• Journal of Soil and Groundwater Environment
• /
• v.12 no.6
• /
• pp.107-117
• /
• 2007

Dispersion characteristics and envirounmental impactes of the stream sediments were investigated and geochemical disaster in the Namhae-Hwagye area was predicted. Stream sediments having no possibility of contamination effect and representing drainage basins were collected. Major and hazardous elements concentrations were determined by XRF, ICP-AES and NAA analysis methods. Acid decomposition for the ICP-AES have been used $HClO_4$ and HF with $200^{\circ}C$ heating at 1'st and after that $HClO_4$, HF and HCl with $200^{\circ}C$ heating at 2'nd stage. Hazardous elements concentrations for the stream sediments in the Namhae area were Cu $5.66{\sim}168\;ppm$, Pb $18.0{\sim}40.7\;ppm$, Cr $21.6{\sim}147\;ppm$, Co $4.86{\sim}25.3\;ppm$. Hazardous elements concentrations for the stream sediments in the Hwagye area were Cu $16.4{\sim}41.2\;ppm$, Pb $26.5{\sim}37.5\;ppm$ Cr $79.6{\sim}153\;ppm$, Co $15.7{\sim}29.5\;ppm$. Concentration of Cu and Co in the stream sediments show a negative correlation with $SiO_2$ in all study area. According to E.I.(Enrichment Index) of stream sediments was not enriched in study area. And average E.I. was 0.35 (Namhae) and 0.56 (Hwagye) respectively. The stream sediments were enriched as in order of Pb > Cr > Co > Cu. And the average of Enrichment Factor (E.F.) was 0.46 to 2.84, respectively. E.F. concentration of Cu and Co were nearly similar enrichment characteristic but E.F. concentration of Cr were higher enrichnent characteristic in Namhae than Hwagye area. Pb was highly enriched in all study area but the tolerable level that used to investigate the enrichment degree of hazardous elements, was not exposed to harmful hazardous elements.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.321-343
• /
• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.206-225
• /
• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.18-37
• /
• 2019

This study derived a method for establishing the chronology of cloud patterns by examining the arrangement of the treasure motifs in the cloud pattern used in the relevant pattern-decorated book covers of 89 Oegyujanggak Uigwe books, which are currently housed in the National Museum of Korea. The cloud pattern with a treasure motif was used in the covers of a total of 89 books from King Hyojong Gukjangdogam Uigwe (1659) to Sadoseja Garyedogam Uigwe (1744), spanning 86 years. First, to analyze the cloud pattern, it should be broken down into smaller parts to the extent that the different shapes of treasure motifs can be recognized. Secondly, the method of decoding the pattern is as follows: First, check whether the pattern is arranged in one or two directions from the vertex of the cloud's head, and determine the direction of the cloud tail. Then, decode the treasure motif's arrangement starting from the vertex of the cloud's head toward the direction the tail of manja is headed. Record the findings of this decoding process by categorizing them. Thirdly, as a result of the analysis, a total of 28 types of cloud patterns with treasure motifs were identified in 89 books. There were 45 types of treasure motifs used in such patterns. Finally, we have concluded that applying the method of decoding the treasure motif in the cloud pattern to portraits, excavated costumes, and various relics can be useful to establish the chronology of cloud patterns in the late Joseon period. The method suggested in this study is called 'The Reading Method of Chronology in Cloud Pattern with Treasure Motifs' (also 'Jeung-ha Cloud Pattern Reading Method').

• Journal of Wetlands Research
• /
• v.4 no.1
• /
• pp.63-85
• /
• 2002

This study was carried out to provide basic data for water environmental control and conservation, and to elucidate monthly water environmental factor, phytoplankton flora and dominant species that each stations was maked a selection of a sites by represent 3 branch-river in the Taejon area from Nov. 1997 to Dec. 1998. Range of water temperature was $2.4^{\circ}C{\sim}30.9^{\circ}C$(means of $16.02^{\circ}C{\sim}18.92^{\circ}C$), pH was 7.1~10.4(means of 7.40~8.68). BOD was generally under $5mg/{\ell}$ except Gap-chon kyo in Nov. and COD was measured highly by interfer of men at the each sites. Especially, occasion of Gap-chon kyo, data was estimated about 3~13 times higher than another sites. DO was showed 1.03~10.43ppm, SS was showed $1.0{\sim}120.0mg/{\ell}$ TN was that, upper stream was 0.63ppm, middle was 0.35ppm and then lower was 0.44ppm, upper stream was higher than lower. TP was at upper stream 0.03ppm, middle 0.05ppm, lower 0.06ppm, lower stream was higher than another. The phytoplankton flora was identified as total 230 taxa composed of 7 classes, 18 oders 35 families, 75 genara, 184 species, 42 virieties, 4 forms. There are composed of that, Chlorophyceae 94 taxa(40.9%), Bacillariophyceae 66 taxa(28.8%), Euglenophyceae 39 taxa(17.0%), Cyanophyceae 24 taxa(10.4%), Chrysophyceae 4 taxa(1.7%), Rhodophyceae 2 taxa(0.8%) Xanthophyceae 1 taxa(0.4%), composition of Spesies of each sites was Gapchon-kyo 119, Wonchon-kyo 94, Gasuwon-kyo and Mannyon-kyo 87, Ochung-kyo 78, Hyunam-kyo and Suchim-kyo 77, Moonchang-kyo 70 taxa and Sansung-kyo 58 taxa. Number of species was showed tendency of increase lower stream. Taejon-chon and youdung-chon and at the sites of confluence were presented Synedra ulna and Diatom vugare like bacillariophyceae, Gap-chon was dominated variously Oscillatoria princeps and chlorophyceae, confluence of 3 branch-river was presented Euglenophyceae.

• Journal of Conservation Science
• /
• v.32 no.4
• /
• pp.471-490
• /
• 2016

This study investigated provenance of raw materials and making technique of lime-based materials used in the tomb barriers of the Yesan Mokri tombs from Joseon dynasty on the basis of analysis to material characteristics and physical properties. In the barrier materials, dry density and porosity are the highest value ($1.82g/cm^3$) and the lowest value (25.20%) in the south wall of No. 1 tomb, respectively. Dry density and porosity are inversely proportional in all barrier materials, but unconfined compressive strength, which is the highest value of $182.36kg/cm^2$ in the No. 2 tomb, does not show an interrelation with porosity and density. Mineral components in the lime-soil mixtures of the tomb barrier are mainly quartz, feldspar, mica and calcite about 200 to $600{\mu}m$ size with yellowish brown matrix. Hydrotalcite and portlandite are detected in the lime mixture, and kaolinite in the soils. The lime materials of the tomb barrier occurred in large quantities weight loss and variable endothermic peaks caused by decarbonization reaction of $CaCO_3$ in the range from 600 to $800^{\circ}C$ in thermal analysis. Making temperature of lime for the tomb barrier is presumed approximately about $800^{\circ}C$ based on the occurrences, compositions and thermal analysis. The tomb barriers are revealed to very wide composition ranges of major elements and loss-on-ignition (22.5 to 33.6 wt.%) owing to mixture of the three materials (lime, sand and clay). It is interpreted that low quality construction technique was applied as the limes are very heterogeneous mixture with aggregates, and curing of the lime was poorly processed in the tomb barriers. Possible limestone sources are distributed in many areas around the Mokri site where limestone conformation and quarries for commercial production are found within Yesan and Hongseong areas. Therefore, we estimated that raw materials were possibly supplied from the local mines near the Mokri site.

• KOMUNHWA
• /
• no.70
• /
• pp.133-161
• /
• 2007

It is judged that celadons with '○' pattern and '⊙' pattern have the indication of manufacturer by engraving mark at the internal center of the bottom. These celadons were produced at No.8.23.27 kiln sites located at Sadang-ri(사당리), Daegu-myon(대구면), Gangjin-gun(강진군), Jeollanamdo(전라남도), Korea and '⊙’ patterned celadon porcelain was found only at No. 23 and 27 kiln sites, so it is assumed that its production sites were limited. Kinds of celadons included bowl, dish, cup, bottle, case and vessel for emptied wine and there were a lot of dishes with a variety of patterns. These celadons were engraved by molded design technique using the same ceramic design as the pattern of celadons in the period of their prosperity and it was appropriate method to produce celadons of a good quality with production method to keep decorative design like pattern or size uniformly. It was also found that inlay method was not universalized in this period and similar celadons were produced with molded design in large quantities. These celadons had partially fire clay temper, but most of them were burnt by supporting the inner bottom of U-type base with quartzite after whole glazing. It was known through relics excavated at Seokreung(석릉) royal tomb of King Heejong(희종) at Ganghwa(강화) and Hyeeumwon(혜음원) temple site at Paju(파주) and military house at Wakamiyaoji(약궁대로) avenue Kamakura(겸창)-city, Japan(일본) that these celadons were manufactured at two quarters of the 13th century centering around 1230s. Therefore, these celadons will be significant materials to fill the gap of the celadons in the 13th century resulted from the record chronologically that green celadons were manufactured in the 12th century. And this period was invaded by Mongolia(몽고), but central control was achieved and green celadons were continuously produced. It was also considered that these celadons were excavated at Gabgot-ri(갑곶리) and Gwanchung-ri(관청리), Ganghwa(강화), Hyeeumwon temple, Paju which played the role of temporary palace, Bu1guksa(불국사) temple at Gyeongju(경주), Silsangsa(실상사) temple at Namwon(남원) and relics of Jangheung(장흥) adjacent to Daeguso(대구소) and these were produced for high class.

• Journal of Conservation Science
• /
• v.25 no.1
• /
• pp.1-16
• /
• 2009

Jeollabuk-do is bounded by the sea, and Mahan Baekje culture have been established around a wide plain. Also, in southeastern, it was closed by Gaya kingdom where iron culture was prosperous at that time, a variety of the handles of swords with round pommel is excavated at present. The handles of swords with round pommel is the best amount of excavated objects among the swords with round pommel and producted object for the time. It supposes them to become the foundation of making the decorated swords with round pommel. But, the handles of swords with round pommel that don't have a pattern in handle is indifferent to study because the production method is simple in spite of that the value of archaeological data is sufficient. Therefore, in this study, it examined changed production techniques with the change of times concerning the handles of swords with round pommel of Mahan Baekje Gaya period(before 6C) excavated from Jeollabukdo through using X-rays in order to clarify a variety of production techniques of the handles of swords with round pommel correctly in accordance with a period of production and excavated place. As a result, identified production techniques using X-rays of the handles of swords with round pommel excavated around remains of Mahan Baekje Gaya period shows that production progress improved in order of all-in-one shape, hammer welding shape of the handle of round pommel, and two in body formation in accordance with age. Especially, in two in body shape, it products the handle of round pommel separately, after that it welds the handle of swords and then links the sword blade like a riveting or bottleneck and so on. Despite of improved hammer welding technique, the reason why it didn't utilize is it regards as inlay or gilt will be damaged. And it is judged by using riveting or bottleneck. Also, it appears to techniques of metal craft such as decoration of the handle, decoration of point of sword, inlay, and silver-plating in the period of appearing two in body shape. As clarifying correctly, it provides fundamental database of scientific research about a study of production techniques of handle of swords with round pommel.

• 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.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.2
• /
• pp.110-139
• /
• 2020

Reclamation is the act of creating new lands by constructing dikes in offshore tidal flats to utilize them for various purposes, including the establishment of farmland to secure food for an increasing population. Based on the fact that reclamation has resulted in drastic changes in the environmental, economic, social, and cultural aspects of land expansion and development, population movement, and the formation of cities since ancient times, I reviewed the value of reclamation sites and addressed the issue of how to preserve and utilize them. "Reclamation culture" refers collectively to the recognition and concept system, behavior styles, and cultural products created by changes in the environment, and the tangible, intangible, and natural heritage generated directly and indirectly by reclamation is defined as "reclamation cultural heritage". It shows that the historical background of reclamation accords with prevailing trends, and that the reclamation sites possess cultural heritage value due to their historical, academic, and scarce characteristics. Numerous reclamation cultural heritage sites at the Gwangwhal and Gyehwa dikes are on the verge of being destroyed, with their original function having ended after the construction of Saemangeum Sea Wall. I propose measures to preserve these under the principle that utilization is based on the basic premise of conservation. First of all, modern and contemporary reclamation sites must necessarily be designated and managed as registered cultural properties, local cultural heritage, future heritage, and agricultural heritage. In particular, as it has been confirmed that reclamation sites created after the Goryeo and Joseon dynasties and the 1950s have not been designated as cultural heritage sites. It is necessary to review the characteristics and values of such reclamation sites through a full survey of national reclamation data. Effective and sustainable utilization of reclamation cultural heritage, which has not been acknowledged in the past due to its close relationship with our lives, is necessary to search for hidden stories found within that heritage, to organize governance for the efficient use of reclamation resources, and to build a museum to collect and display the history and culture of the reclaimed areas. Finally, through links with countries with experience in reclamation, we will be able to cope jointly with international issues such as those pertaining to society, culture, and environment, and would be able to implement various projects to further the advancement of human beings.