• The Science & Technology
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• v.35 no.12 s.403
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• pp.30-31
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• 2002

우리나라의 고분벽화는 주로 고구려 무덤에서 많이 발굴되었는데 압록강 유역과 평양을 중심으로 하는 중국지방에서 90여기가 발굴되었다. 삼국시대 이후 고려와 조선조에 이르기까지 명맥만 유지해 왔다. 이 고분벽화는 종교적 내용에서 비롯하여 고구려인의 전투적 모습과 수호신이 주류를 이루고 있고 재료는 물에 녹지 않는 천연 광물성 재료들을 많이 이용했다.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.8
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• pp.1161-1169
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• 1999

This research was aimed to identify the artifact type and their characteristics of the textile related materials excavated from Koryo Dynasty tombs of Hyungok-ni Danyang. Microscopy solubility test energy dispersive X-ray spectroscopy(EDS) and fourier transform infrared spectroscopy (FT-IR) fabric density test were used for the identification and when necessary standard samples were made in order to compare its characteristics with hose of the original artifact, the result indicated that the artifacts included both textile and paper. Artifacts from Burial 14 were comprised of textile fragments FT-IR and the solubility test conducted on the artifact indicated that the textiles were made with ramie woven with plain weave technique in a fairly loose fabric density. Rest of the artifacts were all comprised of paper.

• Bulletin of the Korean Space Science Society
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• 2009.10a
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• pp.31.3-31.3
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• 2009

견우와 직녀의 사랑 이야기가 얽혀 있는 두 별은 여름철을 대표하는 별들로서 중국 문화권에서는 지난 수 천 년 동안 매우 인기가 높은 별이었다. 두 별은 중국의 춘추전국시대의 노래를 모아 놓은 시경(詩經)에 이미 등장하고 있고, 서기 408년에 조성된 고구려의 덕흥리 고분 속에 있는 벽화에도 그려져 있다. 고려시대에는 이 별들에 대한 국가적인 제사를 지냈으며, 조선 시대에는 칠월칠석에 국왕이 신하들과 어울려 잔치를 베풀고 칠석시(七夕詩)를 지어서 책으로 편찬하는 일도 있었다. 한편 견우성은 주로 농사와 관계된 별점을 가지고 있었고, 시각제도와 긴밀한 관계가 있는 28宿(수)의 하나였으므로 천문학자들이 지속적으로 관심을 갖고 관측한 별이다. 그러한 관측의 결과는 고려사, 조선왕조실록, 승정원일기 등에 다수가 남아 있다. 그런데 동양 천문학에서 이미 널리 다루어졌던 문제 가운데 하나는, 바로 이 문학적 견우성과 천문학적 견우성이 일치하지 않는다는 것이다. 지금 일반 시민들에게 견우성은 독수리자리의 알테어(Altair)로 알려져 있다. 그러나 모든 사서와 고대 천문서 및 천문도가 지칭하는 견우성은 염소자리의 다비(Dabih)라는 별이다. 견우성이 28宿(수)의 하나라는 사실은 그 별(별자리)이 황도와 백도 근처에 있어야 함을 의미한다. 따라서 알테어는 적위가 높아서 도저히 28宿(수)에 속할 수가 없다. 게다가 알테어는 은하수 속에 들어가 있으므로, 견우와 직녀가 은하수를 사이에 두고 마주보고 있다는 일반적인 설화와도 어긋난다. 그럼에도 불구하고, 현재 대다수의 서적과 매체, 그리고 일반인을 대상으로 한 행사와 천문관에서 상영되는 프로그램들에는 모두 알테어를 견우성으로 하여 설명하고 있다. 이러한 불일치는 상당한 혼란을 초래하고 있는 상황이다. 이 연구에서는 이러한 불일치가 천문학적인 견우성과 인문학적인 견우성의 불일치로 보고, 이 문제를 실증적으로 접근해 본다. 즉, 고려사, 조선왕조실록, 승정원일기에 실려 있는 견우성 엄폐 관측 기록을 조사하여 한국사에서 전문 천문학자들은 어느 별을 견우성이라고 보아왔는지 알아보고, 또한 일반인들이 지은 시문에는 어떤 별을 견우성으로 여겼는지 고찰한다. 아울러 역사적으로 이 문제에 대한 선인들의 생각을 짚어보고, 중국과 일본의 학자들은 이 문제를 어떻게 바라보고 있는지를 살핀 다음, 마지막으로 현실적으로 이 문제를 어떻게 해결할 수 있는지 고찰해 본다.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Journal of Conservation Science
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• v.33 no.5
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• pp.355-362
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• 2017

The Nongso tomb of Sunchang was built in a relatively deep place; hence there was little damage from grave robbers. The tomb was completely filled with a large amount of charcoal, and therefore the wooden coffin was excavated in relatively good condition. On the basis of the structure of the tombs, excavated artifacts, and radiocarbon dating results, the tomb is estimated to be from between the late Goryeo and the early Joseon period. The wooden coffin excavated is double-layered structures consisting of an outer coffin and an inner coffin. The outside of the wooden coffin is thickly lacquered and decorated with yellow letters and white motifs. An analysis of the pigments' components revealed that the major component of the letters was gold (Au) and the major component of the motifs was silver (Ag). The coffin lacquer had three layers: a pigment layer, a yellowish-brown layer, and a black layer. The wooden bases of the coffins were painted with a black substance, such as soot, as mineral elements were not detected in the black layer. The yellowish-brown layer is presumed to be refined lacquer. From the analysis of the structure of the layers and pigments, we can estimate the method was adopted for making lacquer for wooden coffin. It is assumed that the method used gold leaf and gold powder. The form of the pigment and the internal structure are likely to be gold leaf, but the shape of the surface letters appears to have been formed using gold powder. This study will serve as important information for understanding lacquer making techniques at the time of the tombs' construction by confirming the making method through reproduction experiments using gold leaf and gold powder.

• Korean Journal of Heritage: History & Science
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• v.51 no.2
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• pp.92-107
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• 2018

In 2013~2016, gilt-bronze shoes were excavated from the ancient tombs in Jeongchon Village located at Bogam-ri, Dasi-myeon in Naju. They are estimated to have been made in the late 5th or early 6th centuries. The gilt-bronze shoes are significant in that they serve to explicate the relationship between the center of Baekje and the local forces in the Yeongsan River Basin. This study's specific focus was the gilt-bronze shoes from the ancient tombs in Jeongchon Village. Based on the findings, a restoration drawing was designed and restored products were manufactured by considering metalwork techniques used to manufacture the original ones. At first, manufacturing techniques were tested by using a scientific analysis and visual observation. The manufacturing method, structures, and patterns of the gilt-bronze shoes were closely examined. Then, a design drawing of gilt-bronze shoes was created through field measurement and they were recreated on the basis of the analysis. The original form of the restored products were manufactured through cutting out the outward form, bore carving, engraving, molding, plating, and an assembly process. In the restoration process, this study examined the formal characteristics of gilt-bronze shoes, manufacturing techniques, and archetypes during Baekje's late Hanseong era. Products restored from this study are expected to be used as achievements for more easily understanding the culture of Baekje.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.208-227
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• 2013

Twenty-seven bronze bowls excavated from the Goryo burial complex at Deobu-gol were examined for their microstructure and chemical composition to characterize the bronze technology practiced by commoners at the time. Results showed that the objects examined can be classified into four groups: 1) objects forged out of Cu-near 22%Sn alloys and then quenched; 2) objects cast from Cu-below 10% Sn alloys containing lead; 3) objects cast from Cu-10%~20% Sn alloys containing lead and then quenched; 4) objects forged out of Cu-10~20% Sn alloys containing lead and then quenched. This study revealed that the fabrication technique as determined by alloy compositions plays an important role in bronze technology. The use of lead was clearly associated with the selection of quenching temperatures, the character of inclusions and the color characteristics of bronze surfaces. It was found that the objects containing lead were quenched at temperatures of $520^{\circ}{\sim}586^{\circ}C$ while those without lead were quenched at the range of $586^{\circ}{\sim}799^{\circ}C$. The presence of selenium in impurity inclusions was detected only in alloys containing lead, suggesting that the raw materials, Cu and Sn, used in making the lead-free alloys for the first group were carefully selected from those smelted using ores without lead contamination. Furthermore, the addition of lead was found to have significant effects on the color characteristics of the surface of bronze alloys when they are subjected to corrosion during interment. In leaded alloys, corrosion turns the surface light green or dark green while in unleaded alloys, corrosion turns the surface dark brown or black. It was found that in fabrication, the wall thickness of the bronze bowls varies depending on the application of quenching; most of the quenched objects have walls 1mm thick or below while those without quenching have walls 1mm thick or above. Fabrication techniques in bronze making usually reflect social environments of a community. It is likely that in the late Goryo period, experiencing lack of skilled bronze workers, the increased demand for bronze was met in two ways; by the use of chief lead instead of expensive tin and by the use of casting suitable for mass production. The above results show that the Goryo bronze workers tried to overcome such a resource-limited environment through technological innovations as apparent in the use of varying fabrication techniques for different alloys. Recently, numerous bronze objects are excavated and available for investigation. This study shows that with the use of proper analytical techniques they can serve as a valuable source of information required for the characterization of the associated technology as well as the social environment leading to the establishment of such technology.

• (The) Research of the performance art and culture
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• no.32
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• pp.701-738
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• 2016

The Geomungo(거문고) is a instrument of Gogureoy(高句麗). The instrument had covered a lot of Korea, so it have become a important musical instrument in Korea. Hayasi Genjo(林謙三), Japanese scholar, had maintained his opinion that the Geomungo of Gogureoy is the Wagonghu(臥??), and the Geomungo was formed later, the record of Kimbusik, wrighter of the History of Three Kingdom(三國史記), was incredible. Lee-Hyegu refuted his hypothesis because the introduction on the Wagonghu of Japan have been inaccurate. Since then, many scholars of Korea have studed on the Geomungo of Gogureoy. But their study of the Geomungo was inclined to the topic, relation of the Geomungo and the Wagonghu, or the Wagonghu, the origin of the Geomungo. And They have thought that the record of Kimbusik's was truth. Kimbusik had recorded that Wangsanak(王山岳) had made the Geomungo from the Chilheoyn-Geum(七絃琴, Seven stringed Zither. 古琴). But the Geomungo was different from Geum(琴), but similar to Wagonghu. Many ancient tomb have been unearthed in the old land of Gogureoy, and the were many tomb painting of Gogureoy Geomungo. They were many different style, the form, the size, the number of strings and the position of the musician. So I think that many various type of the Geomungo had been exsited in Gogureoy they had become a prestyle of the Geomungo. The Geomungo was originated from the Wagonghu, its form was similar to the Geomungo. The many scholars considered that it is truth, the Wagonghu was handed down from China, and was spreded to Japan. But there were the Wagonghu in the early Joseon(古朝鮮), The song of the early Joseon, Gongmudohaga(公無渡河歌). The song was accompanied by the Wagonghu. We can read off, at the Song, the Wagonghu had exsisted in the early Joseon. So I think cautiously on that point, the Wagonghu of the Early Joseon was old than that of China, and thd Geomungo of Gogureoy was originated from the Wagonghu of the Early Joseon.

• Proceedings of the Korean Aquaculture Society Conference
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• 2003.10a
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• pp.22-22
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• 2003

로티퍼는 해산어와 담수어뿐만 아니라 식용어와 관상어에 이르기까지 모든 어류의 인공 종묘 생산 과정에서 초기 먹이생물로 이용되고 있는 중요한 동물 플랑크톤이다. 그리고 로티퍼를 초기 자어의 첫 먹이로 사용하는 것을 시작으로 알테미아, 코페포다 또는 초미립자 사료 등을 사용하는 어류 인공종묘 생산 과정에서의 먹이계열이 확립되어 있다. 그러나, 사육하고자 하는 어종에 따라 초기 자어기에서 로티퍼를 섭이하는 시기와 사육 일령별 자어의 로티퍼 포식수를 알 수 있는 정확한 방법이 없다는 이유로 지금까지는 자어의 로티퍼 최초 포식 일령 및 로티퍼 포식수를 개개의 연구자들 나름대로의 방법으로 관찰하여 왔다. 일반적으로 자어가 로티퍼를 포식하였는지의 여부 및 포식수는 자어 소화기내에 존재하는 소화가 진행되기 전의 로티퍼 몸체의 수를 계수하는 방법으로 이루어졌다. 로티퍼의 체내에는 섬모환으로 모은 수중의 먹이 현탁액을 소화기계로 이동시키기 전에 먹이를 잘게 다지고 부수는 기능을 하는 저작기 (trophi)가 존재한다. 그리고 이 저작기는 로티퍼의 종에 따라서 다른 형태를 하고 있는 것으로 알려져 있다. 이 연구에서는 자어가 섭이한 로티퍼는 어류의 소화기내에서 소화가 진행되는 과정에서 로티퍼의 체 구조 중 저작기가 쉽게 소화되기 어렵고 소화기관의 연동 운동에 의해서도 쉽게 그 모양이 손상되지 않는다는 것을 발견하고 이 저작기의 수를 계수하므로서 로티퍼의 최초 섭이 일령 및 일령별 로티퍼 포식수를 계수할 수 있는 방법을 검토하였다. 그 결과, 소화기내의 잔존 로티퍼 몸체만으로 계수 관찰하던 기존 방법에 비교하여 로티퍼의 저작기를 계수하는 방법을 이용할 경우 보다 신뢰도가 높은 결과를 도출할 수 있음을 확인하였다. 경제적 가치의 우수성 때문만은 아니다. 미국은 자국의 대두 생산자들이 생산해 낸 대두를 판매하면서 조성한 자조금을 모아 대두의 생산성을 향상시키기 위한 연구 개발과 국내외 시장을 확대하기 위한 마케팅 활동에 쓰고 있다. 이런 자조 노력은 비단 미국의 대두 농민들에게만 국한된 것이 아니다. 가깝게는 일본의 수산업과 해산어 양식산업의 발전은 중앙 및 지방 정부, 수협과 같은 어민 조합 및 연근해 수산업 종사자들이 출연한 기금을 통해 이루어지고 있음을 지난 8월 북해도의 양식산업을 시찰했을 때 확인할 수 있었던 사실이다. 이제 우리나라도 국민소득 1만불 시대를 넘어 2만불 시대를 열기 위한 청사진을 그릴 만큼 모든 경제의 규모가 확대되었을 뿐 아니라 질적으로 고도화되었다. 우리에게 필요한 것은 성숙된 산업사회에 걸맞는 각 산업 주체들의 의식이다. 한국의 양식산업도 자조 정신을 갖추어 생산성 향상에 초점을 맞춘 양식기술의 개발, 환경 보전을 고려한 양식장 관리 및 소비를 확대하기 위한 유통시스템의 선진화에 스스로 투자를 해야 할 시기에 와 있다.치가 완전히 익은 15일 후에는 무첨가 김치, 0.1%, 0.2% 및 0.3% 고분자 키토산 김치의 젖산균 수는 5.4X107 cfu/g, 3.3X107 cfu/g, 8.6X106 cfu/g 및 2.6X106 cfu/g로 나타났다. 5. 발효가 진행 중에 대장균 군 수가 시간과 더불어 대장균군 수가 모든 구에 있어서 6일까지는 서서히 증가하다가 그 후부터는 대장균 군 수가 감소하였다. 즉, 발효초기에는 모든 구가 2.0X104∼4.0X105 cfu/g이었고, 6일 경에는 8.9X104∼4.5X105 cfu/g로 약간 증가하였으며 15일후에는 키토산 무첨가 김치가 2.0X

• (The)Study of the Eastern Classic
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• no.34
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• pp.225-255
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• 2009

Few data on the epigraph from the Bal-Hae Dynasty have been reported so far. The present paper, based on an examination of the style of the epitaphic tombstones of Princess Jeong-Hye and Princess Jeong-Hyo, investigates the historical formation and characteristics of Balhae's epitaphic style and its influences on the posterior periods. The epitaphs from the Bal-Hae Dynasty have the following epigraphic characteristics and historical significances. First, Bal-Hae's epitaphs are similar to those from the Goguryeo Dynasty in the sense that they are angular in their form. Tombstones with angular head first appeared during the East Han period. During the Wi-Jin period, however, as tombstones were not allowed to be erected in front of the tomb, small-sized epitaphic tombstones were set up inside tombs. Typical tombstones from the Dang Dynasty had stone pole and square cover. Unlike those from the Dang and the Tong-Il Silla Dynasties, however, the epitaphs from Bal-Hae had angular head in their tombstone body. The Bal-Hae's angular headed tombstones are very likely to testify that Goguryeo's epitaphs, which features an influence from the Wi-Jin Nambuk-Jo period, in turn exerted an effect on those from the Bal-Hae Dynasty. Second, Bal-Hae's epitaphic tombstones are characterized by their hexagonal head,which were modified from the then typical pentagonal head by cutting out the sharp point. The hexagonal head, which has not been found in its neighboring countries during the same historical period, is peculiar to the epitaphic tombstones from the Bal-Hae Dynasty. Third, the edge lines and ornamental figures first appeared in Bal-Hae's epitaphic tombstones, as seen in those of Princess Jeong-Hye. In the fa?ade of the epitaphic tombstone, a carved line demarcates its rectangular body and trapezoidal head. Four faces of the body stonehave two parallel lines in their edges within which vignette was inscribed, and the trapezoidal head part was ornamented with flower figures. Fourth, Bal-Hae's epitaphic tombstone had an extensive influence on the posterior countries in its neighborhood. The epitaphic tombstones in the Bal-Hae style are very often found in those of the Goryeo Dynasty and the Yo Dynasty which were greatly influenced from Bal-Hae. The vestiges of Bal-Hae's epitaphic style are also found in those from the Song, the Geum, and the Won Dynasties.