• 보존과학연구
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• 통권13호
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• pp.9-13
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• 1992

An Woljung wooden bridge structure, which assumde to has been built in the unification of shilla dynasty, was excavated at Nam-chun river basin inKyung-ju. As a result of primary investigation, the weigh loss was 70-80% and the volumetric shrinkage was up to 38% without any conservation. Between 1986 and1991, they were conserved by the two step PEG treatment at the Mokpo Conservation Institute for Maritime Archaeological Finds.

• Acta Via Serica
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• 제6권2호
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• pp.117-140
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• 2021

At the beginning of the Roman imperial period, moralizing authors criticized a material from the East that quickly gained popularity among the elites: silk. During Late Antiquity, the trade, production, and use of purple-dyed silks increasingly became the privilege of the emperors. While literature, court poetry, and laws give insights into the discourses surrounding silk, they are rather unspecific concerning silk qualities. This contribution analyzes the scattered descriptions of silks in Greek and Latin texts in a diachronic perspective, with a focus on the 1^st cent. BCE to the 4th cent. CE, paying particular attention to the terminology, products, origins, and qualities of silk. The aim is to build a framework for comparisons with archaeological silk finds and other textile terminologies along the Silk Roads. Here, the silk finds from the oasis city of Palmyra/Tadmor in modern-day Syria, dating from the 1st cent. BCE to the 2nd cent. CE, will be used as a case study for the early imperial period. Taking these silk finds as a comparison, it will be shown that Greek and Latin terminology does not match the variety of silks known in the Mediterranean. Rather, linguistic differentiations focus on the forms in which silk reached the Mediterranean, as skeins, yarns, and fabrics, as well as on the different kinds of silks that were produced in the West, namely pure silk and half-silken fabrics, checkered "scutlata" damasks, purple-dyed, and gold-embellished silks. In contrast, silks from the East were subsumed under the term for "silks from the silk people" or simply "silks". Moreover, ancient authors do not use the terms in the same way. These findings show the limitations of Western silk terminology and the importance of combining archaeological and written sources.

• The International Journal of Costume Culture
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• 제13권1호
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• pp.23-25
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• 2010

Archaeological evidence shows that cotton fibres of the genus Gossypium were first used for textile production at Mehrgarh, Pakistan in the Neolithic period ($6^{th}$ millenium BC). Eventually the cotton plant and textiles found their way to Egypt and through there, to Greece. However, the chronological origins of the cultivation and/or use of cotton fibres in textile production in ancient Greece are ambiguous. The main sources of information are ancient written texts and excavated textile finds. Both indicate that the introduction of cotton in Greece can be placed in the mid-first millenium BC. However, it is not clear whether the cultivation of the plant and consequently the production of cotton textiles was established in that period or whether another cotton species was produced and used locally in Greece or whether isolated examples of cotton textiles had been imported in Greece before the cotton plant. A more comprehensive analytical study of surviving textile finds coupled with archaeological research for plant production and cultivation would provide the answer to these questions.

• 보존과학연구
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• 통권11호
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• pp.87-105
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• 1990

Chemical and micro morphological changes of archaeological waterlogged woods from shipwrecked materials in marine situations were investigated which were submerged in seabed for over 900 years. Tested Wood species were Pinusdensiflora, Zelkova serrata, Quercus acutissima and Camellia japonica. The obtained results were summarized as follows; Chemical analysis showed that lignin content was increased, whereas the amout of holocellulose was heavily decreased in the degraded archaeological lwoods(DAW), when compared to the recent woods. The amount of alkalineextractives in the DAW was extremley high. IR spectra showed that disappearance of absortion band at $1,730㎝^-1$ intensity increase at 1,600, 1,500 and $1,270㎝^-1$ and the emergence of single band around $1,050㎝^-1$.Microscopic investigation showed that cell wall of latewood tracheids and fiber in the DAW were severely degraded while, early wood tracheids less degraded. Degradation in the cell wall was mainley occurred in $S_2$layer, while the middle lamella was the least degraded. The micro morphological characteristics of DAW were separation of secondary wall from middle lamella, cavities aligned with micro fibril angle in $S_2$layer and granular appearance of secondary wall by the bacterial attack.

• 보존과학회지
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• 제20권
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• pp.31-42
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• 2007

본 연구 대상인 인천시 용유도 남북동유적은 신석기지대 유적으로 고고학적 발굴조사만으로 유적의 성격 규명에 어려움이 있었다. 이에 유구 내 토양 및 석재의 사용 용도 및 성격 규명을 위한 정보를 얻고자 잔존지방분석을 시도하였다. 먼저 스테롤 분석으로 시료의 동 식물성을 구별하였으며 지방산조성의 동정으로 고고자료에 잔존하는 유기물의 종류를 밝히고자 하였다. 그 결과 6기의 유구 중 9, 10, 12호는 패류와 관련된 물질이, 32호는 어류, 42호 및 43호는 식물성물질이 잔존하는 것으로 추정되었다. 이와 같은 분석결과는 용유도 남북동유적의 야외노지가 어패류 등을 굽는 시설물로 사용되었던 것으로 추정할 수 있었다.

• 복식문화연구
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• 제13권4호
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• pp.658-670
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• 2005

Kublai Khan on a Hunting Trip were painted by Liu Guan-dao. This painting gives us very important information for understanding cosume of Yuan dynasty because of realistic description. We studied the name of costume of the king Shizu in this painting by using the way of comparison his costume with another paintings, the records and archaeological finds. This study showed that the costume of the king Shizu is judged to be Jisun, the traditional costume of Mongolian own meaning one colour. The name of each is the Yinshu warm hat, being making into the for of a kind of rodents, the Yinshu Jisun, the Red colour Jisun, being railed on the robe, and the Cloud boots cover. And we found that the decoration on the neck and sleeve tib of the Yinshu Jisun had been made by sable furs, and the decoration on the surface had been made by tails of them, going by the name of Rondes at that time. It also showed that the meaning of one colour of the Jisun is not only just appearing one colour on the one person but also being able to appear two set of one colour.

• 동양고전연구
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• 제70호
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• pp.119-156
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• 2018

석당 김상정(1722~1788)은 18세기 중반 노론계 3대 문장가로 꼽혔으며 "고문론(古文論)"을 추구해야 하는 당위를 어느 누구보다 뚜렷하고도 과격하게 피력하고 있다는 점에서 주목할 만한 작가이다. 그가 안도제(安道濟), 신대전(申大傳) 등과 주고받은 서신에서 펼친 고문(古文)-금문(今文) 문학논쟁은 조선 내에서 진한 고문론의 지속적인 전개를 설명할 수 있는 하나의 단서가 된다. 그의 고문론(古文論)은 김창협(金昌協) 이후로 노론계 문단에서 정통으로 계승되어왔던 당송고문론에 대한 자체적 반성과 함께 문학적, 시대적 자신감을 반영하고 있다. 그러면서도 표절과 모방을 경계한다는 점에서 명대 전후칠자(前後七子)가 피력한 진한고문론과도 변별점을 두고 있다. 실제로 그의 문장에서는 전범을 표절하고 과도하게 인용하거나, 난해하게 문장을 조탁하는 등의 방식은 잘 확인되지 않는다. 그는 기록할 만한 가치가 있는 것을 선별하고 장면과 대화 중심으로 담백하게 재현해 나가며, 우언적 글쓰기를 통해 당위적 교훈을 전달하였다. 이는 그가 추구하였던 진한고문, 특히 사체 산문의 미감과 접점을 가진 부분으로 논할 수 있다. 김상정의 글쓰기는 이전 시대 진한고문을 추구하며 난삽한 글쓰기를 하였던 작가들과도 구분되면서도, 의론을 중시하는 당송고문과도 변별되는 독특한 특징을 지닌다. 김상정의 상고적 문예 지향은 대명의리를 추구하고 고동(古董)과 고문(古文)을 선호했던 이윤영(李胤永), 김상숙(金相肅), 이인상(李麟祥), 홍악순(洪樂純) 등 노론 청류(淸流)계 문단의 예술 담론과도 상통한다. 이들의 문예 취향은 자신들의 보수적 세계관을 반영하는 것이면서도 문예에 전념하는 자신들의 삶을 옹호하는 근거로 활용되었으리라 생각한다.