• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.78-103
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• 2016

This research is a study on the side framework structure of the hipped and gable roof of Muryangsujeon at Buseoksa Temple. There is a record that Muryangsujeon was deconstructed and repaired in the period of Japanese Occupancy, and its authenticity has continuously been called into question because the structure of the hipped and gable side roofs, and the bonding of the rafters and eaves were not in good order and very different from those of Joseon Dynasty. Scholars date it differently. It is either dated at 13th century or 12th century. This study compares the non-planar configuration of the middle and front proportions of Muryangsujeon's hipped-and-gable-roof framework with those of the Tang(唐) and Song(宋) Dynasties in China. It concludes that the hipped-and-gable-roof framework of those architecture were built with the same technique. The style of architecture that side rafters directly touch the internal security (梁), like in Muryangsujeon, is not usual even among the hipped and garble roofs of the Tang(唐) and Song(宋) Dynasties. The technique of constructing the hipped roofs developed much further after the Tang Dynasty because they began to use garble eaves to build the side structure. The technique seems to have developed greatly by the period of Ming and Qing Dynasties. It also seems that the parallel-flat (平行輻射椽) rafter, which is the form of rafters used between the parallelrafter period and the half-flat-rafter period is very similar to the construction style of the current rafters of Muryangsujeon. However, the Muryangsujeon's eaves do not touch the corner rafter from the middle part. This seems to be a unique style, which is not common in China. In conclusion, the style of the side roof framework of Muryangsujeon at Buseoksa Temple is not of the China's southern regions, but of the northern regions of Tang(唐), Song(宋) and Liao(遼) Dynasties. And when considering the construction year and proportions of the middle front and side front on the same flat, this must be an ancient technique of the northeastern regions of Asia. Since it is likely that the structure of the side roof framework of Muryangsujeon at Buseoksa Temple has not been altered but is a unique style of hipped and gable roofs, this roof can serve as a good guide to restoring the hipped and garble roofs of the pre-Goyreo Dynasty period.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.122-141
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• 2019

This study aimed to provide new interpretations of the ceramics excavated from the archaeological site of the royal palace of Goryeo (918~1392), where only limited access was permitted due to its location in Gaeseong, North Korea. The interpretations were based on the existing understanding of the arrangement of the palace buildings at the site and historical records. The study of the general aspects of the celadons discovered during eight excavations at the Goryeo Palace site in Gaeseong revealed that most of the vessels found at the site were produced during the early and middle phases of the Goryeo dynasty. The study involved classifying the celadons bearing inscribed texts and symbols into 18 different types according to their characteristic features and periods of production. The inscribed celadons have provided detailed information of the site where they were found, thereby making it possible to make strong presumptions about the date of construction, function, and status of the building in the palace connected with the discoveries. The excavations from the Goryeo Palace site and related historical literature suggest that the celadons bearing the inscription "Sojeon (燒錢)" were used during the first half of the 13th century, although the existing view had been that they were used during the second half of the century. This new conclusion is based on the use of the symbols ${\circ}$ and ${\odot}$, the celadons found together with the Sojeon-inscribed celadons, the date of the celadons bearing the inscription "Seong (成)," and the location of their discovery behind the site of Seongyeongjeon (aka Hoegyeongjeon) Hall, which had been one of the main palace buildings. The Taoist rituals performed for the safety of the Goryeo dynasty were largely held at Ganganjeon (aka Daegwanjeon) Hall in the western part of the royal palace during the second half of the 13th century. It was mostly in the first half of the 13th century just before the transfer of the Goryeo government from Gaeseong to Ganghwa (1232~1270) that the Taoist rituals were held at the location near Seongyeongjeon Hall, where archaeologists found the Sojeon-inscribed celadons. Therefore, the large number of celadon cups with holders, including those inscribed with Sojeon, discovered during the eighth excavation of the palace site suggests that they were used for the rituals held at Seongyeongjeon Hall during the first half of the 13th century.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.61-78
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• 2008

Celadons painted in underglaze iron brown 'Sung(成)' inscription are characteristic celadons excavated only at the No. 7 kiln site located at Sadang-ri(沙堂里), Daegu-myeon(大口面), Gangjin-gun(康津郡), Jeollanamdo(全羅南道), Korea and has inscription in the inner center of the foot by brush. The inscription was marked where it is not easily seen. it can be assumed that since it showed a variety of hand writings, many people were involved in manufacturing these celadons and the 'Sung' inscription was marked after workshop rather than manufacturer. It was also found that quality of glaze, paste, shape, pattern and firing method were same and these were manufactured with the same techniques in the same period. Kinds of these celadons were mainly sets of tablewares including bowl with handle, bowl, plate, cup, bowl with cover and bottle. Raised relief designs using extrusion technic were especially preferred rather than incised designs and inlaid designs. Cases of using inlaid designs were not frequently found compared to incised designs, thus it can be assumed that in this period, inlaid designs were not generally used. Special designs having the meaning of authority or dignity such as chrysanthemum, peony, parrot and lotus plate designs were not found. Foot was molded with 'U' type except some bowls with cover and plates and firing was done after glazing the whole surface of the ceramic with the support of quartzite at 3 to 4 places of inner bottom of foot. Production period of these celadons with 'Sung' inscription can not be confirmed from other excavation sites outside of No. 7 kiln site at Sadang-ri since there are no other excavation sites whose relics bear 'Sung' inscription. Through comparison research with other relics bear the characteristics of these celadons from tombs, temple sites, shipwrecks, production period of these celadons with 'Sung' inscription can be assumed as second quarter of 13th century. And since the quality of these celadons are generally inferior to the top-quality celadons which were supplied to royal familes and high-ranking aristocrats, it can be deducted that these celadons with 'Sung' inscription were supplied to classes lower than royal familes and high-ranking aristocrats. So it is considered that Celadons with 'Sung' inscription have a great significance as a chronological material to complement the blank of the first half of the 13th century because most of celadons with raised relief designs and engraved relief designs were attributed to 12th century, the period of prosperity.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.78-103
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• 2020

Transcribed Buddhist sutras generally consist of a frontispiece illustration, sutra illustrations, and sutra text, although some parts may be lost over time. Most transcribed sutras originally include an official record of the transcription (saseonggi) at either the beginning or end of the volume, which document various details of the production, including who commissioned the sutra and when it was transcribed. If such records are unavailable or difficult to decipher, the date of the sutra can only be estimated by comparison to other works with known production dates. This is the case with Korean Treasure #978, the "Transcription of the Avatamsaka Sutra (Zhou Version) in Gold on White Paper" (hereinafter, "Avatamsaka Sutra, Volume 29"), which does not contain any details of its production. Based on formal comparisons, the volume has been estimated to date from the early Joseon period. Important criteria for estimating the production date include the type of calligraphy script and the overall expression of the sutra illustrations. However, these features are missing from some early Joseon sutras, making it difficult to definitively assert which characteristics are representative of the period. Also, transcribed sutras from the late Goryeo period (after 1350) and early Joseon period are often very similar in terms of the expression of the frontispiece illustrations and sutra illustrations. From the late Goryeo period through the early Joseon period, the illustrations of transcribed sutras, which had previously been relatively detailed and realistic, gradually became more formalized and stylized. Significantly, Avatamsaka Sutra, Volume 29 includes illustrations showing both styles of expression (i.e., realistic and formalized). Moreover, the hemp leaf design on the frontispiece and the border around the sutra illustrations are unique features that have never been seen on any other transcribed sutras. Notably, however, Avatamsaka Sutra in Gold on White Paper, Volume 26 (hereinafter, "Avatamsaka Sutra, Volume 26"), which has not yet been introduced in academic research, is complete with frontispiece, sutra illustrations, and sutra text. This sutra is identical to Avatamsaka Sutra, Volume 29 in size, composition, and details, and is thus estimated to have been produced at the same time and by the same patrons. According to the record at the end of the volume, Avatamsaka Sutra, Volume 26 was commissioned in 1348 by Gi Cheol (d. 1365), which corresponds to the estimated date of Avatamsaka Sutra, Volume 29 derived by formal comparison. Based on this new information, Avatamsaka Sutra, Volume 29 was likely produced in the late Goryeo period rather than the early Joseon period, as has previously been presumed. The new study of Avatamsaka Sutra, Volume 26 also seems to confirm that both sutras were transcribed by highly skilled artisans in 1348 of the late Goryeo period, a transitional phase in the expression of sutra illustrations.

• The Journal of Engineering Geology
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• v.32 no.4
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• pp.611-625
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• 2022

One of the applications of geomagnetic paleo-secular variation (PSV) is the age dating of archeological remains (i.e., the archeomagnetic dating technique). This application requires the local model of PSV that reflects non-dipole fields with regional differences. Until now, the tentative Korean paleosecular variation (t-KPSV) calculated based on JPSV (SW Japanese PSV) has been applied as a reference curve for individual archeomagnetic directions in Korea. However, it is less reliable due to regional differences in the non-dipole magnetic field. Here, we present PSV curves for AD 1 to 600, corresponding to the Korean Three Kingdoms (including the Proto Three Kingdoms) Period, using the results of archeomagnetic studies in the Korean Peninsula and published research data. Then we compare our PSV with the global geomagnetic prediction model and t-KPSV. A total of 49 reliable archeomagnetic directional data from 16 regions were compiled for our PSV. In detail, each data showed statistical consistency (N > 6, 𝛼₉₅ < 7.8°, and k > 57.8) and had radiocarbon or archeological ages in the range of AD 1 to 600 years with less than ±200 years error range. The compiled PSV for the initial six centuries (KPSV0.6k) showed declination and inclination in the range of 341.7° to 20.1° and 43.5° to 60.3°, respectively. Compared to the t-KPSV, our curve revealed different variation patterns both in declination and inclination. On the other hand, KPSV0.6k and global geomagnetic prediction models (ARCH3K.1, CALS3K.4, and SED3K.1) revealed consistent variation trends during the first six centennials. In particular, the ARCH3K.1 showed the best fitting with our KPSV0.6k. These results indicate that contribution of the non-dipole field to Korea and Japan is quite different, despite their geographical proximity. Moreover, the compilation of archeomagnetic data from the Korea territory is essential to build a reliable PSV curve for an age dating tool. Lastly, we double-check the reliability of our KPSV0.6k by showing a good fitting of newly acquired age-controlled archeomagnetic data on our curve.

• Journal of Conservation Science
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• v.20
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• pp.67-80
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• 2007

Icheon Seolbong fortress is located in Saum-dong, Icheon, Gyeonggi-do Province that its date is founded as 4th century of Bakjae dynasty after excavation by Dankook university museum. Excavated artifacts show various kinds such as earthenwares, ceramics, metal artifacts and so on. Especially many iron artifacts were founded in where Bakjae earthenwares were found that it indicates iron artifacts were manufactured in Bakjae Dynasty. From 6 iron sickles, called Beollat and Millet, samples were taken to examine mircostructures and from the results used iron material, shape-forging, steel-making process, heat treatment were investigated. From this late 4th century Bakjae dynasty iron manufacture profess was established. From the result, different treatment were used in different area of the sickles according to the its use. Beollats were quenched in blade and it was used for special purpose that require Intensity. Millats did not have special treatment that it was used to cut rice plant and plant. Used material was steel, steel was previously made by certain steel-making process. It is formed to produce iron ware and the area where intensity is required heat treatment was employed to make it strong. From the investigation it is derived that iron ware manufacture process in Bakjae dynasty is steel making$\rightarrow$shape-forging$\rightarrow$and heat treatment.

• Journal of Conservation Science
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• v.36 no.3
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• pp.197-212
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• 2020

This study analyzed the microstructure of ring-pommel swords, excavated from Ancient Tombs, Hadae, Ulsan and examined their production technique, using non-destructive testing and a metallurgical method. The results confirmed that the five ring-pommel swords, unearthed in Ancient Tombs, Hadae, Ulsan, as identified by radiographic non-destructive testing, had been solely manufactured using iron, through forging based on the single-piece technique. Furthermore, these results were compared with previous studies, and the manufacturing techniques of single-piece ring-pommel swords were categorized into three types: pure iron - changing the shape, pure iron - changing the shape - carburization, and steel - changing the shape - quenching. The ring-pommels of four swords had around 0.7% of carbon content, which is as much as for eutectoid steel and higher than for other parts of these swords, such as the backs of their blades and handles. The weapon function of a small ring-pommel sword, under 60cm in length, was maximized by quenching focusing on its blade. Conversely, the martensite quenching structure was not observed in four ring-pommel swords shorter than 75cm. In other words, the same types of single-piece ring-pommel swords(late in 2C~early in 4C) were unearthed from Ancient Tombs, Hadae, and the group who has manufactured these swords is presumed to have limited their effectiveness, functionally depending on purposes, through an iron-making process and heat-treatment techniques.

• Journal of Conservation Science
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• v.35 no.5
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• pp.453-469
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• 2019

The celadon jar with inscription of 'the Fourth Sunhwa Year' is an important chronology that shows the conditions of production of the early celadon due to the inscription on the bottom including its purpose, application, and the producer. This celadon jar has been restored several times in the past. However, concerns over the structural stability, such as the separation and level differences in the joined cracks, have risen because of the aging of the repair materials, which were subjected to various environmental changes over a long time. By examining the conditions of preservation, the major damage was identified as the '入' shaped crack on the front, the 'V' shaped restored part and the crack on its left side, and the 'J' shaped crack on the back side. In the past, the cracks were found to be joined using a refined lacquer containing camphor, drying oil, rosin, etc. mixed with soil powder. The joint line was repainted with the refined lacquer and covered with gold powder. The missing parts were restored with gypsum and colored with acrylic color. After that, the repair materials were aged and emergency treatment was performed at the National Museum of Korea in 1981. At that time, Cemedine C or Cemedine C mixed with microballoons was used for reinforcing the cracks. Conservation treatment focused on removing the past repair materials and reinforcing the physically fragile parts by joining and restoring them based on the examination of the preservation condition. in addition, the area around the restored part was colored for future exhibition.

• KOMUNHWA
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• no.69
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• pp.91-111
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• 2007

This paper deals with the cultural and ideoligical background of the landscape designs on Joseon blue and white porcelains in the late Joseon period, and involves the government painters in the official kiln. Dongjeongchuwol-design (동정추월문), painted the full-moon night scene of Dongjeong lake on Jeseon blue and white porcelains, was in fashion in the late Joseon period. It didn't reflected the entirely realistic subject comparing to the painting circles at that time, but the principle and aesthetic appreciation of Royal family who leaded the official kiln. And Sansuinmul-design (산수인물화). painted the man of great caliber in the ancient history with mountain scenery, was similar to the painting manuals such as Gossihwabo (고씨화보) and Dangsihwabo (당시화보). It was a counterpart of Dongjeonchuwol-design on Joseon blue and white porcelains in the late Joseon period. These designs were painted into ogival-shaped frame (릉화창) on the blue and white porcelains in most cases, and adjusted to shape of porcelain. The landscape designs on Joseon blue and white porcelains became stereotyped, involving subjects of folk painting in the late 18th Century and the early 19th Century. This essay will be just a start to research into the landscape designs on blue and white porcelains in the late Joseon period, even though we seldom find works providing strict chronology among some works to the public.

• Journal of the Korean Geographical Society
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• v.49 no.1
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• pp.1-17
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• 2014

This study estimates geomorphological processes of fluvial terraces by uplifts and bedrock features, by the analyses of topography, distribution, formation age and incision rate of fluvial terraces using Gwang-cheon River in Uljin, Namdae-cheon River in Pyeonghae and Osip-cheon River in Yeongdeok located in the southern Taebaek Mountain Range. The tectonic and climatic terraces I in the upper reaches of Gwang-cheon River with an altitude from riverbed of 9~12m indicate the formation age of MIS 2 with a incision rate of 0.40m/ka. However, the tectonic and climatic terraces I in the upper reaches of Osip-cheon River with an altitude from riverbed of 7~10m show the formation age of MIS 3 with an incision rate of 0.10m/ka. These results suggest that the uplift rate in the Gwang-cheon River basin is likely to be higher than that in the Osip-cheon River basin. Unlike the lower reaches of Osip-cheon River, the thalassostatic terraces are not found in the lower reaches of Gwang-cheon River, because the basin has low maintainable ability of landforms in river valley due to high uplift rate and bedrock properties resistant to weathering and erosion. On the other hand, the lowest tectonic and climatic terraces in the study areas indicate different formative ages and the terraces during the cooling stage in interglacial as well as during interstadial are also found. Therefore, this study suggests that chronological method for fluvial terrace by the previous developmental model of climatic terrace should be reconsidered.