• 보존과학연구
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• s.13
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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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• v.6 no.2
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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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• v.13 no.1
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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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• s.11
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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.

• Journal of Conservation Science
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• v.20
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• pp.31-42
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• 2007

The archaeological site of Nambuk-dong, Yongyu Island, Incheon which goes back to the Neolithic making it difficult to identify character of site, To get information for identifying utility and character of Open-Air Hearths within the finds, an organic residues analysis was conducted on soil and stone sample, sterol was analysis to determine the originality of archaeological sample, then percentage of fatty acid was identify the species of sample. As a result, it is assumed that No. 9, 10, 12 finds once had shellfish-related materials remain, No. 32 find seemed to have animal materials, No. 42, 43 finds were related to plant. In conclusion, it seems that open-air hearths of Yongyu Island had utility mainly related to making seafood.

• The Research Journal of the Costume Culture
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• v.13 no.4 s.57
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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.

• (The)Study of the Eastern Classic
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• no.70
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• pp.119-156
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• 2018

Suk Dang Kim Sangjeong (1722-1788) was one of the Big Three Noron literati of the mid-18th century, and is an author worth taking note of in that he expressed the duty to pursue the Qin-Han gomoon-ron (古文論) more clearly and radically than anyone else. The literary debates that unfolded in the letters he exchanged with Ahn Doje (安道濟) and Sin Daejeon (申大傳) are the clues that may explain the continual development of Qin-Han gomoon-ron within Joseon. His gomoon-ron is a self-reflection of the Dang-Song gomoon-ron that continued as tradition in the Noron literati after Kim Changhyeop (金昌協), and also reflects his literary and periodical confidence. At the same time, he also makes a distinction with Qin-Han gomoon-ron set forth by the Seven Masters literature from the Ming Dynasty (前後七子) in that he takes precautions against plagiarism and emulation. It has rarely been shown that his sentences plagiarize and excessively cite the classics, or that he abstrusely elaborates sentences. He sorted through things of value worth recording and cleanly reenacted them based on the scenes and conversations, further, delivered applicable normative lessons through allegoric writing. This may be discussed as the portions that are possessed by the Qin-Han gomoon-ron that he pursued, and particularly that have the esthetic and contact point of historical prose. Kim Sangjeong's writing pursued the Qin-Han gomoon-ron of a prior era, and though distinguishable from authors of difficult writings, possesses unique characteristics that make it distinct from the Dang-Song gomoon-ron that focuses on argument. The direction of Kim Sangjeong's antiquarianism seeks after imperial loyalty, and is mutually intelligible with the artistic discourse of the Noron Cheongryu literati such as Lee Yunyeong, Kim Sangsuk, Lee Insang, and Hong Naksun who preferred archaeological finds and classical prose. While their literary tastes are a reflection of their conservative worldviews, they may also have been utilized as a foundation supporting their lives which were devoted to literature.