• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.224-243
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• 2014

This study examined the materials and casting technology(cast, alloy, etc.) used in the manufacturing of bronze artifacts based on old literature such as Yongjae Chonghwa, Cheongong Geamul, and The Korea Review. In the casting experiment for restoration of Sangpyong Tongbo, a bronze and brass mother coin mold was made using the sand mold casting method described in The Korea Review. The cast was comprised of the original mold plate frame, wooden frame, and molding sand. Depending on the material of the outer frame, which contains the molding sand, the original mold plate frame can be either a wooden frame or steel frame. For the molding sand, light yellow-colored sand of the Jeonbuk Iri region was used. Next, the composition of the mother alloy used in the restoration of Sangpyong Tongbo was studied. In consideration of the evaporation of tin and lead during actual restoration, the composition of Cu 60%, Zn 30%, and Pb 10% for brass as stated in The Korea Review was modified to Cu 60%, Zn 35%, and Pb 15%. For bronze, based on the composition of Cu 80%, Sn 6%, and Pb 14% used for Haedong Tongbo, the composition was set as Cu 80%, Sn 11%, and Pb 19%. The mother coin mold was restored by first creating a wooden father coin, making a cast from the wooden frame and basic steel frame, alloying, casting, and making a mother coin. Component analysis was conducted on the mother alloy of the restored Sangpyong Tongbo, and its primary and secondary casts. The bronze mother alloy saw a 5% increase in copper and 4% reduction in lead. The brass parent alloy had a 5% increase in copper, but a 4% and 12% decrease in lead and tin respectively. Analysis of the primary and secondary mother coin molds using an energy dispersive spectrometer showed that the bronze mother coin mold had a reduced amount of lead, while the brass mother coin mold had less tin. This can be explained by the evaporation of lead and tin in the melting of the primary mother coin mold. In addition, the ${\alpha}$-phase and lead particles were found in the mother alloy of bronze and brass, as well as the microstructure of the primary and secondary coin molds. Impurities such as Al and Si were observed only in the brass mother coin mold.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.220-239
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• 2019

According to the National Currency (國幣) article in GyeongGukDaeJeon (經國大典), the ChoSonT'ongPaeJiIn (朝鮮通幣之印) was a seal that was imprinted on both ends of a piece of hemp fabric (布). It was used for the circulation of hemp fabric as a fabric currency (布幣). The issued fabric currency was used as a currency for trade or as pecuniary means to have one's crime exempted or replace one's labor duty. The ChoSonT'ongPaeJiIn would be imprinted on a piece of hemp fabric (布) to collect one-twentieth of tax. The ChoSonT'ongPaeJiIn (朝鮮通幣之印) was one of the historical currencies and seal materials used during the early Chosun dynasty. Its imprint was a means of collecting taxes; hence, it was one of the taxation research materials. Despite its value, however, there has been no active research undertaken on it. Thus, the investigator conducted comprehensive research on it based on related content found in JeonRokTongGo (典錄通考), Dae'JeonHu-Sok'Rok (大典後續錄), JeongHeonSwaeRok (貞軒?錄) and other geography books (地理志) as well as the materials mentioned by researchers in previous studies. The investigator demonstrated that the ChoSonT'ongPaeJiIn was established based on the concept of circulating Choson fabric notes (朝鮮布貨) with a seal on ChongOseungp'o (正五升布) in entreaty documents submitted in 1401 and that the fabric currency (布幣) with the imprint of the ChoSonT'ongPaeJiIn was used as a currency for trade, pecuniary or taxation means of having one's crime exempted, or replacing one's labor, and as a tool of revenue from ships. The use of ChoSonT'ongPaeJiIn continued even after a ban on fabric currencies (布幣) in March 1516 due to a policy on the "use of Joehwa (paper notes)" in 1515. It was still used as an official seal on local official documents in 1598. During the reign of King Yeongjo (英祖), it was used to make a military service (軍布) hemp fabric. Some records of 1779 indicate that it was used as a means of taxation for international trade. It is estimated that approximately 330 ChoSonT'ongPaeJiIn were in circulation based on records in JeongHeonSwaeRok (貞軒?錄). Although there was the imprint of ChoSonT'ongPaeJiIn in An Inquiry on Choson Currency (朝鮮貨幣考) published in 1940, there had been no fabric currencies (布幣) with its imprint on them or genuine cases of the seal. It was recently found among the artifacts of Wongaksa Temple. The seal imprint was also found on historical manuscripts produced at the Jikjisa Temple in 1775. The investigator compared the seal imprints found on the historical manuscripts of the Jikjisa Temple, attached to TapJwaJongJeonGji (塔左從政志), and published in An Inquiry on Choson Currency with the ChoSonT'ongPaeJiIn housed at the Wongaksa Temple. It was found that these seal imprints were the same shape as the one at Wongaksa Temple. In addition, their overall form was the same as the one depicted in Daerokji (大麓誌) and LiJaeNanGo (?齋亂藁). These findings demonstrate that the ChoSonT'ongPaeJiIn at Wongaksa Temple was a seal made in the 15th century and is, therefore, an important artifact in the study of Choson's currency history, taxation, and seals. There is a need for future research examining its various aspects.

• Proceedings of the Korean Institute of Surface Engineering Conference
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• 2018.06a
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• pp.6-6
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• 2018

본 연구에서는 고문헌에 기록된 도금 재료와 도금법 등을 확인하고 이를 기초자료로 활용하여 매실산을 사용한 금(Au)-수은(Hg) 아말감기법으로 고대 도금(鍍金)기술을 되살리고, 이를 토대로 경주 월지에서 출토된 금동삼존판불을 복원하였다. 먼저, 전통 도금법을 되살리기 위해서, "오주서종박물고변", "확지신편", 조선시대 각종 의궤 등에 공통적으로 기록되어 있는 매실에 주목하고, 매실을 3~4개월 발효 숙성 후 착즙한 뒤 그것을 농축하여 만든 매실산을 도금 실험에 적용하였다. 금아말감 도금을 위하여 월지 출토 금동삼존판불의 바탕소지금속인 청동삼존판불을 구리와 주석 89:11(Cu:6kg, Su:750g)로 합금하여 주물사 주조법으로 복원하였으며, 동일한 합금비로 제작된 $2.3cm{\times}3.5cm$(가로${\times}$세로)의 시편에 사전 실험을 실시하였다. 현대적 산처리 방식에 사용되는 질산과 전통방식으로 사용되는 매실산으로 시편에 산처리 한 후 각각 비교해 보고, 금분과 금박, 상온과 가온에 따른 아말감상태를 비교하는 실험을 진행하였는데, 실험에 사용된 매실산 70%는 pH가 1.94로, 오늘날 산처리에 사용하고 있는 질산 20%와는 차이가 있지만, 청동 시편 실험을 통해 매실산에 20분 정도 담근 뒤 금아말감을 도포 후 24시간 지나 가열($380{\sim}400^{\circ}C$) 했을 때 금도금이 잘 되어, 현대적 방법인 질산처리로 도금을 한 시편과 큰 차이가 없는 것으로 관찰되었다. 사전 실험을 통한 결과를 적용한 월지 출토 금동삼존판불 복원은 청동삼존판불 표면처리, 금-수은 합금 및 도금하기, 도금 후 표면처리의 순서로 진행되었는데, 금과 소지금속의 밀착력을 높이기 위해 표면을 숯을 이용해 탈지한 후 물로 씻어내고 매실산을 도포하여 20분 동안 두어 부식 및 세척을 시행하였다. 금도금을 위한 금-수은아말감은 가온할 때 수은이 증발하는 양을 고려하여 금1 : 수은10 비율로 합금하여 완성하였으며, 금아말감 도포 후 약 24시간 지난 다음, $380{\sim}400^{\circ}C$에 가열하여 수은을 기화시켜 도금작업을 완성하였다. 금아말감도금은 평균적으로 6~7차례 시행하여야 완벽히 도금되지만, 본 연구에서는 단 4차례의 도금만으로 금아말감도금을 완성시켰는데, 이것은 금아말감을 바탕소지인 청동에 도포한 후 24시간 동안 금아말감과 청동과의 반응 시간을 두게한 것이 큰 역할을 한 것으로 보이며, 이는 청동시편을 이용한 실험과 과학적 분석을 통하여 입증하였다. SEM으로 표면을 관찰한 결과 아말감 도포시간이 즉시인 경우 도금이 거의 되지 않은 것을 확인할 수 있었고 36시간이 넘어갈 경우 금 도금층이 불균일하게 관찰되었으므로 도금시간은 12시간~24시간 이내가 적절함을 확인할 수 있었다. EDS로 성분을 분석한 결과 산처리 시간이 20분인 시료의 경우 5 wt% 내외로 수은의 비율이 다른 시료에 비해 낮은 것을 확인할 수 있었다. 실험 및 분석결과 산처리 시간이 20분이고 아말감 도포시간이 24시간일 때 도금이 잘 이루어지므로 이 결과를 토대로 금동삼존판불을 복원하였다. 이번 연구를 통해 도금법에 표면을 세척하고 부식시키기 위해 사용한 물질이 매실산임을 찾아내어 확인할 수 있었는데, 이러한 점 에서 이 연구의 가장 큰 의미는 전통 소재와 기술을 복원한 것으로, 앞으로 매실산을 이용한 금 도금기술은 관련 학계에도 큰 기여를 할 것으로 기대된다.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.106-119
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• 2014

The $76^{th}$ National Treasure is consisted of seven volumes of Nanjung Ilgi (War Diary of Admiral Yi Sun-sin; each titled by the author based on the zodiac name of the year covered, i.e. Imjin Ilgi, Gyesa Ilgi, Gabo Ilgi, Byeongsin Ilgi, Jeongyu Ilgi, Sok Jeongyu Ilgi, Musul Ilgi), Seogancheob (Letters of Admiral Yi) and Imjin Jangcho (Drafts of Imjin War Reports of Admiral Yi). These are currently in the custody of Hyeonchungsa shrine, the state-managed memorial shrine of Admiral Yi, and has been added to UNESCO's Memory of the World Register in June 2013 in the appreciation of its historical and academic importance as a commander's hand-written battlefield accounts during Japanese invasions of Korea. Imjin Jangcho, among these nine volumes, is a record of battles, including observations on the enemy fleets, suggestions on naval matters, battle expenditure, and methods of battle preparation, transcribed by someone else according to Admiral Yi's instructions. It is Admiral Yi's honest detailobservations on the war situation during Japanese invasions of Korea from 1592 as a Naval Commander of Left Jeolla Province, till 1594 (Year 27 of King Seonjo's reign) as a Commander-in-Chief of the Naval Forces of the South. It is a draft of the war report to be submitted to the King in a single volume as a folio (each sheet folded once to produce one leaf) bound in a side-stitched binding with five holes and inner binding of twisted paper. This study explores the condition and the treatment performed on Imjin Jangcho which could have an implication for the conservation of cultural assets on paper of late Joseon Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.1-14
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• 2021

This study attempted to examine the loving pigeon culture practiced in traditional gardens and to illuminate the aspect of pigeons as a landscape animal material. In order to understand the culture of enjoying old garden through pigeons, the contents were analyzed for the translated version of the old literatures and paintings. Pigeons have been used as Jeonseo-gu(傳書鳩) and also for medicinal purposes and food. Pigeons have various symbolic meanings such as abundance, hospitality, and longevity. From the Goryeo Dynasty to the early Joseon Dynasty, pigeons were raised in the palace and private garden. In the late Joseon Dynasty, temporary trend of ornamental pigeon culture occurred. Pigeons were synesthesia materials that enriched the forest. Various beautiful pigeons created a variable landscape of the primeval forest as a moving landscape material. The bell sounds that appear differently depending on the pigeon's movement led to a rich auditory experience of the landscape. The pigeon house was an ornamental element that enriched the old garden along with the pigeon. The owners of garden were involved in gardening through the act of buying a pigeon house and placing it in the garden or making a pigeon house themselves. In addition, the writers planted plum trees, peach trees, apricot trees, and hawthorn trees as a symbol of spring and a source of food for pigeons, and expressed them in poems and paintings. This study has a limitation in that the translation of the old text was used as an analysis data. The follow-up studies on specific cases of raising pigeons in the old garden, in modern and contemporary landscape spaces are urged.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.1-13
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• 2011

Cheongpyeongsa Temple was originally built in the early years of Goryeo Dynasty, but its current structural framework was made by the Lord Jinrakgong Lee Ja Hyeon(1061-1125) of the middle Goryeo period based on the Zen thought after he began living in the Cheongpyeong mountain around the temple in 1089. The purpose of this study is to conceptualize, based on old documents, historical changes of the appearance and survival of man-made structures with in the Zen garden formed and developed after Lee Ja Hyeon laid the foundation for Munsuwon Zen garden. Among the eight, outside-the-temple hermitages built at the time of Lee Ja Hyeon's Munsuwon Zen garden, only three hermitages, which are Sik-am, Gyeonseong-am, Yangshin-am had been remaining thanks to restoration and repair until late Joseon Dynasty and preserved as symbolic hermitages. Also, the Yeongji Pond built at the time of Lee Ja Hyeon still remains as precious landscape relics which is meaningful as a genuine Goryeo-period pond. The nine pine trees said to be planted by Lee Ja Hyeon remained until middle 1800s through their descendant trees. When the Buddhist monk Bowoo Daesa(1509-1565)changed the name to Cheongpyeongsa Temple in middle Joseon based on the Munsuwon Zen garden built by Lee Ja Hyeon and greatly expanded it, he newly built and expanded all buildings inside the temple except for Neunginjeon(main temple building), resulting in the present temple structure. In addition, by greatly enhancing the level of scenery by reconstructing Yeongji Pond outside the temple area and transplanting garden plants from the royal court, he made Cheongpyeongsa Temple the most prosperous Zen garden in its history. But after the mid-1800s, which is late Joseon period, Cheongpyeongsa Temple failed to thrive further and began to decline, and so currently most buildings of the Zen garden have disappeared except for some parts of the temple and other facilities are neglected.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.40-48
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• 2011

Mt. Hee-yang is located in Mungyeong-si, Gyeongsangbuk-do, South Korea. Through the analysis and interpretations of twenty-two different ancient writings which covers Mt. Hee-yang, and three times of field studies, I tried to analyze the cognition of our ancestors in those days regarding Mt. Hee-yang. Since Mt. Hee-yang goes very deep in the mountain range, Mt. Hee-yang was recognized as appropriate place for seclusion or operating Byeolseo. From the era of Silla, in terms of Fengshui, Mt. Hee-yang was also interpreted as an image of either a phoenix flying into the sky(鳳凰登天) or a valley of a phoenix and dragon(鳳巖龍谷). This cognition comes from its formations of topographical features, and continued to the era of Joseon Dynasty. The purposes of excursion were to retrace the course of predecessors, to attain one's long-cherished desire to visit, or to enjoy holidays. From the analysis of Mt. Hee-yang's visitors, the average social status of them is lowered a lot around the end of Joseon Dynasty, compared with the early period of Joseon Dynasty. Studying the visitor's route of Mt. Hee-yang, I could see the places that are highly-recognized were the top of Mt. Hee-yang, Seonyudong(仙遊洞), Bakundae(白雲臺), Yayuam(夜遊岩). Mt. Hee-yang was recognized as Sun-kyung(仙境) where Sin-seon(a taoist hermit with miraculous powers; the sage of old) lives, and mostly it was main destination of visit while Bakundae(白雲臺) was perceived diversely on each visitor because of its strange scenery.

• The Journal of Korean Philosophical History
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• no.29
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• pp.311-349
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• 2010

This report introduces the papers on Japanese Confucianism and Kokugaku thought written in Japanese, Korean, Chinese language and English during 2008. In this paper the data is based on the periodicals index databases of the digital libraries such as the National Diet Library of Japan, the China Academic Journal of China, the National Central Library of Taiwan and the National Assembly Library of Korea and so on. There were 42 articles published on the Japanese Confucian School. In the articles, 29 ones were written in Japanese, 7 in Korean, 4 in Chinese, and 2 in English. 54 articles were published on Yangming School, 41 written in Japanese, 2 in Korean, 10 in Chinese, 1 in English. 50 ones also published on Kohaku School or Mitogaku School. In the articles there were 32 ones written in Japanese, 7 in Korean, 9 in Chinese, 2 in English. And 58 ones on Kokugaku School were published, 51 were written in Japanese, 4 in Korean, 1 in Chinese, 2 in English. Totally 204 articles were written in Japanese, Korean, Chinese, or English language in 2008 throughout the world. This report is divided into 4 chapters, such as Chapter 1 - Syusigaku School, Chapter 2 - Youmeigaku school, Chapter 3 - Kohaku School and Mitogaku School and Chapter 4 - Kokugaku School. In each chapter, some articles are briefly introduced and some are in detail.

• 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.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.76-101
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• 2013

In this article, we examine the Taeshil of King Jungjo, the 22nd King of the Joseon dynasty located in Yongwol, Gangwondo. The Jangtae culture - burial of the navel cord - is a unique Royal ritual which began during the Shilla dynasty and continued to be carried out for a long period until the Koryo and Joseon dynasties. Until today, about 300 Taebong sites have been discovered, most of which are the Taebong of the decedents of the royal family of the Joseon Kingdom. Most Taeshils built for Kings of the Joseon dynasty were destroyed during the Japanese colonial period, among which only a few have been recovered and managed across the nation. The Taeshil of King Jungjo is one of the leading examples among existing Taeshils in Korea which has managed to preserve well enshrined relics as well as literature documents including stone relics in perfect sets. Thus, in order to examine the Taeshil of King Jungjo comprehensively, first of all literary materials related to the construction of King Jungjo's Taeshil such as the Josunwangjosilrok - "Annals of the Choson Dynasty (朝鮮王朝實錄)". "Jungjongdaewang Taesilgabong Euigwe (正宗大王胎室加封儀軌) - Royal activities related to Taeshil, and local historic documents etc were searched and put together, while a focus was placed on examining the geographical location and state of the Taebong, including the specific style of each part of the Taeshil stone and characteristics of enshrined relics. Such materials are believed to have important utility in the future as a basic material to be used for research, maintenance, and restoration of Taeshil relics. So far, Taeshil relics is a field that has not been able to attract much attention from the academic world, however attention has begun to be paid to Taeshil relics due to recent archaeological excavations as well as an approach to artistic history. Academic research results are expected if Taeshil relics are able to be examined comprehensively in future covering various areas such as literature history, archaeology, and artistic history etc.