• 한국광물학회지
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• 제27권4호
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• pp.263-270
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• 2014

본 연구는 국내 방연석 광산의 방연석에 대한 납동위원소비 분석 자료를 응용하여 청해진에서 출토되는 청동기에 사용된 납 원료의 산지를 알아보고자 하였다. 또한 부산물로 산출되는 미량원소의 종류와 함량이 산지추정의 보조지표로 이용할 수 있는지의 가능성도 검토하고자 하였다. 장도 청해진에서 출토된 청동기의 납동위원소비를 기존에 일본에서 사용하던 동북아시아 납동위원소비 분포도에 적용하면, 청해진 출토 청동기는 중국산 납을 사용한 것으로 추정된다. 그러나 이를 한반도 납동위원소비 분포도에 적용하면 대상시료 대부분이 한반도 남부 옥천변성대와 영남육괴 지역의 방연석을 사용한 것으로 추정되었다. 또한 미량원소 중에서 은(Ag)이나 안티몬(Sb)의 함량은 동일 지역(zone)의 납동위원소비가 비슷한 서로 다른 광상을 분리하는데 유용한 보조지표로 활용될 수 있을 것으로 판단된다.

• 건축역사연구
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• 제11권3호
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• pp.69-86
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• 2002

Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.

• 건축역사연구
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• 제20권3호
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• pp.23-38
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• 2011

The Axes and Adzes are the oldest tools since the beginning of human history which is used to cut the tree and make part of architecture such as boards, square timber etc. Nowadays, these old woodworking tools especially "Jagui(자귀)" (adze) has been almost disappeared at the working site of residential and cultural properties. It is necessary to study Korean traditional woodworking tools to keep Korean traditional skill and technology. It has been reviewed the change of shape of "Jagui(자귀)" (adze) from before Samhan (삼한) period to Joseon Dynasty through excavated relics and paintings and summarize as follows: Based on excavation relics of Dahori, both plate type blade and pocket type blade are used for "Tokki(도끼)" (axe) and "Jagui(자귀)" (adze). The excavated "Jagui(자귀)" (adze) from Jeongbaikri 356 tomb, near Pyongyang is prototype of "Jagui(자귀)" (adze) used nowdays which has almost same shape as well as the insert method of blade and handle. The auxiliary handle is inserted to blade and the main handle is inserted to the auxiliary handle which is different from the method of Chinese and Japanese "Jagui(자귀)" (adze). The length of handle of "Jagui(자귀)" (adze) until late Joseon Dynasty is short by which we assume it is used for a sitting position as hand held Jagui and from that time long handle has been introduced for a standing position which is called "Sunjagui(선자귀)". "Jagui(자귀)" (adze) has been used since the beginning of human history but it is almost disappeared at the most of woodworking site which is the crisis of Korean traditional architecture and we have to do something to keep it.

• 헤리티지:역사와 과학
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• 제43권3호
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• pp.144-179
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• 2010

본고는 1970년대 이래 제철유적에 대한 조사가 꾸준히 증가되었음에도 불구하고 그 조사방법에 대한 연구는 이에 미치지 못하는 상황을 인식하는 데서 비롯되었다. 제철유적은 1990년대에 들어오면서 전국적으로 조사가 급증하였으며, 특히 최근에는 생산유적의 중요성이 부각되면서 더욱 주목받고 있는 유적의 하나이다. 하지만 분묘유적이나 취락, 성곽유적 등에 비해 제철유적의 조사방법에 대한 소개와 연구는 크게 부족하다고 할 수 있다. 그 이유는 제철조업의 프로세스는 매우 복잡하고 다양할 뿐 아니라, 공정의 이해를 위해서는 금속공학적인 기초지식까지 학습해야 하는 어려움이 있기 때문이다. 즉 고고학 조사와 연구에 있어 제철과 관련된 유구 유물의 성격이 이러한 프로세스와 어떠한 상관관계를 가지는지 밝히기가 몹시 어렵다는 이유 때문이다. 이러한 문제를 해결하기 위해 철생산 및 철기제작의 공정과 철재, 철괴 등 관련유물의 금속학적 특징에 대한 이해를 바탕으로, 제철유적 발굴조사의 순서와 방법, 유물의 분류 및 정리방법에 대한 시론을 제시함으로써 정밀한 조사와 심도 있는 분석이 이루어질 수 있도록 하는 것이 본 연구의 목적이다. 본고에서는 제철유적을 조업공정에 따라 채광, 제련, 정련, 단야, 용해, 제강유적의 6가지 유형으로 분류한 후, 사전조사와 지표${\rightarrow}$시굴${\rightarrow}$발굴조사로 이어지는 각 단계별 조사방법에 대해 정리하였다. 또한 가장 대표적인 제철관련유물인 철재의 분류 및 정리에 있어 새로운 방법을 모색해 보았다. 더불어 유적의 성격파악에 필요한 자연과학분석 및 제철로 복원실험의 필요성에 대해서도 언급하였으며, 내용의 구성에서는 사례 제시와 도면 사진자료를 최대한 활용하였다. 본고에서는 다양한 조사연구방법의 응용과 개발에 대해 심도 있게 논의하지는 못하였지만, 유구 유물의 세밀한 관찰을 통해 공정에 따른 다양한 제철유적의 조사연구 방법론 개발이 매우 시급한 과제임을 알 수 있었다. 그리고 유적의 종합적인 성격규명을 위해서는 고고학적 지식뿐만 아니라 자연과학 분야가 다양하게 응용되어야 하며, 더불어 실험고고학의 측면에서도 지속적인 제철로의 복원실험이 필요함을 알 수 있었다.

• 복식문화연구
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• 제13권1호
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• pp.102-120
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• 2005

Three Jang-Ue's and eleven drapery were investigated in the excavated costume in Ue-Ryeong, Gyeong-Sang-Nam-Do. Three Jang-Ue's have three different colors. the length, the width, and the wide of quilting are different as well. The outer collar of a coat is a double collar while the inturned collar is a single collar. In case of Dark blue and Pink Jang-Ue. The large section of cloth forming the body of a Korean coat is getting narrower while the reinforcing cloth strip is getting wider as the time is passing by. All the three Jang-Ue's have the different handling methods of a attached to the top border of a Korean coat, and Pink Jang-Ue doesn't have a attached to the tip border of a Korean coat. The handling method of the hemline are all different. And the handling method of the cuffs are all different. The silk is main in the woven goods, partly hemp, mixed fabrics and cotton. Especially complex gauze with supplementary wefts that were found unusually in Cho-Sun Dynasty are very import to study the complex gauze. The fond relics of the Jeon-Ui Lee family reveal various formational methods and specific characters of the excavated costume. There fore these that bring the Jang-Ue shape and the textile's feature in Gyeong-Sang-Nam-Do region, from 16th to 17th are very valuable.

• 한국의상디자인학회지
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• 제21권4호
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• pp.27-42
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• 2019

This paper tried a detailed approach to identify the correlation among basic elements that influenced the change of forms of the Po. To this end, the subjects were limited to the clothing from the 15th to the 18th century, which was found in the tombs of the period of Pyeonbokpo. The total number of excavated artifacts measured directly is 6 and other correctly described excavated artifacts for a total of 54 items. Per period and element, the types of collars and Seop were presented by classifying collars in 4 types, and Seop in 3 types. On the basis of the classification, the relics selected in this paper were analyzed considering the appearance, period, and rate per type of each element. The type and the change of forms of each element per period, with the focus on the appearance, were identified and the factors influencing the change of forms per element and the correlation between such factors were investigated. The representative type in the first period included dual collars, dual Seop and the representative type in the second period was characterized by a shawl collar and a dual Seop joining the pieces. The representative type in the third period was characterized by round collars and a short Seop. The elements determining the forms of Po, including collars and Seop, had a correlation to the lapse of time and had been systematically influencing each other. Furthermore, the overall change of form was caused due to the social functions as well as the supplementary function of keeping balance among the elements and accordingly, the change of forms was think characterized per period.

• 헤리티지:역사와 과학
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• 제46권4호
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• pp.160-173
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• 2013

본 연구는 정조 초장지에서 출토된 옥에 대한 문헌조사와 재질분석을 통해 유물의 재질 특성을 밝히고 비파괴진단을 통해 출토 옥의 손상도를 평가하였다. 또한 과학적 보존처리를 실시하여 출토 옥의 원형을 복원하였다. 문헌조사 결과 출토 옥은 벽옥으로 알려졌으나 재질분석 결과, 출토 옥은 안티고라이트(Antigorite) 광물조성의 사문암으로 판단된다. 열화상분석 등 손상도 평가 결과 내부손상 부분은 포획물의 경계면을 따라 발달한 간극에 의한 것으로 나타난다. 표면손상 부분의 보존처리는 석고와 아교를 혼합하여 충전하였으며 보존처리용 아크릴물감과 그로스미디엄을 혼합한 후 색맞춤하였다.

• 복식문화연구
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• 제16권5호
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• pp.937-954
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• 2008

The Gollyongpo was worn by the King and the Crown Prince in Joseon dynasty as an ordinary wear. The research on the Gollyongpo is focused on the historic record of Joseon dynasty, Joseonwangjosillok. This study will analyze literature, paintings and relics. First, I have researched Ming's(China) representative document daminghuidian, and excavated relics from the tomb dingling. I examined the usage and characteristic, through various remaining literature data, artifacts and paintings. The Gollyongpo was worn for the various ceremonies as well as an ordinary wear. According to the periode, the style and color had changed. The King wore the red Gollyongpo with 5 clawed dragon pattern, the Crown Prince wore black one with 4 clawed pattern, and the eldest son of the Crown Prince wore black one with 3 clawed dragon emblem. After the Daehan Empire, the Emperor wore gold outfit and the Crown Prince wore red outfit. Sonyongpo recorded in the Gungjungbalgi is concerned as Gollyongpo with narrow straight sleeve, one of the Sejong University Museum's Collection. There is some Possibility that the Gollyongpo painted in Bongsado is woven with dragon design, I would leave this matter for next research task.

• 한국가구학회지
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• 제26권1호
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• pp.31-50
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• 2015

This study analyzes traditional form and figurative characteristics of Ottchil Painting based on objective relics about long lasted Ottchil Painting and related literature as our country's national culture. Study range is among Lolang (Nangnang), Three Kingdom Dynastys (Koguryo, Baekje and Shilla), Unified Shilla Dynasty, Koryo Dynasty, Joseon Dynasty, Modern times and Contemporary. The method of study is after theoretical consideration of Ottchil Painting through related literature, adduced figurative characteristics of related Ottchil Painting by time period with case-study methods such as excavated relics and historical basis. Ottchil Painting consists of color, which is derived from Ottchil mixed with a mineral pigment of powder and various patterns and drawings using different techniques. The methods of Ottchil Painting are Myohoi, Yanggam, Gakhoik, Younma, Balsoa and Toiso. The techniques of Ottchil Painting of our country is established by splendid and unique for about 1,600 years revolved around Myochilchaehoi technique and Myoyuchaehoi technique started at Unified Shill a Daynasty and through Koryo, Joseon Dynasty, Modern times and Contemporary. Also, such this Ottchil Painting form of red in the inside and black in the outside, which is wood based, the rest is bamboo sheath and framework from Geonchil based and the figurative characteristics presented the traditional Patterns of Lotus, Phoenix, arabesque, bird, animal, cloud, marble and letter with red Ottchil, yellow Ottchil, or five colors Ottchil.

• 한국지형학회지
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• 제23권3호
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• pp.57-66
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• 2016

The objective of this study is to find out geomorphological characteristics of historical ruins where people produced and consumed large jar coffins excavated in the Yeongsan river basin using the map of old drainage network to restore distribution network. For this purpose, we chose the 21 consumption sites. The results are as follows. First of all, large jar coffins(relics, 47.6% of total) in the Yeongsan River basin were located in Sampo stream basin, almost all of them were located within the Yeongsan River main stream basin and Sampo stream basin. Also, distance from all consumption site to river was within about 2km. Therefore, it is thought that the all consumption sites are located at the place of the gift of nature that was very favorable to water transport of jar coffins. The results of this study may be used as basic data for research of cultural relics in the Yeongsan river basin.