• Korean Journal of Heritage: History & Science
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• v.38
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• pp.179-222
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• 2005

Studies prosecuted on relics in those 17 bronze workshops that have been thus far excavated show that these workshops may be roughly classified into a royal workshop, a state-operated workshop and a private workshop depending upon by whom they were operated. Workshops in the Gyeongju area developed from a small royal handicraft manufacturing to a large state-operated handicraft manufacturing scale, and then later on gradually changed to a private handicraft manufacturing industry. The royal bronze workshops were operated in a small scale, as shown from the relics excavated at Wolseong(月城), Imhaejeonji(Anapji:雁鴨池) and their neighborhood places around Hwangnam_dong(皇南洞). The state-operated bronze workshops are concentrated upon one point around Dongcheon-dong(東川洞), Gyeongju city. On the other hand, in the state-operated workshop stage, a broad street was built by a workshop, which is presumed to aim to thoroughly transport materials needed for the workshop. And the point that wastes from bronze workshops were used for road repairs indicates that road repair works were carried at the bronze workshops near the road. The private workshop as a new type of workshop was operated by the aristocracy. For that purpose, craftsmen belonging to state-operated workshops or individual artisans were absorbed into the aristocracy-operated workshops. These types of workshops were pervaded throughout the city. When private workshops came to emerge in the houses of the aristocracy, the operating subjects of workshops began to change from state-operated to private workshops. Temple workshops were located at a Buddhist temple within the Court and directly produced things needed for the court, including bronze foundries. As aforementioned, through the presence of bronze workshops operated in the Silla Court, we can identify the relationships between their technical level and trading areas and among their origin, supply and demand sources, along with phases of social life in those days.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.22-37
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• 2021

The wind chime is a longstanding Jangeomgu (majestic article) found in Korea, China, and Japan. However, basic research on wind chimes is currently inadequate as it is difficult to estimate the time of production, and there are few relics. Therefore, this research morphologically classifies the eight bronze wind chimes decorating the baldachin of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan. Based on this, the manufacturing techniques and production period are scientifically demonstrated. The synthesis of the research results reveals that the structure and characteristics of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan differ depending on their location on the baldachin. The four large-sized wind chimes on the lower-baldachin were manufactured by casting a Cu-Sn-Pb alloy, and they are estimated to have been made during the early period of Goryeo. The two medium-sized wind chimes of the upper-baldachin's northern direction were manufactured through forging a Cu-Sn or Cu-Sn-Pb alloy, and they appear to have a similar structure to the cylindrical wind chimes appearing during the latter period of Goryeo and the Joseon period. The two small-sized wind chimes of the upper-baldachin's southern direction were manufactured by casting a Cu-Sn-Pb alloy containing Zn, and based on the chemical composition of the alloy and the shape of the clapper, they are estimated to have been manufactured during the latter period of Joseon. Through the observation of microstructures and a chemical composition analysis, it is demonstrated that two wind chimes of the lowerbaldachin were manufactured by casting and slow cooling the alloy with an alloy ratio of Cu:Sn:Pb≒80:15:5. In addition, it is estimated that the wind chimes of the upper-baldachin's northeast direction were manufactured by forging an alloy of Cu-Sn with a similar alloy ratio to that of forged high tin bronze. The results of a comparative analysis of prior research on domestic wind chimes confirm that two wind chimes of the lower-baldachin have a similar composition ratio to the wind chime excavated from Wolnamsaji in Gangjin, containing an amount of tin that corresponds with ancient records. Having a similar alloy ratio to forged high tin bronze, the wind chimes of the upper-baldachin's northeast direction are the only instances among all of the wind chimes that have been examined to date that were manufactured using this forging method. The purpose of this research is to collect baseline data to verify and classify the manufacturing period of wind chimes according to their morphological characteristics based on scientific evidence. It is hoped that this data can be utilized for the restoration and conservation processes of the wind chimes of the Stone Standing Maitreya Bodhisattva of Gwanchoksa Temple, Nonsan.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.46-61
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• 2023

Various Buddhist metal artifacts were excavated from the Heungjeon-ri Temple site from 2014 to 2020, such as gilt-bronze openwork decorations, a bronze kundika, a lion incense burner with a handle and lion weight, and so on. The gilt-bronze openwork decoration founded from the main hall of the western area is believed to have been used for the decoration of the Buddhist temple, and it is considered to be the best example of the gilt-bronze openwork decorations of the unified Silla that have been discovered so far. The incense burner with a handle and lion weight excavated from Heungjeon-ri Temple site is the earliest example of the style. The bronze kundikas excavated at the Heungjeon-ri Temple site have a more developed style than those of Ingaksa Temple. The bronze bowl and bronze bowl with a lid are similar to those excavated from the Anapji, Hwangryongsa Temple site, and Inwangdong Temple site. So these bronze vessels seem to have spread from the capital city to the provinces. Bronze seals excavated from the Heungjeon-ri Temple site are similar to those of the Hwangnyongsa Temple site in form and font. So, it was considered that they were produced and sent by the royal palace. In addition, "梵雄官衙之印" on the seal can be said to show that Heungjeonri Temple site was related to the organization of the monks at the time. The Buddhist metal artifacts excavated from Heungjeon-ri Temple site are believed to have been used from the early to mid-9th century at the temple by the Seon Order monk who was the main character of the monument. It can be said to be an important example of how the royal palace of Unified Silla and local crafts had a two-way influence, not a one-way influence, from the first half to the middle of the 9th century.

• 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.

• 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.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.267-284
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• 2004

As an initial step to understand the transitions in Korean bronze technology the present study has examined metallurgical microstructures of 8 artifacts excavated from the Silla Wang-Gyong site in Kyongju. Important trends have been found in alloy compositions and also in manufacturing processes. In the design of alloys, the Sn content was apparently changing toward the peritectic point, 22 mass %, of the Cu-Sn phase diagram while the Pb addition was intentionally avoided. This trend in composition was found accompanied by the introduction, subsequent to casting, of such special thermo-mechanical treatments as quenching and forging in artifact manufacture. In addition, the Sn content in alloys containing a significant amount of As was relatively low and no evidence of forging was observed in them. The use of quenching and forging and the rejection of Pb and As from alloys are all necessary requirements if the brittle nature of high Sn alloys is to be overcome in bronze working. This paper will show that the Wang-Gyong era corresponds to that of innovations leading to the technical climax in Korean bronze tradition, which has been maintained up to the present.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.91-120
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• 2004

The Yan mountain area of the northern part of Hebei province and its local neighbor area is categorized main-distribution area of the northern bronze culture of the Eastern Zhou period(770bc~221bc). Recently, it was discovered the concrete character of the culture by a large scale excavation of the Yuhuangmiao cemetery at Jundu mountain. In the chinese scholarship, the cultural character of this area has established the independent cultural type that is distinguished from the Bronze culture of existing. In this paper, I have as a target of analysis remains relate to the Yuhuangmiao culture of the mountain area of northern Hebei in the Eastern Zhou period. And I would like to judge about diverse infuluential relationships of the character of the Yuhuangmiao curture and the Bronze culture, especially burials, burial customs and the characters of the excavated article. In particular, diverse infuluential relationships of the upper Xiajiadian culture Ordos bronze culture and The Central Plains cultural from The Yan state have a important meaning to understand about the character of the Yuhuangmiao culture and the beginning development process. Ultimately, it is peculiar characters of the Yuhuangmiao culture that a shaft gave with stone compartment protecting a coffin as a symbolic form, mask-burial customs such as mainly burials of the living with the dead dogs, a drum shaped jar, a tripod jar with two handles, a short bronze sword with circle hilt, Central Plains cultural bronze containers, bronze halberd and horse-shaped accessories of cartage horse trapping are distinguished from a local neighbor, the bronze culture from northern. The territory of time-space of The Yuhuangmiao culture can be dominately recognized bewteen the upper Xiajiadian culture and Ordos bronze culture. It is the Yan culture after the middle Warring States Period considering with the peculiar chacters which reflected by burials and bural customs and diverse infuluential relationships with peripheral cultures.

• Journal of Conservation Science
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• v.36 no.3
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• pp.178-186
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• 2020

Verdigris is a traditional artificial pigment reported on old research papers and according to the methods mentioned in the literature, it is manufactured by the corrosion of copper or copper alloys using vinegar and by further scraping the generated rust. Since the Three Kingdoms Period, various household products with copper alloys, such as bronze and brass, have been used, and pigment analysis of these cultural heritage items has revealed the presence of tin, zinc, lead, and copper in green pigments. Based on these data, five types of verdigris were prepared from copper and copper alloys, and analyzed. the analysis results revealed a bluish green pigmentation, and the chromaticity, particle shape, and oil absorption quantity of each verdigris differed based on the type of copper alloy used in its preparation. The main components of verdigris are Cu, Sn, Zn and Pb, and their proportions depended on the type of copper alloy used during manufacturing. However, the main constituent mineral of the pigments is the same as 'hoganite[Cu(CH₃COO)₂·H₂O]', regardless of the copper alloy used. The result of accelerated weathering test for stability evaluation revealed that verdigris was discolored rapidly, thereby indicating that its stability was low, in particular, the pigments comprising lead presented relatively lower stability.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.64-77
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• 2013

In China, archaeological research on Xiongnu started later than in foreign countries. In the late $19^{th}$ century, several Russian archaeologists started to study Xiongnu's archaeological culture. However, since the late $20^{th}$ century, archaeological research of the Xiongnu in China quickly gained speed. The Xiongnu culture has been reported in Mongolia, northern steppe of China and eastern part of Eurasian steppe. Mainly, Xiongnu sites, dated from the late 2nd century B.C. to the 1st century A.D., are reported on the west side of Baikal Lake(Zabaikal), Mongolia and the Inner Mongolia of China. Based on the historical records and the archaeological remains, the North Xiongnu culture is defined to be the remains of Zabaikal, and the South Xiongnu culture the archaeological remains of Northern China. The expelled North Xiongnu, while fleeing to the western part of Eurasia, left traces of their own archaeological remains in southern Kazakhstan, Xinjiang of China, Altai, and finally appeared in the Europe as Huns. In order to adapt to the environment of northern steppe of China, Xiongnu used a nomadic economic system, giving uniqueness to its iron works. The most characteristic iron works of the Xiongnu is the highly-sophisticated iron weapons. Compared with the iron works of agricultural economic society, Xiongnu iron-works are short of production tools and various vessels. The "Nomadic type" iron works found in Xiongnu area date back to the Warring Country period or slightly later. Further research need to be conducted on "Nomadic type" Xiongnu iron works.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.102-121
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• 2010

Three bronze bells excavated from the Hoeamsa temple site were investigated for their microstructures and chemical compositions in an effort to understand the technology applied in fabrication, which may represent the related industry established in the early Joseon period. The result shows that the bells were cast from alloys of approximately 85% copper-8% tin-7% lead. The chemical analysis for ten trace elements shows that they were all kept below 0.3 weight %, suggesting that the alloys were made of relatively well-refined copper, tin and lead. The presence of sulfur and iron indicates that chalcopyrite or chalcocite may have been used in the smelting of copper. Evidence has been found that the bells were cast by pouring the liquid metal from the top of the sand molds that were set up in an upright position. No additional treatments, thermal or mechanical, other than a little grinding were applied upon the completion of casting. After the shaping process, a balancing plate was attached to the top of the bell using a steel connection ring. The connection assembly was then fixed to the main body by using molten bronze as a solder. The surface inscription was found carved using different techniques. The differences in the order of strokes and the calligraphic style indicate that the carving was carried out by more than one master. In the absence of documentary evidence on past bronze technology, the present bronze bells with known chronology, provenance and the main agent of production, prove to be a rare and valuable archaeological material for the understanding of the related technology in use in the early Joseon period.