• Title/Summary/Keyword: Ancient glass

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Material Characteristics and Clay Source Interpretation of the Ancient Ceramic Artifacts from the Wonsinheungdong Site in Daejeon, Korea (대전 원신흥동 유적 출토 고대 세라믹 유물의 재료학적 특성과 원료의 산지해석)

  • Kim, Ran-Hee;Jung, Hae-Sun;Jung, Sang-Hoon;Lee, Chan-Hee
    • Journal of Conservation Science
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    • v.27 no.2
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    • pp.163-179
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    • 2011
  • This study was to identify the material characteristics and provenance of the crucibles, potteries and roof tiles from the Wonsinheungdong site in Daejeon, Korea. Similar mineral composition of each samples showed by microscopic observation and X-ray diffraction analysis. However, wall thickness and mineral characterization of each ceramic artifacts are quite different. The pottery is characterized by thin wall with 0.5 to 0.7 cm and fine grained clay matrix. While the crucible and roof tile has thick wall with 1.3 to 2.5 cm, poorly sorted texture of many quarz, orthoclase and plagioclase whithin ceramic fabric. And large elonagated voids formed by hydrocarbone of straw during the firing and loose matrix obseved in crucible. All ceramic samples and ground soil of the site show similar mineralogical characteristics geochemical behavior and clay-mineralization degree. This indicates making that the soil is probable to be a raw material of all ceramic from the Wonsinheungdong site. Also, firing temperature of most ceramic artifacts are estimated as 850 of all ceramic from the Wonsinheungdong site. Also, firing temperature of most ceramic artifacts are estimated as 850 to $950^{\circ}C$ but hardest pottery fired high temperature between 1,050 to $1,150^{\circ}C$. The vitreous molten materials interpreted in slag included segregation of copper and tin. But it can not exclude the possibility that the glass molten material because observed reddish and greenish vitreous fine structure under microscopic.

A Study on Formality the Dancing Costume of Middle Age (Focus on 13C-15C) (중세 무용의상의 조형성에 관한 연구 (13C-15C중심))

  • 임상임;김경희
    • Journal of the Korean Society of Costume
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    • v.53 no.1
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    • pp.1-15
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    • 2003
  • This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

A Hermenutic Study of Material Language in Contemporary Metal-craft - Centerd on June Schwarcz′s Color works - (현대금속공예에 있어서 물질언어의 해석학적 분석연구 -June Schwarcz′s 색채 구조물을 중심으로 -)

  • 임옥수
    • Archives of design research
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    • v.14 no.3
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    • pp.197-210
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    • 2001
  • There are symbolicity and special meaning in the materials which are supposed to be used metalcraft from ancient to present. These are basical resources of hermeneutics and play a role as moaning elements. Generally, the precious Cold and Silver are mainly to be used with precious stone. But recently, ordinary materials like glass iron aluminum has begun to be used with them. Several artists are intentionally using them, and special skills which could be revealed by only the matherials are developing by them. In these skill, there are original material's texture and character of matter are looking like other matter. Well, special skills are adapted in these matters to magnify the possibility of expression, the originally codified meaning resources are disturbed. For example, The metal craft artist June Schwarcz is using the skills of electroforming, copper foiling, enameling, wire brush patina, fine wires fusing, etc. He is doing abstract forming and making various textures. And his works are very big size, and done by the skills of painting and sculpture. The outer form is very structural, special touches of the artists are heterogeneously mixed with the symbolic abstract expressionism color field. Further, there are mixed with Primitive original life atmosphere, Medieval ornamental aspect, Minimal, and Chaotic aspects. The meaning particles of these aspects are directly/indirectly joined but special skills and basic material languages are mixed together, the originally codified material language are disturbed. These disturbed material languages are becoming optically special effect and be illusion. It is making expressing way of tile metalcraft more fertile and be infinite.

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A Study on Flat Iron Axe Manufacturing Technology Using Metallurgical Analysis - Focused on the Artifacts Excavated from the Hadae Ancient Tombs in Ulsan - (금속학적 분석을 통한 판상철부의 제작기술 연구 - 울산 하대고분 출토 유물을 중심으로 -)

  • Jo, Hanui;You, Halim;Lee, Jaesung
    • Korean Journal of Heritage: History & Science
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    • v.52 no.3
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    • pp.240-251
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    • 2019
  • This study examined the manufacturing technology used for the flat iron axes excavated from Ulsan Hadae. Their microstructures were analyzed using metallurgical methods. In addition, a variety of manufacturing technologies were examined and compared using existing research materials on flat iron axes. As a result of analyzing ten flat iron axes, which were excavated in the order that they were laid out in a row in one of the wooden coffin tombs at Ulsan Hadae, Tomb No. 44, it was possible to classify the flat iron axe manufacturing technology and system into three types: 'pure iron - shape processing', 'pure iron - shape processing - carburizing', and 'pure iron - shape processing - carburizing - decarburizing.' All of the flat iron axes were produced by forging, and most of them were made by beating the pure iron into their shapes. In particular, a number of the flat iron axes were reinforced through a carburizing process after shaping the iron. This appears as steel products forming the basis of the steel industry at the time were commonly used as an intermediary material or currency. On the other hand, it was commonly found in all samples that the hardening was not performed after shaping or carburizing. Since the microstructure of the flat iron axes made of pure iron contained a large number of impure inclusions and the result of analyzing the components of the non-metal inclusions showed characteristics of slag which contains a mixture of glass phase and wustite, it is possible that low-temperature reduction was used in the refining process.

Revisiting of ancient tombs in Neungsan-ri, Buyeo (부여(扶餘) 능산리고분군(陵山里古墳群) 성격(性格)에 대한 재고(再考))

  • Kim, Gyu-un;Yang, Suk-ja
    • Korean Journal of Heritage: History & Science
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    • v.49 no.2
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    • pp.104-121
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    • 2016
  • Royal tombs in Neungsan-ri had been studied several times during the Japanese Colonial era. But, conceiving the general complexion of them is difficult for lack of data and analysis of previous studies are still insufficient. Thus, necessity of new approach and understanding in Royal tombs in Neungsan-ri are emphasized by the reviewing existing studies and conservation history. The Serial numbers of the Royal tombs in Neungsan-ri has been registered arbitrarily without clear guidelines from Japanese Colonial era until present time. It means previous studies were devoid of consideration for serial number changes. And, research has shown that Royal tombs in Neungsan-ri counts at least twenty, taking No.8 tomb of recent study into consideration. Moreover, in case of eastern tombs it needs changes in the existing perception that Royal tombs in Neungsan-ri consist of only six-tombs because there was no difference between eastern tombs and central sixtombs considering the burial chamber and lacquered wooden(koyamaki) Coffin. Ultimately, current state of Royal tombs in Neungsan-ri doesn't have authenticity because they had been found and regulated in the Japanese Colonial era. Consequently, it is required to overall study into entrance to burial chamber and covered burial stone marker and exaggerated mounds, ignored another tombs other than six-tombs in the center.

A brief introduction to the research of cultural exchange of Eurasian Continent in Korea (한국에서 유라시아 문명교류사 연구의 성과와 과제)

  • Kwon, Ohyoung
    • Korean Journal of Heritage: History & Science
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    • v.48 no.3
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    • pp.166-185
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    • 2015
  • Recently, as an enonomic importance of the Eurasian Continent raises, the necessity of east-west connecting ancient transport roads research is increasing. Although domestic research of eastern-western international exchange in the Eurasia is not yet very active, the studies of history, archaeology, art history, folklore, costume history have been advanced steadily. An attention for the exchange through steppe route originated from the interest in Korean folk and Korean culture and the research range is extending to Xiungnu, Kurgan culture as a direct investigation on the remains of Mongolia and Kazakhstan has been achieved constantly. The art history has been leading the research of exchange which is based on desert and oasis. The field research of Iran, Uzbekistan, Azerbaijan, etc progressed in various routes, and the research on diverse topics including Silla's golden culture, transmission of glass, and the Buddhism is improving. Research on the maritime silk road is weaker, compared to other parts. Buddhist and Hindu temples of Southeast Asia attracted some interest to people, but the research should focus on the restoration of sea route and consideration of its meaning. Research of this part is expected to be more activative, as domestic researchers investigate Don Son culture and Sa Huynh culture of Vietnam by themselves. From now on, we should focus on topics that are not directly connected to Korean history, and Korean culture. Because it is also our duty to study and conserve the culture of entire human community.

Plant Species Utilization and Care Patterns Using Potted Plants in the Traditional Gardening (전통조경에서 분(盆)을 이용한 식물의 활용과 애호 행태)

  • Kim, Myung-Hee
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.3
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    • pp.61-74
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    • 2013
  • This study examined and analyzed ancient writing and poetry regarding cases of appreciating plants by using pots in a garden of a palace or private houses by ancestors, and examined shape and planting method of plant species and potted plants, arrangement and preference of potted plants. As for the method of the study, description research method which examines and interprets poem and painting based on potted plants. The results of this study is summarized like the following. First, the plants which were favorably used for potted plants include 19 kinds such as Prunus mume, Pinus densiflora, Pinus pumila, Phyllostachys spp., Camellia japonica, Punica granatum, and Gardenia jasminoidesa, and as for herbs, 12 kinds such as Chrysanthemum monifolium and Nelumbo nusifera . Second, the species which were specially arranged into artificial shapes include Prunus mume and Pinus densiflora. The two plants made the shape of severe curves of stems such as Wangpi. Gyuban, and Bangan, and there are Pinus densiflora dwarfed potted plant whose roots are stretched on Prunus mume grafted into a strange stump and an oddly shaped stone. For the beauty of the dwarfed tree shape, pine cones are added to an old Pinus densiflora or Parthenocissus tricuspidata is planted to stems, and additional method of making moss on the soil, which is called 'Jongbunchuigyeong'. As for planting method, water culture, planting on a stone, planting on a charcoal, and assembled planting are expressed in poetry. Third, as for external space for potted plants, a place where a king stays, a bed room for a king, surrounding areas and gardens of private houses, and step stones were used as a space which adds artistic effects. Potted plants are placed on a table in a library, on a desk, on a drawer, and near a pillow as a small items in a room, and scholars enjoyed original characteristics and symbolism of the potted plants. Fourth, at the time of flowering of Prunus mume, poetry event was held to enjoy the tree and writing poetry begun. And at the time of flowering of Chrysanthemum monifolium, the flowers were floated in a liquor glass or shadow play was enjoyed. Fifth, potted plants played the role of garden ornaments in elegant events of a palace, the gentry, wedding ceremony, and sacrificial rites. Sixth, potted plants were used as tributes between countries, donation to a king, or a gift of a king. In addition, there were many cases where scholars exchanged potted plants and there is the first record of giving a potted plant in 'Mokeunsigo' by Mokeun Isaek, scholar in the late era of Goryeo. Seventh, at the time of flowering Prunus mume, Chrysanthemum monifolium, Gardenia jasminoides, Nelumbo nusifera, and Narcissustazetta var. chinensis, they enjoyed the particular fragrance and express it into poetry. Eighth, plant species from southern parts such as Camellia japonica, Daphne odora, Gardenia jasminoides, Citrus unshiu, Phyllostachys spp., Punica granatum, Rosa rugosa, and Musa basjoo, or foreign plant species, and species weak against the cold were utilized as pot plants for enjoying green trees indoors in northern central province in harshly cold winter.

A Study on the Characteristics of Yuyin ShanFang in China Lǐngnán Region (중국 영남지방 여음산방 원림의 특징에 관한 연구)

  • Shi, Shi-Jun;Ahn, Gye-Bog
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.36 no.3
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    • pp.48-57
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    • 2018
  • In this study, we conducted an analysis on the actual field materials and the ancient text of January 2017. First, Yuyin ShanFang is one of the famous garden in the Lingnan Region, and its total area is $1598m^2$. Wobin called the name 'Yuyin(餘蔭)' meaning the virtues of his ancestors. Second, if we analyze the poem written by Wobin, we can classify it as a phrase expressing the world beyond the future, a poem expressing the ideas of family and romantic ideas. Third, the space spread to the south around the shrine building in the middle of the site was largely a residential space, according to the analysis of the site's layout and spatial composition. Fourth, the spatial component of the hydronic acid is analyzed. The pavilion area is the Hanchwi-Pavilion, which is designated in the Wongrim, and Gyesang-Pavilion, which is a unique range that describes the peak of the garden. Fifth, Yuyin ShanFang has five ponds that are very diverse in shape. It is characteristic of us to stand on a technical boundary. Sixth, Seokgasan was referred to as Gyeongbansan, which was named after The builder Wobin and his descendants who passed it. Seventh, Hwachang is characterized by a wooden bull window and a compound glass. Eighth, the alumni style is not as diverse as the alumni style of the Suzhou traditional garden, but it features various forms and colorful pictures on the front of the alumni. Ninth, the one-piece sculptures of the interior of a building are expressed themes such as Gilsang, Sukjeong, Daoism, Palseom, and others. Finally, Trees planted in Yuyin ShanFang are mostly tropical plants, and some of them have symbolic meaning. Because the weather here is good for growing fruit, so planted a lot of fruit trees.