• Korean Journal of Heritage: History & Science
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• v.40
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• pp.357-386
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• 2007

At present, thirteen Buddhist bells of Unified Silla are known to the world: Six in Korea, five in Japan and two other bells, and three out of them are impossible to make out its original form. Therefore, we divided the form of Unified Silla Buddhist bells based on the ten other bells, and we tried out to prove the manufacturing technology by the comparison of the research material of Uncheon-dong bell and existing research materials of other bells, in other to find their linkage based on the alloy elemental composition. We divided Unified Silla Buddhist bell into two types: Type I has symmetric apsaras and regular patterns on its face and it was made in early Silla period; type II has asymmetric apsaras and irregular pattern arrangement and made in late Silla period. In particular, Uncheon-dong Buddhist bells is very similar to Komyoji[光明寺] temple bell from ninth century in Japan. It is peculiar that the apsaras on Uncheon-dong bell play vertical music instruments that are never seen in Unified Silla Buddhist bell. Most of Unified Silla Buddhist bell are compounded with Cu-Sn or Cu-Sn-Pb system. From eighth and ninth century, bells were cast with even composition of copper, tin and lead, and the bronze alloy ratio was similar to the record in Gogonggi[考工記], Jurye[周禮], a book from ancient China. Particularly, Uncheon-dong bell is in a rare case of Cu-Sn-Pb-As system. As had been rarely used in Unified Silla Buddhist bells, so we presented the relative research materials. As has the same nature as Pb. Because As easily volatilize at high temperature, it is hard to use. But it has its merit of solidity and durability. Pb enhances fluidity and thereby expresses the patterns more distinct; As makes the bell stronger. The result of lead isotope ratio could not exactly reveal a concrete producing center. However, over the analysis of our samples, hereby we suggest Uncheon-dong bell was made of materials from just one ore deposit.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.387-419
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• 2005

Material characteristics and provenance interpretation of the raw materials for the stone moulds of bronze artifacts excavated in Galdong Prehistoric site were studied. The stone moulds are made of igneous hornblendite with coarse-grained holocrystalline textures. The surface color shows greenish grey to dark green with greasy luster. The value of magnetic susceptibility of the moulds ranges from 19.2 to 71.0 (mean ; $39.2{\times}10^{-3}$ SI unit).High value of magnetic susceptibility indicates high contents of magnetite as a ferromagnetic mineral and the wide range of the values are due to heterogeneous distribution of magnetite. These are characteristics of basic igneous rocks. The rock-forming minerals of the moulds mainly consist of amphibole, plagioclase and biotite. Pyroxene, chlorite and opaque minerals are also rarely present. A large quantity of carbon was detected on the dark black crust near the surface of the moulds by quantitative analysis. Geological field survey was carried out to identify a source of the raw materials of the stone moulds around Galdong site. Hornblendite or gabbroic rocks being similar to the moulds forming rock occur at Daeseongri, Sikcheonri and Gyodongri in Jangsoo, and Illdaeri in Namwon about 50 kilometers away from the site in a straight line. They have similarity with the moulds forming rock in magnetic susceptibility ranging from 16.1 to 72.4 (mean ; $39.9{\times}10^{-3}$ SI unit). Among those hornblendite or gabbroic rocks, one in Jangsoo area is the most similar to the moulds forming rock on the basis of petrological and mineralogical characteristics. Comparing normalized patterns of major, minor, rare earth and immobile elements contents of the moulds to them of hornblendite in Jangsoo area, geochemical evolution trend and behavior characteristics show affinities between them. It suggests that the moulds forming rock and hornblendite in Jangsoo area have been originated from cogenetic magma. This hornblendite is easy to engrave an inscription or detail graphics on the surface because of its softness, and has good thermal conductivity. Hornblendite in Sikcheonri, Jangsoo is particularly produced and used for stone wares until the present day. Therefore, it is probable that the stone materials of the moulds has been imported from Daeseongri, Sikcheonri and Gyodongri in Jangsoo area. However, it cannot be completely excluded the possibility that the material of the moulds was supplied from Illdaeri in Namwon area appearing the same type of hornblendite on a small outcrops. It is necessary to carry out further archaeological studies to identify several possibilities of migration process of raw materials.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.240-253
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• 2021

Various decipherment technologies, including manual rubbing, have been continuously applied to the Goguryeo Stele in Chungju. However, an official document for advanced decipherment is required as there remain characters to be deciphered. This study focuses on interdisciplinary digital decipherment using digital visualization results based on reflectance transformation imaging and three-dimensional scanning. On that basis, the joint decipherment document in 2019 is classified into eight types according to character changes from 1979 to 2000, and decipherment achievements are discussed. Important outcomes of the joint decipherment document include a new interpretation of four existing characters and the identification of 28 new characters. Additionally, 68 characters on the front face and 20 on the left face, which are listed differently in previous decipherment documents, are determined to be a single character through a consensus process. Compared to the previous decipherment document, the "decision" character is increased by a total of 89 characters (22.6%), and the "different opinion" character is decreased by 126 characters (32.0%). Thus, this digital decipherment greatly contributes to the reexamination of the Goguryeo Stele in Chungju and complements the previous decipherment document through reflectance transformation imaging and three-dimensional scanning. However, continuous research is necessary to enhance decipherment rates, since 123 characters (31.3%) are yet to receive decipherment. In the future, decipherment advancement regarding the Goguryeo Stele in Chungju should be based on convergence research between the humanities and science. Furthermore, it seems that researchers must make constant efforts to apply new imaging analysis technology and to develop customized technology for decipherment.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.22-37
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• 2021

The wind chime is a longstanding Jangeomgu (majestic article) found in Korea, China, and Japan. However, basic research on wind chimes is currently inadequate as it is difficult to estimate the time of production, and there are few relics. Therefore, this research morphologically classifies the eight bronze wind chimes decorating the baldachin of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan. Based on this, the manufacturing techniques and production period are scientifically demonstrated. The synthesis of the research results reveals that the structure and characteristics of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan differ depending on their location on the baldachin. The four large-sized wind chimes on the lower-baldachin were manufactured by casting a Cu-Sn-Pb alloy, and they are estimated to have been made during the early period of Goryeo. The two medium-sized wind chimes of the upper-baldachin's northern direction were manufactured through forging a Cu-Sn or Cu-Sn-Pb alloy, and they appear to have a similar structure to the cylindrical wind chimes appearing during the latter period of Goryeo and the Joseon period. The two small-sized wind chimes of the upper-baldachin's southern direction were manufactured by casting a Cu-Sn-Pb alloy containing Zn, and based on the chemical composition of the alloy and the shape of the clapper, they are estimated to have been manufactured during the latter period of Joseon. Through the observation of microstructures and a chemical composition analysis, it is demonstrated that two wind chimes of the lowerbaldachin were manufactured by casting and slow cooling the alloy with an alloy ratio of Cu:Sn:Pb≒80:15:5. In addition, it is estimated that the wind chimes of the upper-baldachin's northeast direction were manufactured by forging an alloy of Cu-Sn with a similar alloy ratio to that of forged high tin bronze. The results of a comparative analysis of prior research on domestic wind chimes confirm that two wind chimes of the lower-baldachin have a similar composition ratio to the wind chime excavated from Wolnamsaji in Gangjin, containing an amount of tin that corresponds with ancient records. Having a similar alloy ratio to forged high tin bronze, the wind chimes of the upper-baldachin's northeast direction are the only instances among all of the wind chimes that have been examined to date that were manufactured using this forging method. The purpose of this research is to collect baseline data to verify and classify the manufacturing period of wind chimes according to their morphological characteristics based on scientific evidence. It is hoped that this data can be utilized for the restoration and conservation processes of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.296-312
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• 2022

This paper examines the concept and process of heritagization, as well as other measures for the value enhancement of food culture as heritage, through the case of the gastronomic meal of the French, which has a long history as a socially constructed heritage. Heritage refers to what a society perceives as worthy of being transmitted. Thus, a heritage is something that a society or group chooses to preserve and that represents its identity. In the 19th century, France began to designate and protect heritage through a policy of preserving historical monuments, and heritage became both a social construct and creation with the purpose of preserving and enhancing values. Interest in heritage spread around the world with globalization, and has grown even greater since the 1972 UNESCO Convention. This interest has progressively extended to nature, urban landscapes and intangible cultural heritage. In 2003, the UNESCO Convention for the Protection of the Intangible Cultural Heritage was adopted, and this has strengthened the interest in intangible cultural heritage worldwide. Food-related heritage has been excluded from the list due to difficulties in establishing inscription criteria and concerns about the potential commercialization of heritage. However, in 2010, the food cultures of the Mediterranean, Mexico, and France were inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity, which prompted interest in food culture and efforts to inscribe the food heritage of a number of other countries, including Korea. France has a long history of interest in gastronomy as a cultural heritage and part of its national identity. Efforts to preserve and popularize gastronomy as a part of the national identity and heritage have been made at both the private level, by gourmets and associations, and at the governmental level. Through these efforts, the culture of gastronomy as a heritage has been firmly established through theoretical discussion, listing of food-related heritages, and policies. Sustainable development of the heritage is pursued through certain ongoing institutional approaches, including the City of Gastronomy network, the National Food Program, and the promotion and labeling of the Year of the French Gourmet.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.138-164
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• 2022

The Neolithic shell midden in Daejuk-ri, Seosan, is distributed on the gentle slope of a low hill close to the west coast. The bedrock of the area consists mainly of schist with various mafic minerals, but shows a partial gneiss pattern. The site consists of loamy topsoil and clay loam subsoil, and the degree of siallization is relatively low. Although the pottery excavated from the shell midden shares mostly similar features, a variety of shapes and patterns coexist. The surface colors, thickness and physical properties are slightly different. The pottery can be subdivided into three types (IA, IB and II) according to the composition of the body clay, the temper and the existence of a black core. Types IA and IB are colorless mineral pottery with a non-black or black core respectively. TypeII is colored mineral pottery with a non-black core. Type I pottery also contains non-plastic colored minerals, but type II contains a large amount of biotite, chlorite, talc, amphibole, diopside and tremolite, which include a large amount of Mg and Fe. The studied pottery contains a small amount of organic matter. Considering the grain size and relatively poor sorting and roundness of the non-plastic particles, the pottery appears to be made by adding coarse non-plastic tempers for special purposes to the untreated weathered soil around the site. The three types of pottery seem to have been incompletely fired in general. While type IB has the lowest degree of oxidation, typeII shows the highest degree of redness and oxidation. It can be interpreted that these differences depend on the firing temperature and the ratio of non-plastic particles. Through a synthesis of the minerals, geochemical data and thermal history, it can be determined that the firing temperature ranged from 600 to 700℃. The pottery types of the Daejuk-ri Shell Midden have slightly different production conditions, mineral compositions, and physical properties, but have undergone similar production processes with basically the same clay materials. The clay is almost identical to the composition of the bedrock and weathered soil distributed in the Daejuk-ri area. Currently, there is an industrial complex in the area, so it is difficult to confirm the soil and geological distribution of the site. However, it is highly probable that the area around the site was self-sufficient for the clay and tempers required for the production of the Neolithic pottery. Therefore, it can be interpreted that the group that left the shell midden in Daejuk-ri lived near the site, visited the site for the purpose of collecting and processing shellfish, and discarded the broken pottery along with shells.

• (The) Research of the performance art and culture
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• no.36
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• pp.441-471
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• 2018

East Coast Gut, Korean shamanism ritual on its east coastal area, is a Gut held in fishing villages alongside Korean east coastal area from Goseong area in Gangwon-Do to Busan area. East Coast Gut is performed in a series mainly by a successor shaman, Korean shaman, who hasn't received any spiritual power from a God, and the implications of this thesis lie in that we look over the learning aspects of Seokchool Kim shaman group among other East Coast Gut successor shaman groups after dividing it into 2 categories, successor shaman and learner shaman and based upon this, we reveal the meaning of the learning aspects of East Coast Gut. For successor shamans, home means the field of education. Since they are little, they chased Gut events performing dance in a series to accumulate onsite experiences. However, in the families of successor shamans that have passed their shaman work down from generation to generation, their descendents didn't inherit shaman work any longer, which changed the way of succession and learning of shaman work. Since 1980's, Gut has been officially acknowledged as a kind of general art embracing songs, dance and music and designated as a cultural asset of the state and each city and province, and at art universities, it was adopted as a required course for its related major, which caused new learner shamans who majored in shamanism to emerge. These learner shamans are taking systematical succession lessons on the performance skills of East Coast Byeolshin Gut at universities, East Coast Byeolshin Gut preservation community, any places where Guts are held and etc.. As changes along time, the successor shamans accepted the learner shamans to pass shaman work down and changes appeared in the notion of towners who accept the performer groups of Gut and Gut itself. Unlike the past, as Gut has been acknowledged as the origin of Korean traditional arts and as the product of compresensive learning on songs, dance and music and it was designated as a national intangible cultural asset, shaman's social status and personal pride and dignity has become very high. As shaman has become positioned as the traditional artist getting both national and international recognition unlike its past image of getting despised, at the site of Gut event or even in the relation with towners, their status and the treatment they get became far different. Even towners, along with shift in shaman groups' generation, take position to acknowledge and accept the addition of new learning elements unlike the past. Even in every town, rather than just insisting on the type or the event purpose of traditional Gut, they think over on the type of festival and the main direction of a variety of Guts with which all of towners can mingle with each other. They are trying to find new meanings in the trend of changing Gut and the adaptation of new generation to this. In our reality of Gut events getting minimalized along with rapid change of times, East Coast Gut is still very actively performed in a series until now compared to Guts in other regions. This is because following the successor shamans who have struggled to preserve the East Coast Gut, the learner shamans are actively inflowing and the series performance groups preserve the origin of Gut and try hard to use Gut as art contents. Besides, the learner shamans systematically organize what they learned on shamanism from the successor shamans and get prepared and try to hand it down to descendents in the closest possible way to preserve its origin. In the future, East Coast Gut will be succeeded by the learner shamans from the last successor shamans to inherit its tradition and develop it to adapt to the times.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.4-21
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• 2016

The purpose of this study is to investigate changes of Jinju Sword Dance, characteristics of the changes, and the current condition of its preservation and succession after the designation as the important intangible cultural property no. 12 in January 16th, 1967. In other words, this study understands the situation which has established the present state of after changes over generations. As of now. the year of 2015, the 3 generation holders have been approved since 1967. In 1967, 8 members of $1^{st}$ generation holders were selected from gisaengs of Gwonbeon. However, the succession training was incomplete due to conflicts among the holders, the deaths of some holders, and economic activities of the individuals. As the need of a pivot for succession training and activities was rising, Seong, Gye-Ok was additionally approved as the $2^{nd}$ generation holder on June $21^{st}$, 1978. Seong, Gye-Ok who had never been a gisaeng had dramatically changed with a lot of new attempts. After the death of Seong, Gye-Ok in 2009, Kim, Tae-Yeon and Yu, Yeong-Hee were approved as the $3^{rd}$ generation holders in February, 2010. Based on the resources including the "Cultural Research Reports of Important Intangible Cultural Properties" in 1966 and videos up to 2014, the changes of the dance and surroundings are as follow. 1. The formation of musical accompaniment has been changed during the 3 generations. In the video of the $1^{st}$ generation(in 1970), the performance lasted about 15 minutes, whereas the performance lasted 25 minutes in the video of the $2^{nd}$ generation. Yumbuldoduri rhythm was considered as Ginyumbul(Sangryeongsan) and played more slowly. The original dance requiring only 15 rhythms was extended to 39 rhythms to provide longer performance time. In the $3^{rd}$ generation, the dance recovered 15 rhythms using the term Ginyumbul. The facts that Yumbul was played for 3 minutes in the $1^{st}$ generation but for 5 minutes in the 3rd generation shows that there was tendency pursuing the slowness from the $2^{nd}$ generation. 2. For the composition of the Dance, the performance included additional 20 rhythms of Ginyumbul and Ah(亞)-shaped formation from the $2^{nd}$ generation. From the $3^{rd}$ generation, the performance excluded the formation which had no traditional base. For the movement of the Dance, the bridge poses of Ggakjittegi and Bangsukdoli have been visibly inflexible. Also, the extention of time value in 1 beat led the Dance less vibrant. 3. At the designation as an important intangible cultural property (in 1967), the swords with rotatable necks were used, whereas the dancers had been using the swords with non-rotatable necks since late 1970s when the $2^{nd}$ generation holder began to used them. The swords in the "Research Reports" (in 1966) was pointy and semilunar, whereas the straight swords are being used currently. The use of the straight swords can be confirmed from the videos after 1970. 4. There is no change in wearing Jeonlib, Jeonbok, and Hansam, whereas the arrangement of Saekdong of Hansam was different from the arrangement shown in the "Research Reports". Also, dancers were considered to begin wearing the navy skirts when the swords with non-rotatable necks began to be used. Those results showed that has been actively changed for 50 years after the designation. The $2^{nd}$ generation holder, Seong, Gye-Ok, was the pivot of the changes. However, , which was already designated as an important intangible cultural property, is considered to be only a victim of the change experiment from the project to restore Gyobang culture in Jinju, and it is a priority to conduct studies with historical legitimacy. First of all, the slowing beat should be emphasized as the main fact to reduce both the liveliness and dynamic beauty of the Dance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.107-119
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• 2014

The purpose of this study is to examine the current status of vascular plants and naturalized plants growing in the Seongeup Folk Village in Jeju and to consider and compare their distribution patterns and the characteristics of emergence of naturalized plants in other folk villages and all parts of Jeju, thereby exploring measures to well manage naturalized plants. The result of this study is as follows.11) The total number of vascular plants growing in Seongeup Folk Village is identified to be 354 taxa which include 93 families, 260 genus, 298 species, 44 varieties and 12 breeds. Among them, the number of naturalized plants is 55 taxa in total including 22 families, 46 genus, 53 species, and 2 varieties, which accounts for 21.7% of the total of 254 taxa identified all over the region of Jeju. The rate of naturalization in Seongeup Folk Village is 15.5%, which is far higher than the rates of plant naturalization in Hahoi Village in Andong, Yangdong Village in Gyeongju, Hangae Village in Seongju, Wanggok Village in Goseong, and Oeam Village in Asan. Among the naturalized plants identified within the targeted villages, the number of those growing in Jeju is 9 taxa including Silene gallica, Modiola caroliniana, Oenothera laciniata, Oenothera stricta, Apium leptophyllum, Gnaphalium purpureum, Gnaphalium calviceps, Paspalum dilatatum and Sisyrinchium angustifolium. It is suggested that appropriate management measures that consider the characteristics of the gateway to import and the birthplace of the naturalized plants are necessary. In the meantime, 3 more taxa that have not been included in the reference list of Jeju have been identified for the first time in Seongeup Folk Village, which include Bromus sterilis, Cannabis sativa and Veronica hederaefolia. The number of naturalized plants identified within the gardens of unit-based cultural properties is 20 taxa, among which the rate of prevalence of Cerastium glomeratum is the highest at 62.5%. On the other hand, the communities of plants that require landscape management are Brassica napus and other naturalized plants, including Cosmos bipinnatus, Trifolium repens, Medicago lupulina, Oenothera stricta, O. laciniata, Lotus corniculatus, Lolium perenne, Silene gallica, Hypochaeris radicata, Plantago virginica, Bromus catharticus and Cerastium glomeratum. As a short-term measure to manage naturalized plants growing in Seongeup Folk Village, it is important to identify the current status of Cosmos bipinnatus and Brassica napus that have been planted for landscape agriculture, and explore how to use flowers during the blooming season. It is suggested that Ambrosia artemisiifolia and Hypochaeris radicata, designated as invasive alien plants by the Ministry of Health and Welfare, should be eradicated initially, followed by regular monitoring in case of further invasion, spread or expansion. As for Hypochaeris radicata, in particular, some physical prevention measures need to be explored, such as for example, identifying the habitat density and eradication of the plant. In addition, it is urgent to remove plants, such as Sonchus oleraceus, Houttuynia cordata, Crassocephalum crepidioides, Erigeron annuus and Lamium purpureum with high index of greenness visually, growing wild at around high Jeongyi town walls. At the same time, as the distribution and dominance value of the naturalized plants growing in deserted or empty houses are high, it is necessary to find measures to preserve and manage them and to use the houses as lodging places.