• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.44-65
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• 2018

This study examined the costumes of the characters in the painting titled Hig yongru Banghwoedo, which was designated as National Treasure No. 1879 in September 2015, and is currently kept in the Dongguk University Museum. The painting depicts a social gathering of Joseon aristocrats held at the higyongru, or watch tower, of the Gwangjumok, a government office, in 1567. It is characterized by the delicate illustration of the government officials, the main characters of the gathering, and the hyangri, ajeon, najang, chorye, akgong, and yeogi, the lower-class employees of the office. In order to investigate the costumes they wore, diverse materials including literature, costume artifacts, and paintings were used as reference sources. The scope of the study was limited to the characters' headdress and gown, and the accessories attached to the former. The study of men's clothing revealed that officials wore a samo and a red dalryeong as basic attire. In addition, it is presumed that they wore a belt indicating their official rank in the hierarchy, and a pair of black shoes. Retired officials wore a heuklip wrapped in horsehair or silk fabric with a red jing-nyeong and a doah. The hyangri wore a heukjukbanglip on their head, as well as a white jing-nyeong and a belted doah. In the Goryeo period, the banglip was a type of official headdress worn by members of the aristocratic elite ranked immediately below the king, but in Joseon it was demoted as the official headgear of the hyangri class, which was confirmed through Higyongru Banghwoedo. The ajeon wore a heuklip on their head, and a white jing-nyeong and a doah at the waist. As a rule, the najang wore a chogun on the head, and a banbieui on cheolrik and chungmokdai, but the najang in Higyongru Banghwoedo are depicted wearing a chogun and a cheolrik without a banbieui. Also, the chorye wore a heuklip wrapped in hemp cloth with a red cheolrik, whereas the akgong wore a somoja and a red cheolrik. Female entertainers, both adults and children, are depicted in the painting as either serving the aristocrats, dancing, or playing a musical instrument, wearing their hair in a voluminous, round, high bun, and dressed in a red daiyo, a hwangjangsam with a straight or reclined collar, and a belt. Notably, the donggi, i.e. young gisaeng, are shown wearing their hair in two short braids, and ddressed in a red gown with a y-shaped collar, or po.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.120-147
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• 2019

In this study, we divided the portraits in the reign of King Seonjo into those which were created before and after the Japanese invasion. We then examined various aspect of costumes expressed in the portraits of meritorious vassals. To analyze official uniforms (Heuk-Danryeung), we examined the Samo height; the side wings' type and pattern; the Danryeung pattern; the Mu style; the processing method of lateral lines in Danryeung the rank badge and rank belt, the color of Dabho and Cheolrik, which were undergarment of Danryeung and Heuk-wa. The meritorious vassals' portraits, prior to Imran, were analyzed with a portrait of Han Eung-in, a Gwang-kuk Pyeong-nan meritorious vassals. The Samo was the highest of the Choson dynasties, and the cloud and treasure pattern was identified on the side wings. The Heuk-Danryeung was a dark blue(acheongsaeg) Danryeung of manja-shaped cloud patterns with a large outward wrinkled Mu, and it had a wild goose badge (second rank) and a Sabgeumdae. It did not coincide with the Pumgye(Jaheondaebu) recorded in Gugjo-inmulgo. Reddish Dabho for Dangsang-kwan, green Cheolrik which was undergarment of Danryeung, and Heuk-wa. were identified. After the invasion of Japan, portraits of Hoseong, Seonmu, and Cheong-nan meritorious vassals were analyzed through eighteen portraits, including Lee Hyeon-bok. After the invasion of the Japanese, the height of the Samo's top was much lower and the width of the side wings was wider than before the invasion of Japanese. The Heuk-Danryeung was a dark blue (acheongsaeg) Danryeung of manja-shaped cloud patterns with a stretching backward Mu. Rank badge and rank belts were almost identical with the record, but there were two exceptions (Sin-jab and Kim, Sae-sin). Therefore, it was reaffirmed that the meritorious vassals' portraits were drawn by the Pumgye at the time of appointment. Among the undergarments of Heuk-Danryeung, green Dabho(11), blue Dabho(4), reddish Dabho(3), and blue Cheolrik(10), green Cheolrik(6), reddish Cheolrik(1), and yucheongsaeg Cheolrik(1) were identified, However, it is suggested that the Dabho of Hoseong, Seonmu, and Cheong-nan meritorious vassals should be the reddish Dabho of Dangsang-kwan, which is the same as the previous Imran, and a green Cheolrik.

• 지역과문화
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• v.6 no.3
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• pp.79-105
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• 2019

In the Geumseongsan Tumulus of the Uiseong area where the Jomunguk was existed in the Three Han Period, many relics such as metal craft ornaments and Uiseong-style earthernware were excavated. However, it is hard to find cases where the excavated relics were used to develop cultural products. In this study, symbolic relics which can express the culture of Uiseong Jomunguk were selected from excavated relics. Then, the basic design that can be applied to various cultural products were derived from symbolic relics. In order to select symbolic relics, the formative characteristics of the metal craft relics excavated from the Tablili Tumulus and the Dali Tumulus were examined. As a result, a gilt-bronze crown excavated from the Tablili Tumulus was selected as a symbolic relics. And then the basic desin was derived from the gilt-bronze crown. The basic design is expressed in the form of birds based on the bird's feather shape at the edge of the standing ornaments and the record of the Bongdae(鳳臺), the phoenix's habitat. And the application design that changed the expression of the birds' face was presented. The earthenware excavated from the Uiseong area was designed as a soil pot and applied various indoor air purification plants. The result of this study, which reinterprets and reconstructs the historical and cultural resources of the region in accordance with the modern sense, can be used as useful data for the development of cultural products of Jomunguk. Furthermore, if the design derived from the Jomunguk relics is used as a representative symbol of the area, it will be possible to derive an image of a differentiated region from other regions. Finally, it is expected that the result of this study will be a chance to re-evaluate the value of the historical and cultural resources in the region.

• Journal of Conservation Science
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• v.27 no.3
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• pp.333-344
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• 2011

Cleaning of foreign matter and corrosion products on surface among conservation treatment of iron artifacts is an important part for looking up a original form. The sand blaster is the most popular equipment when it removes the foreign matter and corrosion products on iron artifacts surface. Current foreign matter and corrosion products equipment, which mostly uses, is sand blaster. Glass dust which sprayed from sand blaster is harmful and causing environmental pollution. In order to solve these problems, we investigated the $CO_2$ snow cleaning that use a eco-friendly equipment to apply for cleaning foreign matter and corrosion products on surface of iron artifacts. It examined by using sand blaster and $CO_2$ snow cleaning to aged steel coupon and iron artifacts. In case of aged steel coupon, the result showed that the sand blaster and $CO_2$ snow cleaning methods were similar to the degrees of cleaning foreign matter and corrosion products, through surface roughness, color measurement and SEM. $CO_2$ snow cleaning applied to aged steel coupons weren't worn out the surface in comparison with sand blaster by SEM. When applied to the iron artifacts, power nozzle of the $CO_2$ snow cleaning was an excellent cleaning effect that surface wern't worn out in comparison with sand blaster. And, it showed that internal structure change of metal was no found before and after cleaning by X-ray radiography. Consequently, we confirmed that cleaning of the sand blaster and power nozzle of $CO_2$ snow cleaning were similar to the effect. But, it's very careful to use this method because of high outlet pressure of power nozzle for applying to the iron artifacts. As a result of experiments, it could be found that the cleaning methods should be selected depending on internal state of the artifacts.

• Journal of Conservation Science
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• v.34 no.6
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• pp.595-604
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• 2018

In this study, in a bid to develop natural bioadhesives for paper craft, the hanji industry, and preserving cultural assets, complex polysaccharides were extracted from brown and red algae and used as an ingredient in adhesives. Brown algae include sea trumpet, kelp, sea oak, and sea mustard, whereas red algae include Pachymeniopsis elliptica agar-agar weed, Gloiopeltis tenax, and hunori. The polysaccharides were extracted after transforming them from non-aqueous Ca complexes contained in each of the brown and red algae into water-soluble polysaccharides containing alkali metals with a solubility level of 1. and extracted Subsequently, only the polysaccharides were extracted using alcohol precipitation. The adhesion tensile strengths of kelp, a brown algae, and Pachymeniopsis elliptica, a red algae, were 21.58 and 32.99 kgf, respectively. They thus demonstrated better adhesion than that of solid glue products such as water plants (18.45 kgf) and glue sticks (20.45 kgf). The extraction yield of these polysaccharides is supposed to be determined according to their extracted environments; however, no difference in adhesion strength was seen. Further, it was found that the shapes of polysaccharides were determined by their growing environment instead of extraction environment. Use of multi-step alcohol precipitation method during extraction enabled the removal of the constituents except protein and other polysaccharides, thereby demonstrating a stable outcome without cultivation of mold. Furthermore, there was no occurrence of mold even after production of the adhesives by the simple solution method, which demonstrates the adhesive's potential as an environment-friendly adhesive material.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.100-117
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• 2010

This study analyzed vegetation structure of natural monuments Koelreuteria paniculata community in search of a conservation and management plan. Plant sociological analysis of Koelreuteria paniculata community indicates that it can be classified into Achyranthes japonica subcommunity and Rhodotypos scandens subcommunity and Trachelospermum asiaticum var. intermedium subcommunity. While Koelreuteria paniculata community of Ahnmyeondo is composed of sub tree layer and herb layer, those of Pohang and Wando are composed of tree layer, Sub tree layer, shrub layer, herb layer. The results of tree vitality analysis showed that those in Ahnmyeondo appeared to be relatively low when compared to those in Pohang and Wando-gun. This can be understood in two different aspects: disease and insects vulnerability due to a relatively simple structure and lack of competitive species, and decreased vitality / natural branch losses due to crown competition arising from high density. The result of soil characteristics analysis showed that soil texture, soil pH, organic matter, $p_2O_5$, exchange positive ion were sufficient for tree growth while total nitrogen was not, so that discretion would be needed for fertilizer application. As there were damages of disease and inscet, but only for 10~15% of the entire area; it still requires consistent preconsideration. The study suggests the management methods for preservation of Koelreuteria paniculata community. First, securing designated areas is necessary in order to minimize environment deterioration due to surrounding development. Especially, for sections with decreased areas, expansion of designated areas through land purchase should also be considered. Second, artificial interference may affect the livestock. Therefore, monitoring of artificial interference is necessary, based on which protection projects must be conducted. Third, from analysis of young plants which influence the maintenance mechanisms of Koelreuteria paniculata community, a decrease compared to the prior year was observed; investigation is needed. Therefore, an active management policy through status examination of livestock such as germination and young plants is necessary.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.38-55
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• 2019

The purpose of this study is to clarify the historical flow of baekdong alloy's usage according to the alloying materials mentioned in document records. For this purpose, we first overviewed the use of copper as a base material for white copper alloys and other types of copper alloys. Baekdong is an alloy of copper and other metals and is currently defined as an alloy of copper and nickel. However, depending on the research subjects and time of the scholars, baekdong may be defined as a metal with over a certain percentage of tin added to copper, or as an alloy of tin, zinc, and lead with copper. There is disagreement regarding the interpretation of this term. Baekdong, which started to appear in the literature of the Three Kingdoms Period, has been steadily seen through the Goryeo and Chosun Dynasties to the modern period. It has been used in various ways, according to each age and culture, from the symbol of the office to trading goods, daily life goods, and money. In the literature, baekdong's alloying material is not only copper and nickel, which are currently defined as alloys, but it is the same in that copper is used as the base metal of the alloy, although it varies slightly from generation to generation. In addition to copper, tin, zeolite, and emerald, zinc and lead also appeared. It was found that baekdong, which means alloy, and baekdong, which means white metal, were mixed. Nickel, which is the alloy material of baekdong as it is currently defined, is a metal with a relatively high discovery time and is widely used as a material for modern industrial fields. Nickel was introduced into Korea at the end of the Joseon Dynasty, but its use is not known in detail. In this study, we examined the acceptance and use of nickel-based baekdong in articles of modern newspapers and in statistical data. Based on the experience of craftsmen, we estimated the period when nickel-based alloys were used in crafts. Material is a direct factor in the development and deterioration of technology, and the development of technology is the basis for the changing of civilizations and cultures. In this context, this study was to investigate baekdong with the material of alloys as a starting point.

• 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.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.