadodon in the outer castle during the Joseon Dynasty. The middle castle can be seen as the present 'Middle Castle', a castle built of earth on the outskirts of the Ganghwa-mountain Castle. Considering the sophistication and robustness of the construction method confirmed in the archaeological research, this castle is thought to have been built under a meticulous plan. In other words, as the capital city, it was completed 'at last' as recorded in the Koryo History, after a long 18-year construction process to protect palaces, government offices, and private houses. The inner castle was a castle with the character of a palace. This corresponds to the Old Castle of Ganghwabu (江華府) during the Joseon Dynasty, and it almost coincided with the scale of the composition of Gaegyeong's palace castle. It was a complex functional space, featuring the integration of the palace and the imperial castle, where the main government offices and ancillary facilities, including the palace, were located. Based on the documentary record that these palaces were similar to Gaegyeong's palace, the palace map was overlapped with that of Gaegyeong. The central axis of the building from Seungpyeongmun (昇平門) to Seongyeongjeon (宣慶殿) coincided with Kim Sangyongsunjeol Monument in Ganghwa- Goryeo Palace. Therefore, it seems that the palace of Gangdo had the same basic structure as that of Gaegyeong. However, the inner palace and annexed buildings must have been arranged in consideration of the topographical conditions of Ganghwa, and this is estimated to be the Gunggol area in Gwancheong-ri.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.90-119
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• 2019

The purpose of this study is to investigate the significance of Buddhist stone art in the cultural zone of Mt. Bukhan. Mt. Bukhan witnessed the prevalence of Buddhist culture in and around it since the introduction of Korean Buddhism and served as the center of Buddhist culture in the nation, where new Buddhist temples continued to be built from the Three Kingdoms Period to the Joseon Period. Of the characteristics of its Buddhist culture, it is very noteworthy that the construction of military temples in and around it in the latter half of Joseon supported the function of Buddhist temples as basic places of worship. These military temples were closely related to the mountain's geopolitical location, traffic routes, and position in the national defense system-- its mountain fortress was an important defense facility. The stone art works of Mt. Bukhan can be categorized into various types, including stone stupas, stone pagodas, rock-carved Buddhas, stone Buddhas, towers and monuments (stone monuments), stone lanterns, flagpole supports, and rock-carved sarira pagodas. There are diverse types of stone art left on the mountain. As for its period characteristics, it is clear that the Buddhist art of Silla spread even to the Gyeonggi region, and that most of the works of stone art were created during the first half of Goryeo and the latter half of Joseon. Starting in Goryeo, the Buddhist temples of the mountain maintained close relations with the royal court by operating as the royal buddhist shrine for the royal family. In the latter part of Joseon, the construction of the Bukhan mountain fortress became the most important opportunity to produce stone art. As for the distribution of the stone artwork, it was usually created in the west part of the mountain from Unified Silla to the first half of Goryeo and in the southern and eastern parts of the mountain from the latter half of Goryeo to the latter half of Joseon. It is estimated that central Buddhist temples of the mountain changed due to Silla's military goal of advancing toward the west coast along the Han River in its early days and the construction of the Bukhan mountain fortress in the latter half of Joseon to protect the capital city. Finally, the stone art of Mt. Bukhan holds very high significance in art history because various types of stone art continued to be created on and around the mountain, the stone artwork of the mountain reflected representative styles for each period, and e rare and ofthe works produced on the mountain exemplified rare and unique styles.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.62-79
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• 2019

This study examined the background of Gyeongju Seochulji Pond (world heritage, historic site No. 138), a historic pond in Sam-guk-yu-sa (三國遺事), and its landscaping period when it served as the garden of the Pungcheon Lim clan (豊川 任氏) in the middle of the Joseon dynasty. For this study, a literature review of poetry, prose, and a personal anthology, and a field survey were conducted. Changes in the landscape were analyzed by comparing the landscape appearing in the literature of the Joseon period with past photographs. The results were as follows: First, even though the function and landscape at that time cannot be guessed as the objective ground from Silla to the early part of the Joseon dynasty is insufficient, it has been managed as a Byeolseo (別墅) garden as Pungcheon Lim's family resided in the area of Eastern-Namsan Mountain during the Joseon dynasty. At that time, Seochulji Pond was recognized as a historic place. It functioned as the garden of Pungcheon Lim's family as Lim Jeok (任勣, 1612~1672) built the Yiyodang pavilion (二樂堂). Second, in the literature, the Yiyodang pavilion has been called Gaekdang (客堂), Jeongsa (精舍), Byeolgak (別閣) and Byeolseo, etc. It can be seen as Nu and Jeong (樓亭), utilized for various uses. Because of this, the name Bingheoru Pavilion (憑虛樓) has mostly been in common use. Third, Seochulji Pond was positioned where the scenery is beautiful, with Gyeongju Mt. Namsan (Mt. Geumo) in the background and with a wide field and the Namcheon River flowing in the front. This was typical of Byeolseo gardens of the Joseon dynasty, combining human environments with natural environments. Fourth, the relationship with the Byeolseo garden disappeared as the head of Pungcheon Lim's family added a temple, lotus flowers, pine trees, and a bamboo forest as described in the old poetry and prose. Currently, the landscape does not appear to be significantly different from that as development has not occurred in the area of Seochulji Pond. Also, crape myrtle (Lagerstroemia indica), which now symbolizes the Seochulji Pond, was not identified in the old poetry or past photographs and is not old enough to confirm whether it was prominent at the time. Through this study, it is necessary to reconsider the spatial meanings of the gardens of the Joseon dynasty period and not to highlight the area of Seochulji Pond as a place in the legend. This is a cultural asset in the area of Eastern-Namsan Mountain and has an important meaning in terms of garden history.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.160-173
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• 2012

Roofing tile research conducted in Korea so far is mostly related to studies on roofing tile patterns excavation report on the roof tile klin site in the aspects of archeology architecture and history of art. There have been continuous studies on kiln ground and manufacture techniques of roofing tiles. However it is difficult to find roofing tiles research based on scientific experiments. The research on this paper performs physical and chemical experimental study to understand order, manufacturing techniques and other characteristics of Chosun Dynasty roofing tiles excavated in Dongdaemun stadium. As for physical experimental study water absorption, specific gravity, whole-rock Magnetic susceptibility rate and Differential Thermal Analysis are conducted. As for chemical experimental study, neutron activation analysis(NAA), microstructure observation, X-ray diffractometry(XRD) analysis are conducted. Result of neutron activation analysis and statistical analysis on piece of roof tile 22 samples clearly show that the roofing tile samples are from different time line and places. It also shows different composition when compare average value of rare earth resources per findspots. It means roofing tiles were manufactured from clay mineral from several places. Close inspection using XRD and polarization microscope reveals that main components of roofing tiles are quartz and felspar. Mica and Illite are found partially. XRD analysis shows mullite mineral composition which occurs when roofing tile is calcined around $1000^{\circ}C$. Differential thermal analysis shows gradual exothermic peak near $900^{\circ}C$. Based on these results, it is assumed that roofing tile is made at $900{\sim}1000^{\circ}C$. result of XRD analysis shows mullite were made near $1000^{\circ}C$. in Differential Thermal Analysis shows gradual exothermic peak near $900^{\circ}C$. this results shows that roof tiles were made near 900~1000 near $1000^{\circ}C$ mean value of whole-rock Magnetic susceptibility rate. When performed comparative analysis using whole-rock Magnetic susceptibility rate average value, findspots provided no certain classification to arrange. Nonetheless low whole-rock Magnetic susceptibility rate 0.2~0.78(${\times}103$ SI unit) is found when roofing tile patterns are Pasangmun, Taesangmun, Eosangmun, Kyukjamun, Heongsunmun. Overall absorptivity is 14~21%. It is similar to 14~18% of roofing tile from Chosun Dynasty. There is only 1.4~2.5g/cm3 of roof tile sample specific gravity. The analysis finds no difference in specific gravity by findspots.

• Korean Journal of Heritage: History & Science
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• v.43 no.2
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• pp.40-59
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• 2010

Anssolim is the unique technique which standing columns lean in a inward direction of buildings in traditional architecture, which has not been thoroughly investigated to this day. With a dearth of previous studies, the anssolim technique can only be examined through detailed three-dimensional surveys. The main halls of Korean palaces can be seen as buildings that were built with the regulations of the day in mind, making them excellent research subjects when studying the anssolim technique. The findings can be summarized as follows. 1. In the main halls that were studied, anssolim was applied most to main space (eokan) columns, then lessened for peripheral columns. 2. The largest second-floor cheoma columns were placed inward in the eokan, then became smaller as with the peripheral columns. In the case of the eokan, the columns were arranged according to the size of the anssolim. 3. The second-floor cheoma column anssolim in the middle-floor main hall were generally a third or a quarter of the size of those on the first floor. As on the first floor, the largest anssolim were applied to the eokan columns, then became gradually smaller towards the periphery columns. 4. In the palace main halls, the largest anssolim were used for the eokan columns, and became smaller with the peripheral columns. This unique structure can be seen to be a Korean technique that deviates from the Chinese "Yingzaofashi(營造法式)" techniques. Although this study is limited in that it only studies the main hall of Korean palaces, it is significant in that it shed new light on the technological implications of the anssolim technique, and can be used as important data for research into the history of technology. Although this type of data is difficult to extrapolate, it has been made as accurate as possible by minimizing the margin of error in the data for the palaces that were actually studied.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.94-113
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• 2013

Donggwanwangmyo[East Shrine of King Guan Yu] is the shrine for General Guan Yu from the Shu Dynasty, China. This type of shrine was begun to be built from the Tang Dynasty in China and from 1598 in Korea when the Japanese invaded Korea for the $2^{nd}$ time. Donggwanwangmyo is historically significant because it was jointly constructed by China and Korea in the spring of 1602 after the end of Japanese invasion of Korea. However, almost no research has been conducted about the sculptures standing at Donggwanwangmyo and there are many mistakes concerning the names and materials of these sculptures. This study is conducted to resolve these issues as follows: First of all, it was found that the main building of Donggwanwangmyo enshrines those which were moved from the North Shrine of Guan Yu and the West Shrine of Guan Yu during the Japanese colonial rule of Korea in addition to what was initially placed in Donggwanwangmyo during construction. These relics are assorted and each line of them is displayed in the center and to the east or west of the building. Among the relics, seven sculptures are standing at the center of the main building, among which one sculpture of Guan Yu is made of gold and two sculptures of maids and four sculptures of guards are made of clay. It is particularly noted that the sculptures of Guan Yu and his guards, Guan Ping, Zhou Cang, Wang Fu, and Zhao Lei, represent the portraits of historical characters that actually existed. Moreover, the sculptures of guards are characterized by the fact that they are unlike those in China, but have two pairs of literary men and warriors that stand facing each other as is the case in the royal mausoleums constructed during the Joseon Dynasty. Second of all, the sculptures from Donggwanwangmyo were carved in 1602, but their costumes and equipment were derived from the paintings from the Tang and Song Dynasties. Some decorations from the Ming Dynasty are also reflected in the sculptures. It implies that Donggwanwangmyo was partially modeled after the Shrine of Emperor Guan Yu[Gwanjemyo] in Jiezhou which was rebuilt in 1593 by Emperor Sinjong of the Ming Dynasty and that the secular and dramatic patterns of the Qing Dynasty are prevalent in the said sculptures based on the patterns of the Ming Dynasty because all the sculptures at the Shrine in Jiezhou were constructed when the Qing Dynasty ruled between the $18^{th}$ and the $19^{th}$ Centuries. In conclusion, it was found that sculptures from Donggwanwangmyo were created in 1602, that they follow the ancient traditions attested by the paintings of Korean and Chinese sculptures, and that they are very valuable in art history since they retain the original forms of the Shrine of Guan Yu built during the Joseon and Ming Dynasties.