• 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 Conservation Science
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• v.37 no.6
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• pp.767-777
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• 2021

This study analyzed the microstructures and chemical composition of three samples of bronze mirrors excavated in the Jeollanam-do region, particularly Goheung and Damyang. Under x-ray irradiation, the analysis results confirmed the broken parts and pores caused by cracks, casting, and corrosion. Major and minor elemental analysis were performed on three mirrors by Scanning electron microscopy (SEM) with Energy dispersive x-ray spectrometry (EDS) and Inductively coupled plasma mass spe ctrome try (ICP-MS). The re sult shows that the bronze mirrors containe d Cu-Sn-Pb alloys. Alpha phase and eutectic phase were observed in the microstructure, confirming that the casting was performed without additional heat treatment. Notably, Three bronze mirrors were made early Three Kingdoms period in Korea.

• Journal of Conservation Science
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• v.28 no.4
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• pp.417-425
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• 2012

Bronze Mirror with fine linear designs in the bronze age shows the greatest alloy and casting skills of the day and presents the highest level of handcrafting and molding techniques. Lately, Lost-wax casting and sand-mould casting were used for the restoration of the national treasures of No. 141 and No. 143 Bronze Mirror with fine linear designs. Also the Principle Component Analysis, Microstructure Analysis, X-ray and SEM-EDS analysis were carried out on the restored Bronze Mirror with fine linear designs. Bronze Mirror that is made of sand-mould casting, hardly has a eutectoid and it is observed as a ${\alpha}$ dendrite. In contrast, Bronze Mirror that is made of lost-wax casting, the eutectoid has found through the ${\alpha}$ dendrite. As we compare lost-wax casting to the sand-mould casting through an analysis of restored Bronze Mirror, mostly, sand-mould casting has better castability and it seems that it brings a clear and equal Bronze Mirror as it has a low cooling rate. In this way, we are able to confirm that there is a big difference between the method by lost-wax casting and by sand-mould casting through an analysis of microstructure and restored Bronze Mirror. If such research will be continued, it will be an opportunity that investigates diverse methods of production techniques.

• Journal of Conservation Science
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• v.22
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• pp.87-98
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• 2008

Microstructures and chemical compositions of 24 bronze mirrors recovered from the Korean peninsula were examined using the scanning electron microscope equipped with the energy dispersive spectrometer in an effort to characterize the treatments applied on their surface. Their provenance and chronology are mostly unspecified except for two objects from a Koryo burial site. In antiquity the surface of bronze mirrors was frequently finished by mere polishing when their tin content was high enough to guarantee the required reflectivity. In many cases, however, their surface was given a special treatment. The most typical treatment was to coat the surface with tin in two different processes referred to as wipe-tinning and amalgam-tinning. In wipe-tinning only tin was used, but in amalgam-tinning tin and mercury were used together. The surface was often coated with mercury in a process known as mercury-polishing. The present mirrors showed that all these techniques were in fact practiced, not only on the reflective surface but, in some cases, on the decorative surface. The detection of mercury played a crucial role in the assessment of a specific technique applied in each mirror. Mercury often remained in the substrate in the form of sulfide and thereby allowed the method of surface treatment to be estimated even when the coated layer was completely lost. The future study is expected to uncover the regional and temporal variation of the surface treatments to the better understanding of bronze mirrors with respect to provenance and chronology.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.83-100
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• 2019

The purposes of this study are to identify the meaning of the geometrical patterns preferred by ancient Korean peoples and to classify them into some groups by their similarity. We investigated various patterns found on clothing and relics from GoJoseon to Goguryeo period, and utilized secondary sources such as history articles, Internet materials and photo and analyzed the associations of the varied patterns found in pottery, handicrafts, and clothing with the ancient cultures. We found the letters (ㅇ, ㅁ, and ㅅ of Korean alphabet, Hangul) preferred by ancestors who worshipped nature to identify the significations attached by them to particular patterns. The results confirm the following: first, the circle pattern indicated the sun, moon, stars in the sky, a bronze mirror, and a man's face. Circles and ovals were also observed to represent the individual souls of the clan or community. Second, square patterns symbolized the land and the patterns that signified the wellbeing of family and the country. Oblique rectangles were more frequently used as they represented a double use of the triangle, a shape that implied mystic power. Third, triangle symbolized regeneration, power, and humanity. While the Neolithic Age jade remnants of hair combs appear not to be irrelevant to the process of comb-shaped pottery production of the time, many fine comb-like lines may be found on bronze mirrors. Through its review of the glorious designs inherited from and established by ancient ancestors, the present research endeavor may help in identifying the spirits and traditions of Korean history.

• Journal of Conservation Science
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• v.28 no.3
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• pp.257-264
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• 2012

Ancient mirrors are generally made of bronze, and it is very rare to find cases of iron mirrors excavated domestically. In this study, the unidentified ferrous artifact was treated for conservation, and was identified as a mirror. In this process, the sample was taken and analyzed for microstructure, and the manufacturing technology was studied. Analysis involved optical microscope, micro-hardness tester, and SEM-EDS. As the result of analysis, iron mirror structure exist not almost non-metallic inclusions, and partially network cementite was observed. This appears to have been caused by reduced carbon content due to decarburizing the cast iron in the solid state mirror which was created by cast iron. The ledeburite structure of the casting has difficult to cut or polish because has great hardness by high carbon content. Thus, the cast iron mirror was decarburized at a temperature under $850^{\circ}C$ with CO or $CO_2$ blocked, which reduced the hardness of the iron mirror and made it possible to polish the mirror surface. This deformation of structure according to carbon content results from such manufacturing technology.

• Journal of Conservation Science
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• v.35 no.5
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• pp.508-517
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• 2019

This study analyzed on alloys and by-product samples produced through the reproduction experiment of bronze mirror with geometric designs. The alloy ratio used in the first and second reproduction experiments was based on the analysis results of bronze mirror with geometric designs(Cu 61.68%, Sn 32.25%, Pb 5.46%) which is the national treasure No. 141. As a result of portable X-ray fluorescence analysis on the raw materials used in the reproduction experiment, the contents of copper raw materials were 98.85 wt% for Cu, tin raw materials were 99.03 wt% for Sn, and lead raw materials were 70.19 wt% for Pb, and 21.81 wt% for Sn. Sn and Pb were added 5 wt% more considering the evaporation amount of tin and lead during alloy melting. The result produced by the first reproduction experiment were 58.75 wt% for Cu, 36.87 wt% for Sn, 4.39 wt% for Pb, and the other result produced by the second reproduction experiment were 58.66 wt% for Cu, 35.89 wt% for Sn, and 5.50 wt% for Pb. The composition of the components was about 3.00 wt% in Cu and Sn respectively, and the microstructure was similar to the previous studies because the δ phase was observed mainly. The results of this study will be used as basic data for the materialistic characteristics of ancient bronze mirror in the future.