• The Korean Journal of Quaternary Research
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• v.25 no.1
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• pp.41-49
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• 2011

Archaeological survey has been carried out to find some evidence of human occupation in 31 caves in Pyeoungchang, Danyang, Jincheon, Goesan, Munkyoung, Boeun, Sangju in central limestone area of the Korean peninsula. Among those caves, some archaeological evidences were observed in 11 caves. Various types of potteries, animal bones and stone artifacts were collected on surface of sediments in caves. Among them, the Mosan cave in Munkyoung and the Kwangcheonseongul in Pyeoungchang are very likely to yield important archaeological remains in the well preserved deposits in the caves. Further researches are expected to provide significant information for explaining human living from prehistoric time to historical periods.

• Journal of the Korean Professional Engineers Association
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• v.18 no.2
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• pp.54-65
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• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• The Journal of Korean Philosophical History
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• no.50
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• pp.171-200
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• 2016

The full-scaled study of Joseon conducted by Japan in the 1910s was part of its colonial policy, while the native Joseon studies against it contained political aspiration to recover the national rights and independence. Accordingly, the conceptual meaning of 'Joseon' varied according to its subject of speech. The establishment of modern nation-state failed along with the extinction of Korean Empire, but 'Joseon' was newly discovered within national ideology. It became a historical concept in which the experience of the past and the expectation toward the future could be united. The so-called 'Joseon Studies' was only limited to intellectuals in the academic circle, but 'Joseon' embraced the articulations from more various social agents. Furthermore, it is only natural that 'Joseon Studies' should be interpreted within the historical semantics of 'Joseon', considering the connection between concept and discourse. In his The History of Joseon Civilization, An Hwak encompassed the history from the times of ancient mythology to the contemporary times under the banner of 'Joseon'. Opposing Japanese distortion of history carried out in the name of historical positivism, he idealized Joseon history as comparable to that of the Western democracy. He extended the study of 'Joseon' into culture at large, foreshadowing a kind of Joseon philosophy. In his An Overview of Joseon Philosophical Ideas, the first description of 'Joseon philosophy' as an independent field, he proposed philosophy as one of three sources of pride in Joseon and asserted its uniqueness and originality compared to the West. It was an attempt to grasp the peculiarity of Joseon ideas from a perspective of the history of universal human civilization. He considered 'Jong'(倧) as an ideological foundation held from the ancient to the modern times, and the acceptance of Buddhism and Confucianism as beneficial to 'Joseon philosophy'. The birth of 'Joseon philosophy', the modern transformation of the traditional knowledge system, was an intellectual experiment to apply traditional knowledge to the modern disciplinary classification system.

• Journal of Conservation Science
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• v.30 no.4
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• pp.457-466
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• 2014

Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite($Al_2Si_2O_5(OH)_4$) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite($Cu_2CO_3(OH)_2$) for green and Lead white($PbCO_3{\cdot}Pb(OH)_2$) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively behind compared to that of Koguryo's in the same era.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.

• Proceedings of the Korean Institute of Surface Engineering Conference
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• 2018.06a
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• pp.6-6
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• 2018

본 연구에서는 고문헌에 기록된 도금 재료와 도금법 등을 확인하고 이를 기초자료로 활용하여 매실산을 사용한 금(Au)-수은(Hg) 아말감기법으로 고대 도금(鍍金)기술을 되살리고, 이를 토대로 경주 월지에서 출토된 금동삼존판불을 복원하였다. 먼저, 전통 도금법을 되살리기 위해서, "오주서종박물고변", "확지신편", 조선시대 각종 의궤 등에 공통적으로 기록되어 있는 매실에 주목하고, 매실을 3~4개월 발효 숙성 후 착즙한 뒤 그것을 농축하여 만든 매실산을 도금 실험에 적용하였다. 금아말감 도금을 위하여 월지 출토 금동삼존판불의 바탕소지금속인 청동삼존판불을 구리와 주석 89:11(Cu:6kg, Su:750g)로 합금하여 주물사 주조법으로 복원하였으며, 동일한 합금비로 제작된 $2.3cm{\times}3.5cm$(가로${\times}$세로)의 시편에 사전 실험을 실시하였다. 현대적 산처리 방식에 사용되는 질산과 전통방식으로 사용되는 매실산으로 시편에 산처리 한 후 각각 비교해 보고, 금분과 금박, 상온과 가온에 따른 아말감상태를 비교하는 실험을 진행하였는데, 실험에 사용된 매실산 70%는 pH가 1.94로, 오늘날 산처리에 사용하고 있는 질산 20%와는 차이가 있지만, 청동 시편 실험을 통해 매실산에 20분 정도 담근 뒤 금아말감을 도포 후 24시간 지나 가열($380{\sim}400^{\circ}C$) 했을 때 금도금이 잘 되어, 현대적 방법인 질산처리로 도금을 한 시편과 큰 차이가 없는 것으로 관찰되었다. 사전 실험을 통한 결과를 적용한 월지 출토 금동삼존판불 복원은 청동삼존판불 표면처리, 금-수은 합금 및 도금하기, 도금 후 표면처리의 순서로 진행되었는데, 금과 소지금속의 밀착력을 높이기 위해 표면을 숯을 이용해 탈지한 후 물로 씻어내고 매실산을 도포하여 20분 동안 두어 부식 및 세척을 시행하였다. 금도금을 위한 금-수은아말감은 가온할 때 수은이 증발하는 양을 고려하여 금1 : 수은10 비율로 합금하여 완성하였으며, 금아말감 도포 후 약 24시간 지난 다음, $380{\sim}400^{\circ}C$에 가열하여 수은을 기화시켜 도금작업을 완성하였다. 금아말감도금은 평균적으로 6~7차례 시행하여야 완벽히 도금되지만, 본 연구에서는 단 4차례의 도금만으로 금아말감도금을 완성시켰는데, 이것은 금아말감을 바탕소지인 청동에 도포한 후 24시간 동안 금아말감과 청동과의 반응 시간을 두게한 것이 큰 역할을 한 것으로 보이며, 이는 청동시편을 이용한 실험과 과학적 분석을 통하여 입증하였다. SEM으로 표면을 관찰한 결과 아말감 도포시간이 즉시인 경우 도금이 거의 되지 않은 것을 확인할 수 있었고 36시간이 넘어갈 경우 금 도금층이 불균일하게 관찰되었으므로 도금시간은 12시간~24시간 이내가 적절함을 확인할 수 있었다. EDS로 성분을 분석한 결과 산처리 시간이 20분인 시료의 경우 5 wt% 내외로 수은의 비율이 다른 시료에 비해 낮은 것을 확인할 수 있었다. 실험 및 분석결과 산처리 시간이 20분이고 아말감 도포시간이 24시간일 때 도금이 잘 이루어지므로 이 결과를 토대로 금동삼존판불을 복원하였다. 이번 연구를 통해 도금법에 표면을 세척하고 부식시키기 위해 사용한 물질이 매실산임을 찾아내어 확인할 수 있었는데, 이러한 점 에서 이 연구의 가장 큰 의미는 전통 소재와 기술을 복원한 것으로, 앞으로 매실산을 이용한 금 도금기술은 관련 학계에도 큰 기여를 할 것으로 기대된다.

• Korean Journal of Environment and Ecology
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• v.3 no.1
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• pp.42-50
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• 1989

A valley and a ridge forest in Mt. Gaya area was studied to investigate forest structure in relation to altitude and part of slope. Sixty-three quadrats were set up in the valley forest along altitude of 600m to 1,000m and part of slope, and thirty-eight quadrats were set up in the ridge forest along altitude of 700m to 1,430m. According to the importance values, the valley forest was Quercus mongolica-Lespedeza maximowiczii community and the ridge forest was Pinus densiflora, Quercus mongolica-Rhododendron mucronulatum community. Similarity index between the valley forest community and the ridge forest community was 37.2%. Shannon's species diversities of the valley forest community and the ridge forest community were 1.3402 and 1.0098, respectively. According to importance values by crown stories and DCA ordination, successional trends of tree species may be from Pinus densiflora and Pinus koraiensis through Quercus mongolica to Quercus serrata and Carpinus laxiflora. As going from the lower part to upper part of the slope in the valley forest, the importance values of Quercus mongolica, Quercus aliena, Rhododendron mucronulatum and Lespedeza maximowiczii increased while those of Carpinus laxiflora and Fraxinus rhynchophylla decreased. With increasing elevation in the valley and ridge forest, the importance value of Pinus densiflora decreased while that of Quercus mongolica increased. In the valley forest, densities of canopy and shrubstratum increased as increasing elevation, and the number of species and species diversity decreased as increasing elevation and going from the lower part to the upper of slope. The range of similarity indices between parts of the slope, and the elevation belts of 100m in the valley forest were 66.6-69.2 and 25.9-79.8%, respectively. In the ridge forest, density and basal area of canopy tended to decreased as increasing elevation, and the range of similarity indices between elevation belts of 100m was 27.9-98.2%.

• The Journal of Korean Philosophical History
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• no.56
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• pp.181-208
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• 2018

This paper explores divination cultures of ancient China and how scriptures of the Zhou Yi had been interpreted in terms of Confucian ethics by the Confucian school focusing on Gan hexagram in the Shanghai Museum Zhou Yi manuscript. Gan hexagram shown on the Shanghai Museum Zhou Yi manuscript corresponds with Xian hexagram 咸卦 in the received text of the Zhou Yi, which means "gan 感," and the whole subjects of the hexagram are physical love and marriage between male and female. Such examples of divination for wedding between male and female are found frequently in ancient divination including Qinghuajian "Shifa" and these materials also demonstrates that Gan hexagram merely was a divination for love and marriage. However, Xunxi 荀子 "Dalue" 大略 and "Tuanzhuan" of the received text of the Zhou Yi had expanded to the dao 道 of husband and wife, and moreover, "erqi 二氣" philosophy of yin and yang by abstracting the theme of Gan hexagram, namely Xian hexagram, from love and marriage between male and female. Such expansion had stepped forward to a generative theory of all things that composes the world and cosmos in a way of natural philosophy and to a claim for peace under heaven in a way of human society through influences by shengren 聖人. "Xuguazhuan" also regards Xian hexagram 咸卦 as the dao of husband and wife and, based on it, expands to parents and children, sovereign and subject, superiors and inferiors, and the proprieties. The commentary of "Xuguazhuan" is concluded to human manners, starting with cosmic order. These statements interpreted scriptures of the Zhou Yi as Confucian ethics and show the aspects of how the Zhou Yi had become a Confucian classic.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• Journal of Conservation Science
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• v.23
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• pp.81-93
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• 2008

The analysis of ancient DNA (aDNA) in paleogenetics has become an increasingly important subject of archaeological, anthropological, biological as well as public interest. In this study, paleogenetic analyses were carried out on the human skeletal remains from a historical cemetery site in Myeongam-ri, Asan, Korea. Archaeological records show that this particular location had been used as a habitation or mortuary site as early as the Bronze Age and up until the Joseon Dynasty. Human remains of twenty individuals out of forty-nine tombs from the Goryeo to Joseon Dynasty were selected for the analysis of this study. In order to identify the genealogy of the population and traditional burial pattern of the cemetery, we conducted comparative analyses of the hyper variable regions (HVRs) in mitochondrial DNA (mtDNA) of each sample. A number of cautious steps were taken at all experimental stages in order to avoid erroneous recombination by the segmental and modern contaminations derived from the researchers. We sequenced segmental amplicons of HVRs andassigned relevant haplogroups according to the sequence polymorphism on the basis of the known mtDNA database. The result shows that diverse haplogroups were unexpectedly present in the small population group of the Myeongam-ri site. This diversity appears to be related to the geographical conditions and archaeological properties of the Myeongam-ri site.