• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.150-167
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• 2020

The purpose of this paper is to share the status and introduce a scientific analysis of the GeumguJagi (gilt-silver overlay porcelain, 金釦瓷器) excavated from Seongneung (石陵). This analysis aimed to highlight the GeumguJagi excavated from the Royal Tombs of Goryeo with a clear lower year (1237) and to aid research into the GeumguJagi. In 2001, the National Institute of Cultural Heritage excavated and investigated Seongneung in Heejong (熙宗). Various artifacts such as celadon, gold, bronze, and iron products were collected from the chambers inside of the tomb. There were a total of 160 celadon items including bowls, dishes, glasses, and saucers. Of those, there were 58 celadon items (including fragments) with metal frames on the openings. These consisted of bowls, plates, lids, and saucers. Until recently, in various exhibitions and papers, only one GeumguJagi was known to have been excavated from Seongneung, which was a . However, the survey identified a number of further GeumguJagis. It had been understood from inherited and excavated products that the materials used for ornaments were restricted to high-quality celadon. However, this study confirmed that the excavation of Seongneung demonstrated the use of various other materials for different models and qualities of GeumguJagis. It can be said that it is characteristic that various models and quality are confirmed together through the excavation of Seongneung. A scientific analysis was carried out that selected 12 of 58 products excavated from Seongneung. Results showed that the main component used for Geumgu ornaments was tin (Sn), and trace amounts of copper (Cu) and lead (Pb) were also commonly identified. When analyzing the material used to affix the metal fittings, this was found to be glue (膠) made from animal skins, muscle, and bones. This pattern matches that of the GeumguJagi excavated from Paju Hyeeumwonji, and the reason for this could be assumed on the basis of the contents of the 『Cheongonggaemul (天工開物)』 written by Song Ongsung (宋應星) during the Ming Dynasty. At that time, metals such as tin and copper would have been difficult to obtain. 『Xuānhwafengshi Gaolitujing (宣和奉使高麗圖經)』 shows that the use of metal was limited to certain classes; thus, the use of the GeumguJagi seems to have been centered around the royal family.

• Horticultural Science & Technology
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• v.30 no.4
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• pp.392-399
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• 2012

This study was carried out to investigate the influence of molybden (Mo) concentrations in fertilizer solution on the growth of and nutrient uptake by domestically bred strawberries. Tissue analysis based on the dry weight was also conducted to determine the threshold levels in plants when Mo toxicity developed in strawberries. The leaf chlorophyll contents decreased lineally as Mo concentrations in the fertilizer solution were elevated. The differences among treatments in chlorophyll contents were statistically significant. The fresh and dry weights decreased significantly when the Mo concentrations in fertilizer solution were higher than 3.0 mM in 'Keumhyang' and 'Maehyang' strawberries and 1.0 mM in 'Seolhyang' strawberry. The elevation of Mo concentrations in fertilizer solution resulted in severe toxicity and crops developed the unique symptoms. The margin of older leaves became yellow and desiccated. Then, the margin of leaf blade rapidly became bronze colored and died as the symptoms spread up the plants. The interveinal area of the young leaves became yellowing. The elevation of Mo concentrations in fertilizer solution did not influence the tissue P, K, and Mg contents based on the dry weight. The tissue Ca contents were higher in 1.0 mM treatment than other treatments of 'Keumhyang' and 'Seolhyang' strawberries. The tissue Mo contents based on the dry weight of 'Keumhyang', 'Maehyang', and 'Seolyahng' strawberries were 76.5, 104.0, and 187.3 $mg{\cdot}kg^{-1}$, respectively, in the 0.25 mM treatments and 4,155, 5,367, and 2,190 $mg{\cdot}kg^{-1}$, respectively, in the 4.0 mM treatments. The contents increased lineally as Mo concentrations in fertilizer solution were elevated. When the concentration of Mo at which growth of crops were retarded by 10% is regarded as threshold level, the Mo contents based on dry weight of above ground plant tissue should be lower than 653.4, 686.2, and 589.7 $mg{\cdot}kg^{-1}$, in 'Keumhyang', 'Maehyang', and 'Seolyahng' strawberries, respectively.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• Journal of agriculture & life science
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• v.45 no.1
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• pp.59-66
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• 2011

This study was conducted to investigate the effect of vase material and floral preservative treatment over time on flower color, leaf color and flower size of cut flowers Rosa hybrida 'Aqua' and 'Corvernet', and Gerbera jamesonii 'Honeymoon' and 'Golden Time' stuck in a glass, porcelain, or onggi (pottery with a dark bronze glaze) vase containing either tap water or a floral preservative solution. The ${\Delta}E$ values in flower color of 'Aqua' rose at 8 days after treatment with a floral preservative in onggi and porcelain vases were low. The ${\Delta}E$ value of 'Covernet' rose treated with floral preservative in an onggi vase was the lowest and L value was the closest to that of petals of cut flowers at just before treatment (control). The ${\Delta}E$ value of 'Honeymoon' gerbera treated with a floral preservative in an onggi vase was the lowest and a value of 58.81 and b value of 34.29 were the closest to that of the control group as color of cut flowers in an onggi vase was similar to the color at the beginning of treatment. The ${\Delta}E$ value of 'Golden Time' gerbera treated in an onggi vase was significantly lower than that in a porcelain or glass vase and a value of -7.81 treated with a floral preservative solution in an onggi vase was the closest to the control and b value was high in an onggi vase as well. The L, a, and b values in leaf color of roses were similar to each value of the control and ${\Delta}E$ value of 3.25 measured in an onggi vase was lower than that in a porcelain or glass vase. Flower diameter of 'Covernet' and 'Golden Time' roses treated with a floral preservative in an onggi vase was greater than that in other treatments. From these results, the floral preservative applied to a holding solution is assumed to improve the quality and freshness of cut roses and gerberas by inhibiting microbes propagation and by promoting uptake of water and nutrients. The onggi vase with fine pores will promote the expression and maintenance of flower and leaf colors and may increase flower diameter by high air permeability.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.66-81
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• 2014

Burnt down during the Imjin War(壬辰倭亂) of 1592, Gyeongbokgung Palace(景福宮) remained in ruins until 1865, when in the second year of King Gojong's(高宗) reign, reconstruction work began. At the time, a royal protocol(uigwe, 儀軌) for the reconstruction was not produced. Instead, the Gyeongbokgung Palace Construction Diary(Gyeongbokgung yeonggeon ilgi, 景福宮營建日記) records the reconstruction process from June to September of 1865. The contents of this diary reveal that the stone used in the construction was obtained from Ganghwa(江華), the Yeongpung field(映楓亭) just beyond Dongdaemun, and Samcheongdong(三淸洞), among other sites. In addition, selected stone remaining from the original Gyeongbokgung Palace site - such as that from the palace astronomical observatory(ganuidae, 簡儀臺) - as reused, while a number of buildings and stonework from Gyeonghuigung Palace(慶熙宮) were moved to Gyeongbokgung Palace. As a result, a number of $17^{th}$ and $18^{th}$ century stonework are currently located at Gyeongbokgung Palace. The Gyeongbokgung Palace Construction Diary contains a record indicating that the bronze dragon(靑銅龍) excavated from the lotus pond at the palace's Gyeonghoeru Pavilion(慶會樓) was created by special technician byeolganyeok(別看役) Kim Jae-su(金在洙) in 1865 for the symbolic purpose of protecting the palace from fire. The diary also reveals that among Kim Jae-su and the other special technicians(byeolganyeok) tasked with the installation and oversight of the palace stonework was Lee Se-ok(李世玉) - aid to have created the haechi statue at Gwanghwamun Gate. This indicates that there were men of court painter(hwawon, 畵員) background among the construction special technicians(byeolganyeok). Moreover, the diary records the names of the stoneworkers(seokjang, 石匠) who worked under these special technicians to actually carve the stonework. These included Jang Seong-bok(張聖福), who participated in the creation of the Geunjeongjeon Hall(勤政殿); and Kim Jin-myeong(金振明), who took part in the construction of Gwanghwamun Gate(光化門). Based on these results, it is possible to identify a number of special iconographic features of the scale-covered animal form(insuhyeong, 鱗獸形) auspicious animal statues at Gyeongbokgung Palace. These include a protruding mouth and large nose, formalized ears, and a mane along the back. Comparing these iconographic features with those found in the stonework of Joseon tombs makes it clear that these palace statues were created in the latter half of the $19^{th}$ century - the period corresponding to Gojong's palace reconstruction. This study was able to confirm that this iconography was taken up by the Gyeongbokgung Palace construction special technicians(byeolganyeok) and stoneworkers(seokjang) as they worked on tomb stonework earlier in their careers.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.292-307
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• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.243-266
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• 2004

This paper is based on fieldwork conducted from July 6, 2003 to July 24 of 2003 among the Tungusgroups Hezhe, Daur, Oloqun, Owenke, and Mongolian in the areas of Heilongjiang and Inner Mongolia Provinces. Recognizing the need for more in-depth study among these groups, the present research shows that the Tungus people are archeologically, historically, and linguistically different from Korean Han ethnic group and challenges the link between Korean and Tungus groups since the Bronze Age. The comparison between the "House Spirit" belief of the Tungus people and Koreans reveals certain commonalities in the "Maru," "Kitchen," and "Samshin Spirit" practices. There are two possible reasons for such commonalities. Historically, the Korean Han ethnic group and the Tungus people were geographically intimate, and contact or transmission between the two groups occurred naturally. Also, immigration of refugees from the fallen Koguryo and Puyo to the Tungus region added another dimension of cultural contact. In contrast to the common features shared between the two groups, there also exists differences between the two groups House Spirit blief. The Korean Han group's "House Spirit" belief is based on the agricultural practices that separates the inside sacred and outside secular world of the houses, whereas the Tungus ethnic group's "House Spirit" belief is based on mobile herding life style with a less distinction between in and outside of house. Additionally, each Korean "House Spirit" has its own distinctive personality, and each spirit is placed and worshipped according to its function. In the Tungus group, all the "House Spirits" are located and worshipped in "malu," and some of the spirits are non-conventional house spirits. Moreover, Korean "House Spirits" form a kinship structure, placing Songju, the highest spirit, at the center. In the Tungus practice, such structure is not found. The tight cohesive family formation among the house spirits in the Korean "House Spirit" belief is also the most distinctive feature in its comparison with Chinese belief. In China, the highest spirit is Jiang Taigong or Qiwu, and the house spirits do not have kinship relations. Korean's Outhouse Spirit and Chowangshin are related to the Han Chinese's counterpart on certain levels? however, their basic structures are different. It is clear that the correlation of "Malu" "Chowangshin" and "Samshin" between Korea and Tungus indicate important role of Tungus cultural elements within Korea's "House Spirit" belief.

• Conservation Science in Museum
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• v.30
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• pp.23-46
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• 2023

The Jija Chongtong Gun, owned by Seokdang Museum of Dong-A University, is a tubedstyle heavy weapon of the battlefield in the mid-Joseon Dynasty and is the second largest firearm after Cheonja Chongtong. The original surface color of the Jija Chongtong Gun was obscured by foreign substances and therefore it was judged that its condition requires the conservation treatment. For stable conservation treatment, gamma ray and X-ray non-destructive transmission surveys was conducted to determine the internal structure and conservation condition. And the component analysis on the material components and surface contaminants of Jija Chongtong Gun was conducted by utilizing the p-XRF component analysis, SEM-EDS component analysis, and XRD analysis. As a result of the gamma-ray and X-ray non-destructive transmission investigation, a large amount of air bubbles was observed inside Jija Chongtong Gun, and the part that appeared to be a chaplet by visual observation was not identified. As a result of gamma-ray and p-XRF component analysis, it was confirmed that Jija Chongtong Gun was bronze made of copper (Cu), tin (Sn), and lead (Pb) alloy. As a result of surface analysis of foreign substances using SEM-EDS, it was confirmed that the main components of white foreign substances were calcium (Ca), sulfur (S), and titanium (Ti). Titanium was presumed to be titanium dioxide (TiO₂), the main component of white correction fluid. The red foreign substance was confirmed to contain barium (Ba) as its main ingredient, and was presumed to be barium sulfate (BaSO₄), an extender pigment in paint. White and red contaminants, mainly composed of titanium and barium, are presumed to have been deposited on the surface in recent years. The yellow foreign substances were confirmed to be aluminum (Al) and silicon (Si), and were presumed to have originated from soil components. As a result of SEM-EDS and XRD component analysis, the white foreign substance was confirmed to be gypsum (CaS). Based on the results of component analysis, surface impurities were removed, stabilization treatment, and strengthening treatment were performed. During the conservation process, unknown inscriptions Woo (右), Byeong (兵), Sang (上), and Yi (二) were discovered through a portable microscope and precise 3D scanning. In addition, the carving method, depth, and width of the inscription were measured. Woo Byeong Sang is located above Happo Fortress in Changwon, and Yi can be identified as the second hill.

• Food Science of Animal Resources
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• v.26 no.3
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• pp.306-314
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• 2006

In this study, the anatomic characteristics and the contents of nutritional ingredients and minerals of silky fowl and yeonsan ogolgye was investigated. Silky fowl is covered with white silky feather. There is a pinch of vertical white tassel on peak of the head, especially a silky fowl cock. The crown of a silky fowl has a nickname of phoenix crown, the crown of a cock is mostly like a rose, while that of a hen like strawberry or mulberry. The ear of silky fowl is mostly peacock green(Light blue turquoise), bronze for a small part. Peacock green is most common for Silky Fowl with a age of $60{\sim}150$ days, over the age of 150 days, the peacock green will be gradually replaced by purplish red. Beaks are leaden blue, short and stout while the face is smooth and fine. The lower jaw of silky fowl has comparatively long tiny hair, similar to beard. The two legs of silky fowl are covered with a handful of feather, or known as 'Putting on trousers'. Each leg of silky fowl has five talons. The whole skin, eyes, mouth, talons of silky fowl are grey black The bone and marrow of silky fowl are light black the periosteum is black. The whole meat, internal organs and abdominal fat of sillry fowl aye black the heart and leg meat are light black. Silky fowl meat had lower moisture and lipids content, but higher Ash and protein content than meats of yeosan ogolgye and general chickens. For mineral contents of leg muscle and breast muscle, silky fowl had higher contents of phosphorus (P), iron (Fe), potassium (K), zinc (Zn) than those of yeonsan ogolgye, while yeonsan ogolgye had higher contents of calcium (Ca) than that of silky fowl. The contents of iron (Fe) and zinc (Zn) is higher in leg muscle than in breast muscle for the silky fowl and yeonsan ogolgye. Leg muscle of silky fowl contains a lot of iron (Fe), about 4 times as much as that of leg muscle of yeonsan ogolgye. For the silky fowl and the yeonsan ogolgye, leg muscles contains a lot of zinc (Zn), about 5 times, 4 times respectively as much as that of breast muscle.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.4-19
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• 2017

Kim Jeong-gi (pen-name: Changsan, Mar. 31, 1930 - Aug. 26, 2015) made a major breakthrough in the history of cultural property excavation in Korea: In 1959, he began to develop an interest in cultural heritage after starting work as an employee of the National Museum of Korea. For about thirty years until he retired from the National Research Institute of Cultural Heritage in 1987, he devoted his life to the excavation of our country's historical relics and artifacts and compiled countless data about them. He continued striving to identify the unique value and meaning of our cultural heritage in universities and excavation organizations until he passed away in 2015. Changsan spearheaded all of Korea's monumental archeological excavations and research. He is widely known at home and abroad as a scholar of Korean archeology, particularly in the early years of its existence as an academic discipline. As such, he has had a considerable influence on the development of Korean archeology. Although his multiple activities and roles are meaningful in terms of the country's archaeological history, there are limits to his contributions nevertheless. The Deoksugung Palace period (1955-1972), when the National Museum of Korea was situated in Deoksugung Palace, is considered to be a time of great significance for Korean archeology, as relics with diverse characteristics were researched during this period. Changsan actively participated in archeological surveys of prehistoric shell mounds and dwellings, conducted surveys of historical relics, measured many historical sites, and took charge of photographing and drawing such relics. He put to good use all the excavation techniques that he had learned in Japan, while his countrywide archaeological surveys are highly regarded in terms of academic history as well. What particularly sets his perspectives apart in archaeological terms is the fact that he raised the possibility of underwater tombs in ancient times, and also coined the term "Haemi Culture" as part of a theory of local culture aimed at furthering understanding of Bronze Age cultures in Korea. His input was simply breathtaking. In 1969, the National Research Institute of Cultural Heritage (NRICH) was founded and Changsan was appointed as its head. Despite the many difficulties he faced in running the institute with limited financial and human resources, he gave everything he had to research and field studies of the brilliant cultural heritages that Korea has preserved for so long. Changsan succeeded in restoring Bulguksa Temple, and followed this up with the successful excavation of the Cheonmachong Tomb and the Hwangnamdaechong Tomb in Gyeongju. He then explored the Hwangnyongsa Temple site, Bunhwangsa Temple, and the Mireuksa Temple site in order to systematically evaluate the Buddhist culture and structures of the Three Kingdoms Period. We can safely say that the large excavation projects that he organized and carried out at that time not only laid the foundations for Korean archeology but also made significant contributions to studies in related fields. Above all, in terms of the developmental process of Korean archeology, the achievements he generated with his exceptional passion during the period are almost too numerous to mention, but they include his systematization of various excavation methods, cultivation of archaeologists, popularization of archeological excavations, formalization of survey records, and promotion of data disclosure. On the other hand, although this "Excavation King" devoted himself to excavations, kept precise records, and paid keen attention to every detail, he failed to overcome the limitations of his era in the process of defining the nature of cultural remains and interpreting historical sites and structures. Despite his many roles in Korean archeology, the fact that he left behind a controversy over the identity of the occupant of the Hwangnamdaechong Tomb remains a sore spot in his otherwise perfect reputation.