• 보존과학연구
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• s.32
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• pp.155-170
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• 2011

This study intended to identify the ratio of alloy, metallographic examination and hardness on the bronze mirrors excavated in Korea and made the distribution chart of the main components according to each artifact and then tried to compare the ratio of artifacts with that of 鑑燧之齊of Zhouli Kaogongji(周禮, 考工記). Through this research, the components distribution of bronze covered a wide rage but it can be divided into 2~3 groups. When it is categorized into 3 groups, one is the bronze mirror with 70-80% of copper, 15-20% of tin and less than 5% of lead. Another is the bronze mirror with 20%-30% of tin which gives the white luster on metal and the high hardness. The other is the bronze mirror with 60-70% of copper and 15-20% of tin but it has more than 10-15% of lead which causes less luster and the low hardness. It contains less tin than 33%(50%) of tin from 鑑燧之齊 according to the old record Zhouli Kaogongji(周禮, 考工記) of Zhou Dynasty. In Korea the bronze mirror with tin of 鑑燧之齊was never found yet except the case of artifacts analyzed by non-destructive analysis.

• Journal of architectural history
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• v.25 no.3
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• pp.7-22
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• 2016

Of all the annotations of Rites of Zhou for 2,000 years, there is no single line of history of ore contents related to city building in its current perspective. This is because the definitive evidence of the interpretation of related phrases is regarded as top-level guidelines called "辨方正位(Byeonbang-Jeongwi)", and their specific contents have been discussed in '匠人建國(Jangin-Geonguk)'. The phrases of '匠人營國(Jangin-Yeongguk)', considered to be the key buzzword related to city building, must be reconsidered for these reasons. As such, this paper strives to analyze the system of logic formed by consistent interpretation that flowed for 2,000 years from Han to Qing dynasties, and to discover the principles of city building used in Confucian classics.

• (The)Study of the Eastern Classic
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• no.68
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• pp.173-208
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• 2017

This study sorted out the political methods of the typical shell-and-bone inscriptions during early Western Zhou, the shapes and arrangements of Chan, Chak, and Jak, and the characteristics and description methods of shell-and-bone characters and also investigated the formation backgrounds and changing patterns of shell-and-bone inscriptions with a focus on the transmitted literature and actual shell-and-bone inscriptions. First, the transmitted literature contained records saying that Gogongdanbu told fortunes by burning tortoise shells during Proto-Zhou, but no Bokgap from those days had been excavated yet. The content of the divination focused on the periods of Kings Wen, Wu, and Cheng of Zhou, and the shell-and-bone characters of Juwon contained much content about Jugong those days. Second, there were some differences in the processing methods between Bokgap and Bokgol, but their origin could basically be found in the Joyeongjang form during middle Shang. In addition, it was found that they directly accepted the Bukchon type of Seomseo during late Shang and the divination method of the Proto-Zhou culture. Third, all of Bokgaps had a set of square Chan and rectangular Chak installed on the back, whereas all of Bokgols had a set of circular Chan and vertically thin Chak and were in the shape of a cat's eye. In terms of the Chan, Chak, and Jak arrangement, the Bokgaps were similar to those of Yinxu during late Shang, whereas the Bokgols had the characteristics of the Joyeongjang type during middle Shang. Finally, there were differences in the description methods of shell-and-bone characters according to the arrangement methods of shell-and-bone inscriptions. Some rules were found according to each of the parts. Bokgaps were placed horizontally so that Gapsu would face sideways. The middle sections of Bokgols were mostly placed horizontally with the Byeongbu and Seonbu facing downwards at Golgu to write downwards from right to left. This method was estimated to have something to do with "Sigo" in the divination process in The Rites of Zhou. It was inferred that the perceptions of divination changed in the process of arranging the rites and music institutions during early Western Zhou.

• 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.