• Journal of Astronomy and Space Sciences
• /
• v.20 no.1
• /
• pp.83-94
• /
• 2003

Chon-Mun-Ryu-Cho (天文類抄), written (edited) by Lee Sun-Ji (李純之) during the period of King Se-Jong, is a representative astronomy book of Cho-Sun (朝鮮: A.D. 1392-1910) Dynasty. We find and study in the first page of the book; the description of 28 oriental constellations as a Sasin (four mythical oriental animals)-animal sky map which is not widely known yet. The map consists of four groups of constellations, each of which represents the Sasin: Chang-Ryong (蒼龍: dragon), Baek-Ho (白虎: tige.s with Ki-Rin [離隣: Oriental giraffe]), Ju-Jak (朱崔: Chinese phoenix), Hyun-Mu (玄武: a tortoise interwined with a snake). Each group (animals) spans 2 ～ 7 of 28 oriental constellations (宿). As we know from the illustration (論說) of the Chon-Sang-Yol-Cha-Bun-Ya-Ji-Do (天象列次分野之圖), a representative sky map of Cho-Sun Dynasty, astronomy in Cho-Sun Dynasty is closely related to that in Go- Gu-Rye. (高句麗: B.C. 37 -A.D. 668) Dynasty. Since these Sasin-animals appear in most mural paintings of Go-Gu-Rye. (高句麗) tombs, visualization of sky with these animal constellations could have been established as early as in Go-Gu-Ryer Dynasty. We also reconstruct this ”A Sasin-animal Korean sky map” based on the shapes of the Sasin and Ki-Rin from Go-Gu-Ryer paintings and 28 oriental constellations in Chon- S an g- Yol- C h a- B un- Ya- J i- Do.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.3
• /
• pp.86-107
• /
• 2014

The large stone cist tomb 8501 of Lingcheng prefecture Xiaoheishigou, according to Chinese chronology, was built during the late Western Zhou period. However in this tomb not only Chinese Zhongyuan style bronze ceremonial vessels but also indigenous style bronze ceremonial vessels and instruments and hybrid bronze ceremonial vessels with a mixture of both indigenous and Chinese styles were excavated in large numbers. The bronze ceremonial vessel assemblage of Xiaoheishigou, in comparison with the decorum regulations and bronze cauldron and coffer system of the Chinese Zhongyuan region of the same time period, belong to that of the lowest status category. However, in contrast to the lowest class category tombs of the Chinese Zhongyuan region, in this tomb, with the exception of cauldrons and coffers, the remaining food and wine vessels of the assemblage match the standard of emperors and feudal rulers of vassal states. This is reinforced by the burial of musical instruments. Of the bronze ceremonial vessels of Xiaoheishigou large stone cist tomb 8501, the indigenous and hybrid styles, in consideration of manufacture technology seem to have been manufactured locally. However, the form, pattern and also the standards of the Western Zhou style bronze ceremonial vessels are identical to those of the Chinese Zhongyuan region and therefore it is clear that they were manufactured in Western Zhou. The reason for these precious ceremonial vessels which were manufactured and used in the many individual vassal states of the Chinese Zhongyuan region being buried in Xiaoheishigou, seems to have been the result of economic exchange and friendly political relations between the Xiaoheishigou and other groups rather than these vessels having been plundered by the Xiaoheishigou group. A distinct cultural sphere existed between the Upper Xiajiadian culture and Western Zhou which interacted frequently with both sides.

• Korean Journal of Heritage: History & Science
• /
• v.50 no.4
• /
• pp.20-37
• /
• 2017

It is called the "Painted lead glaze pottery" that is painted green, brown, yellow over white or light yellow glazed base among glazed pottery in the Northern Qi Dynasty. Even though the white glazed pot painted green with three ears and the yellow glazed jar painted green with long neck is found in the Fan-cui Tomb in Honghetun Village, Anyang City, Henan Province in 1971, these potteries were not focused in academic circles. While the white glazed pottery found with them was thought as the earliest evidence of the white porcelain that the date is clear, it has constantly been discussed so far. In this paper, focused on the painted lead glaze pottery, the materials from tombs and kiln sites are organized, and based on them, the decoration feature and production technique is analyzed. The emergence time of this pottery is checked by the date of tombs and the social value of this pottery is considered by the position of the buried person. The painted lead glaze pottery of the Northern Qi Dynasty has independent character such as porcelain clay, twice firing burning and painting technique over glazed base. This character emerged from several glazed potteries in the Northern Wei Dynasty and it continued to the Northern Qi Dynasty. At last, the white painted lead glazed pottery appeared. The painted lead glaze pottery was formed by the combination of a shape of the ceramic in Southern China and painting technique after the Northern Wei Dynasty in Northern China.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.3
• /
• pp.6-20
• /
• 2022

The restoration of cultural heritage materials is an important research theme. This study improved the existing cultural heritage restoration method and attempted to establish a restoration system for cultural heritage data based on historical documents and visual materials. Recognizing the limitations of existing studies, this paper attempted to restore cultural heritage data through interdisciplinary research. In addition, 3D restoration was carried out after restoration in 2D form based on literature documents rather than existing visual sources. The object of restoration that was selected was "Jeol," which represents the power of the king of Koguryo. Koguryo's Jeol is a type of flag. Jeol appears in the mural in Anak Tomb No. 3. Rather than using only photographic materials of murals, the restoration was carried out through cross-validation of literature data and materials on archaeological art history. This is important in that the restoration carried out in this study is an accurate restoration with a historical understanding based on the literature of the relevant cultural heritage. In this study, a restoration process based on historical records was established. A 3D restoration process was performed by adding and applying visual materials after the object was first shaped based on the literature data. Restoration based on literature and visual materials was carried out based on interdisciplinary research. Therefore, this study aims to build a digital restoration system for cultural heritages and to contribute to spreading the 3D digital restoration research of cultural heritages that can be applied to various platforms.

• KOMUNHWA
• /
• no.56
• /
• pp.3-27
• /
• 2000

Hunting and gathering was the primary way to live in the Korean peninsula during the neolithic age. People were not able to invest much labor in making their tombs because of so much activity for their living. Small tombs like the shallow pit tomb(土壙墓) we

• Journal of Conservation Science
• /
• v.30 no.1
• /
• pp.33-38
• /
• 2014

The adhesive material was found for joining pottery fragments from Duurlig Nars, Mongolia estimated in AD 1C. In this study, analysis of natural substance for joining fragments of pottery was performed using gas chromatograph and mass spectrometer. As a result, it was identified triterpenoid substances, such as lupeol and betulin which were known to constituents of birch bark tar. It was suggested that Mongolian used adhesives made by birch bark tar for joining pottery fragments. Therefore if organic materials of ancient objects are systematically researched, it can provide significant evidence related to the way of life of ancient people.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.3
• /
• pp.178-199
• /
• 2011

The ancient tombs found in Bokcheon-dong, Busan originate from the time between the $4^{th}$ and $5^{th}$ centuries, the period of the Three Nations. They are known as the tombs where the Vertical Plate Armour was mainly buried. In 2006, two units of the Vertical Plate Armour were additionally investigated in the tombs No.164 and No.165 which had been constructed at the end of the eastern slope near the hill of the group of ancient tombs in Bokcheon-dong. Throughout this study, the contents of the two units of the Vertical Plate Armour, whose preservation process has been completed, have been arranged, while the group of constructed ancient tombs in Bokcheon-dong from the $4^{th}$ century has been observed through the consideration of the burial pattern. The units of the Vertical Plate Armour from the tombs No.164 and No.165 can be classified as the IIa-typed armor showing the Gyeongju and Ulsan patterns, according to the attribute of the manufacturing technology. Also, they can be chronologically recorded as those from the early period of Stage II among the three stages regarding the chronological recording of the Vertical Plate Armour. While more than two units of the Vertical Plate Armour were buried in the largesized tomb on the top of the hill of the group of ancient tombs, one unit of the Vertical Plate Armour was buried in the small-sized tomb. By considering such a trend, it can be said that in the stage of burying the armor showing the Gyeongju and Ulsan patterns (I-type and IIa-type), different units of the Vertical Plate Armour were buried according to the size of the tomb. However, as the armor showing the Busan pattern (IIb-type) was settled, only one unit was buried. Meanwhile, the tombs No.164 and No.165 can be included in the wooden chamber tomb showing the Gyeongju pattern, which is a slender rectangular wooden chamber tomb with the aspect ratio of more than 1:3. However, according to the trend shown by the buried earthenware, it can be said that there seem to be common types and patterns shared with the earthenware which has been found in the area of Gimhae and is called the one showing the Geumgwan Gaya pattern. In other words, there seem to be close relationships between the subject tombs and the tomb No.3 in Gujeong-dong and the tomb No.55 in Sara-ri, Gyeongju, regarding the types of armor and tombs and the arrangement of buried artifacts. However, the buried earthenware shows a relationship with the areas of Busan and Gimhae. By considering the combined trend of the Gyeongju and Gimhae elements found in one tomb, it is possible to assume that the group of constructed ancient tombs in Bokcheon-dong used to be actively related with both areas. It has been thought that the Vertical Plate Armour used to be the exclusive property of the upper hierarchy until now, since it was buried in the large-sized tomb located on the top of the hill of the group of ancient tombs in Bokcheondong. However, as shown in case of the tombs No.164 and No.165, it has been verified that the Vertical Plate Armour was also buried in the small-sized tomb in terms of such factors as locations, sizes, the amount of buried artifacts and the qualitative aspect. Therefore, it is impossible to discuss the hierarchical characteristic of the tomb just based on the buried units of the Vertical Plate Armour. Also, it is difficult to assume that armor used to symbolize the domination of the military forces. The hierarchical characteristic of the group of constructed ancient tombs in Bokcheon-dong from the $4^{th}$ century can be verified according to the location and size of each tomb. As are sult, the re seem to be some differences regarding the buried units of the vertical plate armour. However, it would be necessary to carry out amore multilateral examination in order to find out whether the burial of the vertical plate armour could be regarded as the artifact which symbolizes the status or class of the deceased.