• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.20-49
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• 2009

This paper explores the Korean royal tombs steles such as monumental steles and tombstone marks (神道碑, 表石) that are broadly fallen into the following three periods ; the 15~16th centuries, 17th~18th centuries, and 19th century. As a result, the royal tombs steles were built, unlike the private custom, on the heirs to the King's intentions. During the 15~17th centuries the construction and reconstruction of the monumental steles took place. In the late Joseon period, monumental steles had been replaced with a number of tombstone marks were built to appeal to the king's calligraphy carved on stone for the first time. During the Great Empire Han(大韓帝國) when the Joseon state was upgraded the empire, Emperors Gojong and Sunjong devoted to honor ancestors by rebuilding royal tombstone mark. Based on these periodical trends, it would not be exaggerated that the history of establishing the royal tombs steles formed in late Joseon. The type of royal tombs monuments originated from those of the Three Kingdoms era, a shapeless form, the new stele type of the Tang Dynasty (唐碑) has influenced on the building of monuments of the Unified Silla and Buddhist honorable monuments (塔碑) of the Goryeo Dynasty. From the 15th century, successive kings have wished to express the predecessors's achievements, nevertheless, the officials opposed it because the affairs of the King legacy (國史) were all recorded, so there is no need to establish the tombs steles. Although its lack of quantity, each Heonneung and Jereung monumental steles rebuilt in 1695 and 1744 respectively, is valuable to show the royal sculpture of the late Joseon period. Since the 15th century, the construction of the royal tombs monumental steles has been interrupted, the tombstone marks (boulders) with simpler format began to be erected within the tomb precincts. The Yeoneung tombstone mark(寧陵表石), built in 1682, shows the first magnificent scale and delicate sculpture technique. Many tombstone marks were erected since the 1740s on a large scale, largely caused by King Yeongjo's announce to the honorific business for the predecessors. Thanks to King Yeongjo's such appealing effort, over 20 pieces of tombstone marks were established during his reign. The fact that his handwritten calligraphic works first carved on tombstones was a remarkable phenomenon had never been appeared before. Since the 18th century, a double-slab high above the roof(加?石) and rectangular basement of the stele have been accepted as a typical format of the tombstone marks. In front of the stele, generally seal script calligraphic works after a Tang dynasty calligrapher Li Yangbing(李陽氷)'s brushwork were engraved. In 1897 when King Gojong declared the Empire, these tombstone marks were once again produced in large amounts. Because he tried to find the legitimacy of the Empire in the history of the Joseon dynasty and its four founding fathers in creating the monuments both of the front and back sides by carving his in-person-calligraphy as a ruler representing his symbolic authority. The tombstone marks made during this period, show an abstract sculpture features with the awkward techniques, and long and slim strokes. As mentioned above, the construction of monumental steles and tombstone marks is a historical and remarkable phenonenon to reveal the royal funeral custom, sculpture techniques, and successive kings' efforts to honor the royal predecessors.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.186-205
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• 2013

${\ll}$Three Purities Album${\gg}$ in the Kansong Art Museum is an album of poems and pictures of apricot tree, orchids and bamboos drawn by Lee Jeong. Given that the poems and pictures in the album were drawn by Lee Jeong who has been recognized as a person who established the standards of ink bamboo drawings in the Joseon Dynasty, the album is highly valuable. Nevertheless, there are more values and meanings that Three Purities Album has. The production circumstances and transmission processes of Three Purities Album include the historical characteristics and meanings of the time so that it is also worthwhile as a historical material. During the Japanese Invasion of Korea in 1592, Lee Jeong was stabbed with a sword by Japanese invaders and got injured. After he suffered, he tried to make his masterpiece in his lifework and finally created Three Purities Album. For the work, Lee Jeong received memorial writings from Choi Rip, Cha Cheon-ro and Han Ho, and asked them writings. They were the best literary men in the poem and calligraphy fields at that time. Yu Geun, Lee An-nul, and Yu Mong-in made writings and poems to praise his work. Likewise, ${\ll}$Three Purities Album${\gg}$ is the 'treasure of the time' created through the participation of the best literary men at that time. Given the aspects, it is fair to say that ${\ll}$Three Purities Album${\gg}$ is not simply a personal artwork of Lee Jeong, but is a comprehensive artwork and also a cultural monument created through the skills and capabilities of the literary artists in the middle of the Joseon Dynasty. After the death of Lee Jeong, Three Purities Album was handed over to Hong Ju-won. But, during the second Manchu Invasion into Korea in 1636, the album was in danger of disappearance by fire. As of now, there are still signs of fire in it, which vividly shows the urgent situation at that time. After the second Manchu Invasion into Korea in 1636, Hong Ju-won recovered some damaged writings with the help of Yoon Shin-ji. Since then, the album had been handed down as a family treasure over the next 7 generations. It can be found in the writings by Song Si-yeol and Uh Yu-bong. Unlike the literary men who praised Three Purities Album in terms of its work when Lee Joeng was alive, they focused on the transmission courses of the album and involved persons. That seems to be because the stories and characters appearing in Three Purities Album impressed the later literary men and were meaningful to them rather than the album itself. It strongly reflected the positions of Hong Jung-gi and Hung Sang-han who asked for writings as the descendants of Hong Ju-won. That is because the traces of the persons involved in Three Purities Album are the causes for admiring their ancestors and enhancing their political legitimacy and family dignity. Therefore, in this aspect, it is possible to witness the fundamental causes of the unique artistic awareness by East Asian people who consider their historical meanings as well as the aesthetic value of artworks significant. Unfortunately, during the Japanese invasion at the end of the Joseon Dynasty, Three Purities Album was handed over to Japanese Tzuboikouso. But, fortunately, Jeon Hyeong-pil who made an effort to regain our cultural assets by investing his entire property during the Japanese Imperialism regained the album, which is now preserved in the Kansong Art Museum. ${\ll}$Three Purities Album${\gg}$ truly includes the whole processes to overcome national crises that Korean people experienced during the Japanese Invasion in 1592, the second Manchu Invasion of Korea in 1636, and the Japanese Imperialism, and it shows the sufferings of our cultural assets and the history of preservation. Also, the album shows that one artwork is able to accumulate its historical meanings in the process of transmission and thus enhances its meanings and values. ${\ll}$Three Purities Album${\gg}$ features accumulative and constant historical meanings and it is a typical case showing that an artwork is plenty of aesthetic and historical values. It is expected that this work will contribute to promoting more studies on finding historical meanings and hysteresis of artworks.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.

• Korean Journal of Heritage: History & Science
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• v.41 no.1
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• pp.5-19
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• 2008

Thirty six samples of Western asia glass vessel shards which were excavated from South Mound of Hwangnamdaechong were each measured for thickness, pore size and specific gravity and analyzed for ten major compositions and thirteen trace elements. The glass samples with colorless, greenish blue and dark purple blue were well classified by principal component analysis(PCA). All glass shards of Hwangnamdaechong belonged to Soda glass system ($Na_2O-CaO-SiO_2$) which have the range of 14~17% $Na_2O$ and 5~6% CaO. The corelation coefficients of (MgO, $K_2O$) and (MnO, CuO) showed above 0.90. The concentrations of thirteen trace elements apparently differentiated from colorless, greenish blue and dark blue glasses. We found that thirteen trace elements were very important indices for studying raw material of glass and the origin of glass making. Colorless glass : The specific gravity is $1.50{\pm}0.04$. Circle or oval circle pores are observed with regular direction in internal zone and the longest one is about 0.35 mm. The raw material of sodium must be the plant ash because sodium glasses contain HCLA(High CaO, Low $Al_2O_3$) and HMK(high MgO, high $K_2O$) and suggested to Sasanian glass. The total amount of coloring agent of colorless glass is below 1 % which is too small to attribute to the color. Greenish blue glass : The specific gravity is $1.58{\pm}0.04$. The fine pores which are 0.1~0.2mm are dispersed in internal zone. Sodium glasses are distributed to HCLA and HMK. Therefore the greenish blue glass also have used plant ash for raw material of sodium with the same as colorless glass. It was also suggested to the glass of Sasanian. The total amount of coloring agent of greenish blue glass is about 4% under the influence of working MnO, $Fe_2O_3$ and CuO. Dark purple blue glass : The specific gravity is $1.48{\pm}0.19$. There are rarely pores in internal zone. They are distributed to HCLA and LMK(Low MgO, Low $K_2O$) and suggested to Roman glass. The raw material of sodium is estimated to natron. The total amount of coloring agents of greenish blue is about 3% by $Fe_2O_3$ and CuO. These studies for western asia glass shards from South Mound of Hwangnamdaechong could be used in the future as the standard data which could be compared with those of other several graves in Korea and dispersed in foreign areas.

• The Journal of Engineering Geology
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• v.7 no.3
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• pp.191-205
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• 1997

Measurements on subsurface movement of the Songsanri tomb site including the Muryong royal tomb was conducted using a tiltmeter system for the period of 15 months form July 7, 1996 to September 30, 1997. Two coordinate tilt monitoring data shows the biggest movement rate of 2.3mm/m/yr toward south in the frontal wall(N-S tilt) of the Muryong royal tomb. Southward tilting of bricks above the southern fire place in the western wall of the Muryong royal tomb is a proof of southward tilting of the royal tomb since its excavation in 1971. The eastern wall of the Muryong royal tomb is also tilting toward inside the tomb with the rate of 1.523mm/m/yr. Furthermore, tilting rate of wall increases twice in rainy season. It is interpreted tbat infiltration of water into the tomb and nearby ground in rainy season results in dangerous status for the safety of tomb structure. On the whole, normal component tilting of the walls of the 5th tomb is large than its shear component. It shows a small displacement toward one direction without no abrupt change in its direction and amount of tilting. The tilting rate of walls of the 6th tomb is about 8.8mm/m/yr in the dry season which is much bigger than those of other tombs in rainy season. Deformation events of walls of the tombs are closely related to amount of precipitation and variation of temperature. In comparison with different weather conditions, tilting is much bigger during the period of rainy weather than sunny weather. It is interpreted that rainwater flew into the turm through faults and nearby ground. High water content in nearby ground resulted strength of ground. The tilting event of walls shows a hysterisis phenomenon in analysis of temperature effect on tilting event. The walls tilt rapidly with steep rising of temperature, but the tilted walls do not come back to original position with temperature falling. Therefore, a factor of steep increase of the temperature must be removed. It means the tomb have to be kept with constant temperature. The observation of groundwater level using three boreholes located in construction site and original ground represented that groundwater level in construction site is higher than that of original ground during the rainy season from the end of June to August. It means that the drainage system of the Muryong royal tomb is worse than original ground, and it is interpreted that the poor drainage system is related to safety of tomb structure. As above mentioned, it is interpreted that artificial changes of the tomb environment since the excavation, infiltration of rainwater and groundwater into the tomb site and poor drainage system had resulted in dangerous situation for the tomb structure. According to the result of the long period observation for the tomb site, it is interpreted that protection of the tomb site from high water content should be carried out at first, and the rise of temperature by means of the dehumidifier inside the tomb must be removed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.107-117
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• 2016

In this study, six historical parks in Seoul is analyzed. Based on the analysis, the representative values of the historical parks in Seoul draw three criteria such as historicity, educational attributes, and sociality, and also the type of historic and cultural resources, spatial functions and arrangements, circulation and accessibility, and the type and usage of introduced facilities. Consequently the current status and improvement plan is suggested as follows. First, cultural assets oriented historical parks such as Sayuksin Bongeun and Seonnongdan historical Park focus on the management based on the preservation of historic and cultural resources. Non designated cultural heritages oriented historic parks such as Shingye Yanghwajin Itaewon-bugundang historic park should focus on the usages the symbolize and commemorate historic and cultural resources. Second, Careful attitudes on the historicity of the park are needed in the mixed type of historic and cultural resources that determine the identity such as Yanghwajin Itaewon-bugundang historic park. Third, the rate of facilities in Bongeun and Shingye historical park is increased due to the renovation of religion facilities, rather than the neighborhood parks. The autonomy of regulations that does not have the limits of the area of park facilities weaken the publicity of the historical parks. Fourth, Shingye historical park suggest changing its name into Danggogae martyrs' shrine historical park. because its historic and cultural resources are included as the historic park is named. Fifth, the current problems such as numerous uncontrolled entrances, mixed uses in circulation, and accessible failure due to the closure are recognized. Therefore, the entrances and circulations should be articulated clearly in order to increase opportunities of experience for visitors in the historic and cultural resources, and also neighborhood facility should be suitably divided. Sixth, the park facilities in the neighborhood parks are introduced equally in Seoul historical parks. The uses and arrangements that considered the circumstance of the historical parks should be determined in the cultural facilities such as outdoor music hall and sporting facilities. Seventh, historic facilities that named historic hall, culture hall, memorial hall, and promotion hall in the historic parks are utilized for convenience and religion facilities. Institutional framework should be examined to keep publicity in the historic parks by spatial privatization of the specific group.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.24-33
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• 2020

In excavated bronze artifacts, corrosion products of various shapes and colors are observed due to multiple corrosion factors coexisting in the burial environment, and these corrosion products can constitute important data not only in terms of long-term corrosion-related information, but also in connection with preservation of artifacts. As such, scientific analysis is being carried out on the corrosion layer and corrosion products of bronze artifacts, and the corrosion mechanism and the characteristics of corrosion products elucidated, which is essential for interpreting the exposed burial environment and its association with corrosion factors inside the burial environment. In this study, after classifying excavated bronze artifacts according to alloy ratio and fabrication technique, comprehensive analysis of the surface of corrosion artifacts, corrosion layer, and corrosion products was carried out to investigate the corrosion mechanism, formation process of the corrosion layer, and characteristics of corrosion products. The study designated two groups according to alloy ratio and fabrication technique. In Group 1, which involved a Cu-Sn-Pb alloy and had no heat treatment, the surface was rough and external corrosion layers were formed on a part, or both sides, of the inside and the outside, and the surface was observed as being green or blue. α+δ phase selection corrosion was found in the metal and some were found to be concentrated in an empty space with a purity of 95 percent or more after α+δ phase corrosion. The Cu-Sn alloy and heat-treated Group 2 formed a smooth surface with no external corrosion layer, and a dark yellow surface was observed. In addition, no external corrosion layer was observed, unlike Group 1, and α corrosion was found inside the metal. In conclusion, it can be seen that the bronze artifacts excavated from the same site differ in various aspects, including the formation of the corrosion layer, the shape and color of the corrosion products, and the metal ion migration path, depending on the alloy ratio and fabrication technique. They also exhibited different corrosion characteristics in the same material, which means that different forms of corrosion can occur depending on the exposure environment in the burial setting. Therefore, even bronze artifacts excavated from the same site will have different corrosion characteristics depending on alloy ratio, fabrication technique, and exposure environment. The study shows one aspect of corrosion characteristics in specific areas and objects; further study of corrosion mechanisms in accordance with burial conditions will be required through analysis of the corrosive layer and corrosive product characteristics of bronze artifacts from various regions.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.118-127
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• 2013

In this study, Seongbuk-dong historical & cultural resources of the surrounding landscape were analyzed by the visual characteristics of the landscape adjective analysis. Research was investigate to the relationship between visual characteristics and preferences and Research in the following way. Selected historical and cultural resources in the surrounding area are located in Seongbuk-dong 30 slices the survey was conducted. Landscape preference factors to identify the scale of 16 adjectives and then factor analysis was conducted. Lastly, Analysis of variance and regression analysis were conducted in order to determine the impact of the last image factors on visual preferences. Firstly, The results can be summarized as follows. Officer for 30 pictures appear in Seongbuk-dong in the historical and cultural resources, and distributed around the target preference for the 16 adjectives analysis yielded an average result of overall preference were analyzed and that is a 3.72 average. In these photos, VP8, VP9, VP10, VP12, VP15; 4.5 points more than one order higher. The reason is limit of altitude by the Seoul landscape plan for the historical and cultural resources around. It also judged important reason that history and Culture are in harmony with the surrounding cultural property in the conservation area. Secondly, Important factors are factor 1(aesthetic factors), factor 2(cultural factors), factor 3(physical factors) and three factors could be identified. Results of the analysis of variance and regression analysis about factors for visual preference and image shows value of psychological factor is most significant to explain for nearby history &cultural resources of Seongbuk-dong of scenery around. As a result, the state can not view historical and cultural resources for analysis will be located in a residential area near the historical and cultural resources for aesthetic factors. Third, the negative side of the argument is a residential area which is not arranged surrounding landscape maintenance of historical and cultural resources has emerged. Historical and cultural resources in harmony with the phenomena of the physical, cultural, and aesthetic characteristics of the three areas is a positive factor in the high incidence. Factors from that are expressed in this study by analyzing multi-dimensional analysis to derive a factor to be considered important in the management of historical and cultural resources, landscape around is required.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.111-120
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• 2012

This study regards a series of achievement on Wonlim(Garden) Cultural Properties Excavation Project, led by field of landscape architecture. It will mainly describe excavation results of Gwiam(龜巖: Turtle rock) and historical value of it in terms of Nakseojae(樂書齋) restoration in Bogil-do Yun,Seondo Wonlim(Scenic Sites, No.34). Gwiam(Turtle rock) was found 14.6m apart from the north of Nakseojae, and it covered with 10~15m topsoil tilted toward Nakseojae, The size of Gwiam, which was Granite, was 360cm length, 270cm width, 95cm high. The Edge of Gwiam's North west part was of triangular shape forming Turtle head. The back of the Turtle head was form of Tortoise-shell because of wide backboard with both side groove. The southeast part of Gwiam projected was Turtle's tail. This Granite was obvious Turtle shape artificially made, and there are less likely to relocate from place to place. This Turtle-shaped Gwiam is important landmark for Nakseojae, which is one of the four spiritual creatures written in Bogildoji(甫吉島識) and Gosanyugo(孤山遺稿) by Yunwi. According to Bogildoji, it is estimated that Gwiam were on the axis with Soeunbyung(小隱屛), Nakseojae and was buried when Yiguan(Gosan's grandson) reconstructed a building. Also, it was place for enjoying the moon. But, Even after three times excavation in Nakseojae, there was no way to identify further information regarding Gwiam, so it was a matter of mystification. As a result of this study, Gwiam is laid bare to light in at least 260 years, so it is good example for boosting importance of landscape architecture field and restoring Nakseojae. Furthermore, firm base-soil was discovered in 135m high Rock Mass below, so natural ground of Nakseojae can be estimated by this basis. To be conclusion, Preservation Process for Gwiam and Estimation Space through interpretation of four spiritual creatures(四靈) in Gosan's Poetry should be continue.

• 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.