• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.

• Journal of Conservation Science
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• v.9 no.1
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• pp.1-10
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• 2000

In 1993, many bronze artifacts were excavated from the Sanoesa Temple(思惱寺), Chongju, Chungbuk. Twelve items were selected and chemically analyzed with AA Spectrometry and ICP-Atomic Emission Spectrometry. They were also observed under the optical microscopy and SEM. According to the results from chemical analysis, production method and use, these artifacts were classified into four groups: casting, wrought and welding products, and bells. Cast products, probably used for ritual, were alloy of 70% Cu, 10% Sn and 20% Pb. They showed ${\alpha}+{\beta}$ phase as a typical microstructure of casting. The ${\delta}$ phase was rarely observed due to the small amount of Sn. These artifacts included more lead than other alloys. They showed segregation like island-shape on the lead part. Wrought products used for daily too1s. were alloy of 80% Cu and 20% Sn. Since they were consist of ${\alpha}$ phase and martensite ${\beta}$ phase, it could be presumed that they were heat-treated. The production method could be identified from twinned grains in ${\alpha}$ phase. Lead was not included in because it had a bad effect to alloy. The bells were alloyed with 85% Cu, 10% Sn, 5% Pb or 90% Cu and 10% Sn. They show the dendrite structure because they were cast and alloyed with many tin. Weldinged were alloyed with 83% Cu, 12% Sn and 5% Pb. lt showed the fine dendrite structure because of fast cooling in air.

• Conservation Science in Museum
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• v.2
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• pp.57-68
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• 2000

This study is a scientific analysis of 12 bronze materials which were excavated from Sanoisa temple in Chongju. Analysis of crystalline shape, size and distribution of the each sample metal suggested that they can be classified as tableware(wrought), vessels for memorial service(casting) and bell bronze, which is the same result as classification based on elemental composition. Most of the tableware are forging wares with composition of 8:2:0 in Cu:Sn:Pb, and vessels for memorial service are casting wares whose composition is 7:1:2 in Cu:Sn:Pb, and bell bronze's composition is Cu:Sn:Pb = 85:10:5/9:1:0. The result clearly shows that composition is closely related with usage and manufacturing method of wares. Trace elements such as Co, Fe and As are the elements with high correlation coefficient with Cu, which means they exist as impurities in Cu, and the content of As showed an increase in the order of tableware, memorial service vessels and bell bronze. In addition, the analysis of lead isotope ratio showed that 3 bronze materials with high lead content were made from the lead coming from Japan and China. The composition of the solder was Cu:Sn:Pb = 83:12:5 where small Pb crystals were distributed evenly.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.