• Archives of Craniofacial Surgery
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• v.9 no.1
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• pp.31-34
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• 2008

Introduction: Lymphoepithelioma-like carcinoma of the skin (LELCS) is a rare cutaneous tumor of low grade malignancy and microscopically resembles lymphoepitheliomatous malignancies in the nasopharynx, palatine tonsils, salivary glands and uterine cervix. LELCS presents as scarlet-colored firm nodules or plaques on the face, scalp, or shoulder of middle-aged to elderly individuals. Material and Methods: A 72 year-old female had complained a papule like lesion with intermittent pruritis on the left temple for 2 years. But the lesion was changed to scarlet-colored firm nodule with ulceration. The mass was diagnosed as LELCS on the biopsy. And to confirm that the mass is not metastatic lymphoepithelioma-like carcinoma from other sites or direct tumor extension from the nasopharynx, selective radiographic and laboratory tests were done carefully. Results: Wide excision was performed with general endotracheal anesthesia. The tumor is composed of island of large epithelial cells surrounded by as dense infiltrate of lymphocytes. Immunohistochemical staining with cytokeratin and epithelial membrane antigen(EMA), the tumor cells were positive reaction for stain. And Epstein-Barr virus genome was not detected by in situ hybridization. So, the tumor was confirmed as LELCS. Conclusion: LELCS was described by Swanson at 1988, but has not been reported in the field of plastic surgery of Korea. We report a case of primary LELCS that occurred in the left temple with clinical characteristics, histologic features and references.

• Journal of architectural history
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• v.17 no.4
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• pp.7-23
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• 2008

This study is examine the scales applied to buildings in the age of Unified Silla through construction sites excavated and its results are as follows; First, scales used in the age of Unified Silla were varied like Jucheok, Dangcheok and Hancheok, but it was generally accepted that Dangcheok was used in Yeongjocheok Since it was found that the scales applied to Dabotap at the Bulguksa temple and main building of the Gameunsa temple belonged to Goguryeo, Yeongjocheok scale used early in the age of Unified Silla was transitional and it was thought that Goguryeocheok and Dangcheok were used togethar. Second, according to actual rulers in Korea, china and Japan, the length of Dangcheok(ruler used in Chinese Tang era) mostly belonged to the extent of $29.25cm\;{\sim}\;30.5cm$(central value: 29,71cm). Third, plane features of main building of temple are assumed that it had five rooms in front compartment until the 7th century and then it was diversified to three, five and seven compartment. The size of compartment was same in the scale of front Eokan and Hyeopkan until late 7th century, but since then the dimension of Eokan tended to be wider than Hyeopkan. It was judged that the front Eokan used triple scales like 9, 12, 15, 18 cheok. Fourth, the length of residential structures was 17.5cheok${\sim}$36cheok and Bcheok was commonly used for front side of structure, The length of official structures was 8.4cheok${\sim}$36.3cheok which is similar to residential structures. However it has been confirmed that each of 9cheok, 12cheok, and 15cheok has been used for Eokan and Hyeopkan which gave presumption that triple scales was used for the measure.

• Analytical Science and Technology
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• v.14 no.6
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• pp.476-485
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• 2001

Both concave and convex roof-end tiles having same style and shape are excavated in Yongjangsung castle at Jindo and Burnhwasa temple at Wando in Jeollanam-Do that are the Sambyulcho's resistance sites against Mongolia in the late Koryo dynasty. Obtained data by NAA have been used to classify the equality of a raw materials' porvenance by multiple correlation analysis(MCA) and discriminant analysis. The results of MCA has shown that there are very high correlation for [La : Sm], and [Lu : Yb]. Exactly pottery site at Chungdo, roof tile site at Chungyang, Yongjangsung castle and Bumhwasa temple and Chunghaejin site at Jangdo were distributed for four trace elements, Cr, Sc, ${\Delta}$(${\Sigma}$(Lu, Yb)) and Eu by discriminant analysis, and their accuracy is above 95%. This means that Yongjangsung castle and Bumhwasa temple have same raw material's provenance.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.138-163
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• 2021

The Buyeo Wangheungsa Temple was excavated 15 times by the Buyeo National Research Institute of Cultural Heritage by 2015. In doing this, it was confirmed that the attached buildings were placed in the east and west along with the central Sangharama building. Various building sites were established in the western section of the temple, and various buildings were placed inside, and this pattern was estimated in the eastern section. In this article, the structure and function of the attached buildings of the Wangheungsa Temple were focused on the planar structure and excavated artifacts. The most distinctive feature of the attached buildings of the Wangheungsa Temple is their construction alongside the central Sangharama building. It is different from the building to the Neungsan-ri Temple, which was expanded gradually. The attached buildings in the east and west of the lecture hall are presumed to be living space for monks who used solitary rooms, and the attached buildings in the east and west of the main hall were a combination of public work space used for things such as administration, ceremonies, and reception. Next, looking at the outer space of the central Sangharama, the western section was likely constructed at the same time as the central Sangharama. However, if you look at the building site inside the western section, the function has been changed in two stages. The first stage was a ritual space, and it is evident that the western section has a separate entrance and sidewalk and that the workshop was used as a monastery space in the second stage. Finally, there is a distinct possibility that the eastern part of the complex was an important section. Although this space is presumed to be composed of triple towers and halls, it must be have been approached in various ways and included structures related to the operation of temples, such as the monastery space. From this point on, the overall appearance of Baekje temples can be recovered through access to temple structures in a wide variety of ways, including studies of the attached buildings.

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

• 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.

• The Journal of Korean Philosophical History
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• no.31
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• pp.173-202
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• 2011

Hierophany, according to Mircea Eliade, is a natural manifestation of the initial sacred. Through hierophany, profane objects and sites transform their qualities and then they themselves become sacred. People in traditional societies, in an attempt to reenact the initial hierophany, tried to perform consecrating rituals to replicate the first moment of the initial hierophany, at the same time and site. This article focuses on the concrete sites of hierophany. In ancient China, we can see specific sites that manifest the sacred such as Kunlun(崑崙), Jianmu(建木) and zongmiao(宗廟). Kunlun has the characteristics as the Cosmic Mountain that is the realm of the gods that tiandi(天帝) built as his center on the Earth, and it bridges Heaven and Earth. Jianmu joins Heaven, Earth, and the underworld like a Cosmic Tree or Pillar. It can be stated that zongmiao, the royal ancestral temple, functions as the Center of the World, the axis mundi, in which religious human beings express their desire to live in a sacred site, and in which they can regain their initial purity of spirits by communicating with the gods and ancestors. These three are the sites of manifestation of the sacred in China.

• KOMUNHWA
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• no.70
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• pp.133-161
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• 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.

• Conservation Science in Museum
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• v.19
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• pp.19-40
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• 2018

Most stone monuments in Korea are made from the granitoids found extensively throughout the nation. To identify the provenance of the stone materials, this study carried out comprehensive analyses of the occurrence, physical properties, mineralogy, and chemical composition of Stupa for National Preceptor Wongong at Geodonsa Temple and Five-story Pagoda at Cheonsusa Temple, both located in the Gangwon region. Their features were compared with those of granite from Wonju City near the sites of the two monuments. Stupa for National Preceptor Wongong is composed purely of two-mica granite, whereas Five-story Pagoda was made from both two-mica and biotite granites. The occurrence and magnetic susceptibility of the two granite monuments generally coincide with those of granite from Wonju. When selecting materials for the restoration of stone monuments, it is deemed necessary to carry out a field survey on granite in areas adjacent to the locations of the stone monuments subject to restoration.

• Conservation Science in Museum
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• v.29
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• pp.153-162
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• 2023

Clay figure of Baekje, produced by forming and molding various shapes using clay, are mainly excavated from temple sites and provide essential information for studying the Buddhist art of Baekje. Research on clay figures of Baekje primarily focuses on the characteristics of Baekje-era temples in which such figures are excavated, as well as the role and production techniques of clay figures, by comparing regional and morphological characteristics. In particular, research on the manufacturing method of clay figures is mainly carried out by visual observation, whereas precise scientific analysis is required to understand production techniques and characteristics of raw materials in greater detail. In this study, to confirm such production techniques and material characteristics, computed tomography (CT) scans were conducted on the Clay Bodhisattva excavated from the Neungsan-ri Temple site in Buyeo. As a result, it was found that the Clay Bodhisattva was made using a cylindrical core of fine clay, tied together with several thin branches or reeds with straws. The clay used in the figure bore traces indicating the presence of herbaceous plants, which increase adhesion between clay and prevent cracks in the contraction process. On the other hand, the density of the fine clay differs on the inside and outside of the clay figure. Based on this, it is presumed that the clay was applied around the cylindrical core to shape the Clay Bodhisattva. The clay was reapplied on top of the figure to express the detailed shape and pattern.