• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.22-37
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• 2021

The wind chime is a longstanding Jangeomgu (majestic article) found in Korea, China, and Japan. However, basic research on wind chimes is currently inadequate as it is difficult to estimate the time of production, and there are few relics. Therefore, this research morphologically classifies the eight bronze wind chimes decorating the baldachin of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan. Based on this, the manufacturing techniques and production period are scientifically demonstrated. The synthesis of the research results reveals that the structure and characteristics of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan differ depending on their location on the baldachin. The four large-sized wind chimes on the lower-baldachin were manufactured by casting a Cu-Sn-Pb alloy, and they are estimated to have been made during the early period of Goryeo. The two medium-sized wind chimes of the upper-baldachin's northern direction were manufactured through forging a Cu-Sn or Cu-Sn-Pb alloy, and they appear to have a similar structure to the cylindrical wind chimes appearing during the latter period of Goryeo and the Joseon period. The two small-sized wind chimes of the upper-baldachin's southern direction were manufactured by casting a Cu-Sn-Pb alloy containing Zn, and based on the chemical composition of the alloy and the shape of the clapper, they are estimated to have been manufactured during the latter period of Joseon. Through the observation of microstructures and a chemical composition analysis, it is demonstrated that two wind chimes of the lowerbaldachin were manufactured by casting and slow cooling the alloy with an alloy ratio of Cu:Sn:Pb≒80:15:5. In addition, it is estimated that the wind chimes of the upper-baldachin's northeast direction were manufactured by forging an alloy of Cu-Sn with a similar alloy ratio to that of forged high tin bronze. The results of a comparative analysis of prior research on domestic wind chimes confirm that two wind chimes of the lower-baldachin have a similar composition ratio to the wind chime excavated from Wolnamsaji in Gangjin, containing an amount of tin that corresponds with ancient records. Having a similar alloy ratio to forged high tin bronze, the wind chimes of the upper-baldachin's northeast direction are the only instances among all of the wind chimes that have been examined to date that were manufactured using this forging method. The purpose of this research is to collect baseline data to verify and classify the manufacturing period of wind chimes according to their morphological characteristics based on scientific evidence. It is hoped that this data can be utilized for the restoration and conservation processes of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.243-263
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• 2022

The royal court of Joseon had a tradition of mounting the Irworobongdo, a painting of the sun, the moon and the five sacred peaks, symbols of the king's immortal presence and authority, on a folding screen and placing it in special spaces within the palace that were reserved for the king. While the Irworobongdo is generally accepted as the important ceremonial object of the royal palaces of Joseon, there have been few studies on the various folding screens used in the royal palaces, largely because the official records about such screens do not match the remaining original relics. In this study, the main discussion is focused on the diversity of the shapes and mounting materials of the Irworobongdoused for various ceremonies held in the royal palaces of Joseon based on the Uigwe, the official records of the royal protocols of the Joseon dynasty. The discussion also extends to the theme rarely studied so far, namely the original form of the Irworobongdo and its evolution in the following period. The ceremonial "five peak" folding screens (Obongbyeong) used at a number of important palace buildings, including the crown hall (Jeongjeon), royal funerary hall (Binjeon), spirit hall (Honjeon) and portrait shrine (Jinjeon), differed in shape and size from the folding screens used in royal celebratory events such as banquets, although the paintings themselves and the style of mounting them were essentially the same. The paintings were mounted on screens bordered with green silk and ornamented with floral gilt designs. The folding screens used in royal ceremonies were produced according to strict guidelines that required the ceremonies and mounting materials to be graded on the basis of the status of each screen. It was not until the 1960s that these ceremonial folding screens of the Joseon dynasty, which had been neglected during the period of Japanese colonial rule of Korea, began to undergo conservation treatment provided as part of a heritage preservation program. Unfortunately, many of the screens repaired in this period lost some of their original features - largely due to the use of non-traditional mounting techniques. Considering, however, that significant achievements have since been made in the heritage preservation field based on the use of historical evidence, it is now necessary to systematically use the repair history of the information about the remaining royal ceremonial folding screens to ensure that they are preserved and managed more effectively in the future.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.151-174
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• 2022

According to the "Special Act on the Restoration and Maintenance of the Core Relics of the Shilla Kingdom" enacted in 2019, the Shilla Kingdom refers to the capital of Shilla and Unified Shilla period, and refers to Gyeongju, where the king lived, and the nearby area. Shilla Wanggyeong is a heritage registered on the UNESCO World Heritage List in 2000 under the name of Gyeongju Historic Site and belongs to Wolseong District, Hwangnyongsa District, and Daeneungwon District among the five districts registered as Gyeongju Historic Site. Unlike the Namsan and Sanseong districts, the Shilla Kingdom is a heritage consisting mostly of archaeological sites without physical substance. Gyeongju City sought to promote local tourism while providing more direct experiences to visitors by restoring the heritage that constitutes the Shilla Kingdom. Starting with the restoration of Woljeonggyo Bridge in 2005, the Shilla Wanggyeong restoration project began in earnest. Gyeongju City tried to restore the building site on the west side of Donggung Palace and Wolji after Woljeonggyo Bridge, but it was canceled due to opposition from the UNESCO World Heritage Committee. The World Heritage Committee opposed the restoration and recommended a heritage impact assessment for similar projects in the future. During the miscarriage impact assessment procedure, there is an OUV attribute analysis process of the heritage to be evaluated. This study intends to preemptively derive OUV attributes for the Silla Kingdom through literature and overseas case analysis. In the case of literature research, domestic and foreign research data related to the UNESCO World Heritage Convention and World Heritage Management were examined, and in overseas cases, the architectural works of Krakow Historical District, Stonehenge and Abbury Geoseok Ruins in England, and Le Corbusier were analyzed. Through this, the outstanding universal value attributes of the Silla Kingdom were derived. This study is expected to be used as a reference in the process of restoration projects of other heritage constituting the Shilla Kingdom or construction plans in nearby areas in the future and serve as an indicator to improve the management system of the Shilla Kingdom more efficiently from the perspective of world heritage.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.6-22
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• 2022

In this paper classifies the types of 228 anchor stones discharged from the west and south coasts, assumes a combined method by type, routes through discharge locations, and It attempted to estimate the burial site. Prior to classification of types, the weight, thickness, width, and length of the anchor stone were measured, and the largest Young in the tomb The scent weight was classified into I~V groups, and the shape of the anchor stone was classified into 1-6 types. All of these weight and shape correlations It was classified into 17 types. The combined method by type is 180kg or less depending on the morphological characteristics of the reference value of the extracted anchor stone, and the type An anchor of type 1 or 2 is used in combination with an anchor, and a anchor of type 3 or 6 weighs more than 180kg and is combined with an anchor The dragon was assumed to be an anchor. Along with this, the route and burial site are identified through past records and testimony of local residents It was checked against the data. The route was largely consistent with past records, but the new route was apparent in waters near the island or inland It was also drawn. In the case of burial sites, small and large in Taean Mado Sea and Jindo Byeokpajin Sea, where anchor stones are concentrated, Considering the pattern of the type anchor stones being discharged, it was consistent with the testimony that ships of various sizes were mysterious in the two seas. Based on this type classification, a study on the spatiality of the anchors was conducted. First, a comparison and analysis was done on whether actual real data, such as anchor stones, old ships, and relics, were identified on the Joun-ro route and international trade routes as recorded in the past literature. Where there was no record, the route was estimated based on real data. To this end, routes estimated based on the testimony of local residents and modern ship workers were analyzed as to whether ships traveled there in the past and whether they could actually sail. Next, the location of each seedling was estimated by ship size according to the weight of the anchor stone. In the case of the Taean Mado Sea and Jindo Byeokpajin Sea, both small and large anchor stones were discharged from the coastline and were far away.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.56-70
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• 2022

Tombs No. 39 and No. 63 in Gyo-dong, Changnyeong, are unique in the Changnyeong area in that they do not have additional burials because they are hoenggu-style tombs with an entrance on the north side. This study tried to understand the nature and meaning of the two separate stone walls at the entrance of the tomb along with the burial process of the tomb. These two stone walls mark small tombs built independently within a large tomb, with stone wall No. 39 stone wall No. 3 (No.39-3) and No. 63 stone wall No. 3 (No. 63-3). Both units are located in the middle of the northern wall of the burial body part and share one wall with the burial body part wall stone. All animal fluids inside the stone wall were identified. In particular, it was estimated that at least three dogs were buried as a result of identification of animal fluids No. 63-3. Above all, these animals have their heads facing outward with their backs to the main occupants, and do not overlap in a limited space and are placed side by side. Changnyeong Gyo-dong No. 39-3 and 63-3 were created in the process of building the burial body, and although they are independent relics, they form a subordinate relationship in that they were built along the main burial within one tomb. In addition, it is coercive in that it is placed in an orderly manner according to a certain direction in a state that has not been dismantled after killing an animal. Therefore, It is understood to be the SHUNJANG of dogs. Studies on animal fluids excavated from tombs in the Three Kingdoms period are interpreted as animal stewardship, sacrificial collection, and animal sacrifice depending on their location, and this is known as a series of animal sacrifice rites, namely, animal stewardship and sacrifice. This recognition is based on material objectification of animals, such as food or sacrifices. However, Changnyeong Gyo-dong No. 39-3 and 63-3 are different in that they recognize animals as spiritual beings in the process of funeral rites and are closely related to the ideology that there is life after death. In addition, analysis of the location and directionality of the remains is also required from multiple angles. These two SHUNJANG correspond to the entrance to the tomb, and the location is the most open space at the entrance. The appearance of a dog looking outward, etc., can also be interpreted as the meaning of protecting the tombs and byeoksa. This appearance can be compared with the dog depicted in a mural in a Goguryeo tomb that reflects the ancient world's thought and stone figures excavated from the tomb of King Muryeong of Baekje, and it is also consistent with the meaning of the JINMYOSU protecting the ancient tombs. This suggests that a multifaceted study on animal fluid burial remains is needed in the future.

• Journal of Conservation Science
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• v.9 no.1
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• pp.1-10
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• 2000

In 1993, many bronze artifacts were excavated from the Sanoesa Temple(思惱寺), Chongju, Chungbuk. Twelve items were selected and chemically analyzed with AA Spectrometry and ICP-Atomic Emission Spectrometry. They were also observed under the optical microscopy and SEM. According to the results from chemical analysis, production method and use, these artifacts were classified into four groups: casting, wrought and welding products, and bells. Cast products, probably used for ritual, were alloy of 70% Cu, 10% Sn and 20% Pb. They showed ${\alpha}+{\beta}$ phase as a typical microstructure of casting. The ${\delta}$ phase was rarely observed due to the small amount of Sn. These artifacts included more lead than other alloys. They showed segregation like island-shape on the lead part. Wrought products used for daily too1s. were alloy of 80% Cu and 20% Sn. Since they were consist of ${\alpha}$ phase and martensite ${\beta}$ phase, it could be presumed that they were heat-treated. The production method could be identified from twinned grains in ${\alpha}$ phase. Lead was not included in because it had a bad effect to alloy. The bells were alloyed with 85% Cu, 10% Sn, 5% Pb or 90% Cu and 10% Sn. They show the dendrite structure because they were cast and alloyed with many tin. Weldinged were alloyed with 83% Cu, 12% Sn and 5% Pb. lt showed the fine dendrite structure because of fast cooling in air.

• Journal of Conservation Science
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• v.32 no.2
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• pp.141-154
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• 2016

The gilt-bronze decorated bamboo mudguards with heavenly horse design excavated in 1973 at Cheonma Tomb of Shilla are the unprecedented relics in Korean history as it has its original structure. Although the bamboo mudguards were excavated in not only Cheonma Tomb, but also in Geumgwanchong and Geumryeongchong, all of them remains into pieces. In addition, there are no exact data related with its structure and manufacturing technique. The report deals with the manufacturing technique of the bamboo mudguards with heavenly horse design excavated in Cheonma Tomb through the naked eye's observation, X-Ray Fluorescence, and Transmission X-rays analysis etc. Bamboo mudguards basically have the three divided structure with central-focus structure of a radiation style. And the mudguards consists of Bratticing gilt-bronze, fabric, and bamboo plates together, as ornamental fringe of 4 plates. The surface of the gilt bronze plates was decorated with a variety of workmanship and pendant. Bamboo plates have a waved pattern by using about three hundred bamboo bark. Two types of textiles were mainly found in the textile plates, and the leather were partially found. In order to combine all plates together, gilt-bronze bottonhead, pendant decoration, and ornamental fringe were used. It would be helpful to study bamboo mudguards during 5th-6th centuries in Shilla period and basis investigations of Geumgwanchong and Geumryeongchong excavations.

• Journal of the Korean Society for information Management
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• v.26 no.3
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• pp.213-237
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• 2009

Local culture is a cultural heritage that has come down from generation to generation in the natural environment of a region. It includes history, tradition, natural features, art, and historic relics. The Academy of Korean Studies has complied "The Encyclopedia of Korean Local Culture" using those local culture contents. Local culture content shave the features of documentary, such as authenticating the source, and managing hierarchy structure. Thus, to deal with local culture contents, a "circular knowledge information management system" is sought for that helps basic, fragmentary, and high-level information to circulate to create new knowledge information within the system. A user of this circular knowledge information management system is able not only to collect data directly in it, but also to fetch data from other database. Besides, processing the collected data helps to create new knowledge information. But, it's very difficult to sustain the features of the original hierarchy bearing meaning contained in the various kinds of local culture contents when building a new database. Moreover, this kind of work needs many times of correction over a long period of time. Therefore, a system in which compilation, correction, and service can be done simultaneously is needed. Therefore, in this study, focusing on the case of "The Encyclopedia of Korean Local Culture", I propose a XML-based digital compilation management system that can express hierarchy information and sustain the semantic features of the local culture contents containing lots of ancient documents, and introduce the expanded functions developed to manage contents in the system.

• Journal of the Korean Society of Costume
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• v.34
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• pp.169-182
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• 1997

Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.

• Conservation Science in Museum
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• v.22
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• pp.69-84
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• 2019

This study investigated the formal characteristics and chemical compositions of eighty beads excavated from a Silla tomb complex at Deokcheon-ri, Uljin in order to reveal the methods of production and the characteristics of the raw materials involved, thereby illuminating characteristics of the relics from each tomb. The beads excavated from these Silla tombs include one curved bead, one tubular bead, and 78 globular beads. Among them, the curved and tubular beads and three globular beads were identified to be made of minerals, and the remaining 75 beads are made of glass. Most of the glass beads are thought to have been produced using the drawing technique. The characteristics of the beads were classified according to their site of excavation. The globular beads from Tomb No. 34 belong to the lead-barium glass and potash glass groups, indicating that these beads were produced at a relatively earlier period in time. The glass beads excavated from the tombs in the northern portion of the complex differ in color and chemical composition from those in the southern portion, which indicates the character that each group of beads had different aspect according to site location. Considering that the excavated beads were mainly from fifth- and sixth-century tombs, it is likely that certain groups of people living around Uljin used and buried beads in their tombs. As the governance of Silla became more centralized in the sixth century, the use of beads for burial purpose appears to have come to an end in this region.