• Korean Journal of Heritage: History & Science
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• v.39
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• pp.281-314
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• 2006

Several explanations exist about the usage of disk-shaped bronze implements in the ancient society. Some argue that they were used as mirrors, others suggest percussion instruments, and still others bronze ornaments. Differences between disk-shaped bronze implements and mirrors with multiple knobs are that the former have no visible design, only one handle, and a sharp curvature unlike the latter with smooth curvature. The question is whether disk-shaped bronze implements excavated from Korean peninsula have any light reflecting function. To answer this question, I carefully studied the concave surfaces of disk-shaped bronze implements excavated from Goejeong-dong, Tongso-ri and Hapsong-ri sites. The main findings are as follows: (1) The concave sides of the disk-shaped bronze implements excavated from Goejeong-dong and Tongso-ri sites were highly polished, and they were as reflective as bronze mirrors. (2) The concave side of the disk-shaped bronze implement from Hapsong-ri site was unpolished, and it was different from bronze mirrors. (3) As for the convex sides of the disk-shaped bronze implements, they did not appear to have been polished with care. Considering the above findings, the disk-shaped bronze implements excavated from Goejeong-dong and Tongso-ri sites belong to the stage where they could act as both mirrors and instruments. On the contrary, the disk-shaped bronze implement from Hapsong-ri site can belong to the stage where it lost the function of being a mirror as the result of maintaining only its function as an instrument. Even though disk-shaped implements had two functions, it can be considered that the light reflecting function expanded the role of a mirror with multiple knobs and the sound function helped the engraved round bronze implement to be converted into an eight-armed bronze rattle. Since it has been reported that shamans used bronze mirrors as percussion instruments in their performances in Korean peninsula and Siberia, I propose a reconsideration of the usage of mirrors in the ancient East Asia. Although the essential function of a mirror is to reflect light, other possible usages involving important functions need to be further investigated.

• Journal of Conservation Science
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• v.28 no.4
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• pp.417-425
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• 2012

Bronze Mirror with fine linear designs in the bronze age shows the greatest alloy and casting skills of the day and presents the highest level of handcrafting and molding techniques. Lately, Lost-wax casting and sand-mould casting were used for the restoration of the national treasures of No. 141 and No. 143 Bronze Mirror with fine linear designs. Also the Principle Component Analysis, Microstructure Analysis, X-ray and SEM-EDS analysis were carried out on the restored Bronze Mirror with fine linear designs. Bronze Mirror that is made of sand-mould casting, hardly has a eutectoid and it is observed as a ${\alpha}$ dendrite. In contrast, Bronze Mirror that is made of lost-wax casting, the eutectoid has found through the ${\alpha}$ dendrite. As we compare lost-wax casting to the sand-mould casting through an analysis of restored Bronze Mirror, mostly, sand-mould casting has better castability and it seems that it brings a clear and equal Bronze Mirror as it has a low cooling rate. In this way, we are able to confirm that there is a big difference between the method by lost-wax casting and by sand-mould casting through an analysis of microstructure and restored Bronze Mirror. If such research will be continued, it will be an opportunity that investigates diverse methods of production techniques.

• 보존과학연구
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• s.32
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• pp.155-170
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• 2011

This study intended to identify the ratio of alloy, metallographic examination and hardness on the bronze mirrors excavated in Korea and made the distribution chart of the main components according to each artifact and then tried to compare the ratio of artifacts with that of 鑑燧之齊of Zhouli Kaogongji(周禮, 考工記). Through this research, the components distribution of bronze covered a wide rage but it can be divided into 2~3 groups. When it is categorized into 3 groups, one is the bronze mirror with 70-80% of copper, 15-20% of tin and less than 5% of lead. Another is the bronze mirror with 20%-30% of tin which gives the white luster on metal and the high hardness. The other is the bronze mirror with 60-70% of copper and 15-20% of tin but it has more than 10-15% of lead which causes less luster and the low hardness. It contains less tin than 33%(50%) of tin from 鑑燧之齊 according to the old record Zhouli Kaogongji(周禮, 考工記) of Zhou Dynasty. In Korea the bronze mirror with tin of 鑑燧之齊was never found yet except the case of artifacts analyzed by non-destructive analysis.

• Journal of Conservation Science
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• v.37 no.1
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• pp.25-33
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• 2021

To extend the application of digital technology to the replication of artifacts, meticulous details of the process and the diversity of three-dimensional (3D) printing output materials need to be supplemented. Thus, in this study, a bronze mirror with Hwangbichangcheon inscription was digitalized by 3D scanning, converted into a voxel model, and virtual conservation treatment was performed using a haptic device. Furthermore, the digital mold of the bronze mirror completed by Boolean modeling was printed using a 3D sand-printer. Such contactless replication based on digital technology reflects the stability, precision, expressivity, collectivity, durability, and economic feasibility of artifacts. Its application can be further extended to cultural products as well as such areas as education, exhibition, and research. It is expected to be in high demand for metal artifacts that require casting. If empirical studies through experimental research on casting are supplemented in the future, it could extend the application of digital technology-based contactless replication methods.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.24-48
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• 2022

Bronze mirrors found in pagodas were regarded as simple offerings and thus have received little attention in studies. Furthermore, the few studies on bronze mirrors enshrined in pagodas have focused on the line-engraved mirrors found in the pagodas of the Kingdom of Wuyue; therefore, it is difficult to understand the general characteristics of the bronze mirrors enshrined in the pagodas. This study assumes that the bronze mirrors found in many pagodas in the Kingdom of Wuyue and the Song dynasty were enshrined for a specific purpose. To explore this assumption and accurately understand the artifacts, this study focuses on the location and method of enshrinement. The number of bronze mirrors enshrined in pagodas increased during the Kingdom of Wuyue, with the mirrors expressing statues and inscriptions related to Buddhism rather than being simple offerings. This shows that the purpose of the bronze mirror changed. The influence of the Kingdom of Wuyue continued during the Song dynasty; however, the pattern of bronze mirror enshrinement changed due to the culture and social atmosphere of the time. The most common types of enshrined bronze mirrors were plain, and bronze mirrors from the Dang dynasty were also used consistently. Plain bronze mirrors were used more frequently in this period despite the lingering influence of the Kingdom of Wuyue because it was less laborious to engrave images and inscriptions such as the inscription of Buddha. Additionally, bronze mirrors were valued during this period because of the attention toward the imitation of the archaic bronze(仿古銅器) of the Song dynasty and the influence of the emperor. Moreover, it is believed that bronze mirrors were enshrined in pagodas as offerings as they were deemed valuable at the time. There was a change in the method of enshrining bronze mirrors in pagodas during the Kingdom of Wuyue and the Song dynasty. During this time, bronze mirrors that were positioned on the floor or in iron boxes were intentionally attached to walls or hung from the ceiling. This method was largely divided into two types: attaching to walls or the ceiling(嵌入鏡) and hanging from the ceiling(懸鏡). A typical example of hanging a bronze mirror from the ceiling can be seen in the Jingzhisa Temple Pagoda, and Teng County's Fushengsa Temple Pagoda contains an example of attaching a bronze mirror to the ceiling. The methods of hanging or attaching bronze mirrors to the ceiling were closely related to the methods employed in Chinese tombs. Song dynasty burial chambers had a high and wide structure, so to defend against evil spirits(辟邪用), bronze mirrors were used to protect the burial rooms. Bronze mirrors were, therefore, placed high to illuminate the burial room. This was achieved in the ways mentioned above. As underground chambers became wider and higher, mirrors also protected the important areas of the chambers and illuminated the interiors. Thus, it is believed that the methods of enshrining bronze mirrors in the pagodas during the Kingdom of Wuyue and the Song dynasty arose from the method of enshrining bronze mirrors in tombs at the time. Thereafter, pagodas, such as the Miaojuesa Temple Pagoda, in which the placement of a bronze mirror was actively considered from the design stage were constructed.

• Journal of the Korean institute of surface engineering
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• v.46 no.5
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• pp.197-207
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• 2013

In the midst of increasing importance of modern cultural assets, especially, most modern bronze objects are exposed to outdoor environment, and as the objects are corroded steadily due to environmental factors the objects lost their original colors on the surface. We performed artificial patinas on the bronze sample per each color of red, black and green and checked cuprite and tenorite which are detected from actual bronze corrosion by analyzing the components. In addition, we applied the existing corrosion removal methods of grinder and sand blaster on a similar sample of bronze mirror per injection pressure and performed comparative analysis on the result with Nd:YAG laser. As a result of Nd:YAG laser cleaning artificial patina from bronze samples, all of the patinas were removed by laser wavelength 1064 nm better than 532 nm. Upon applying to a similar sample of bronze mirror, the artificial patina could be selectively removed from substrates without surface damage when Nd:YAG laser was conducted other than the existing removal method, and so it showed the possibility of application.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.164-183
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• 2021

This article examines how the production technology of the Chinese bronze mirror affected the Korean Peninsula and Japan. To that end, we looked at how the drawing of linked-arc designs in bronze mirrors was done. The drawing technique is classified into three methods: Type 1 and type 2 were confirmed to have been used in China, but type 3 was used not in China, but on the Korean Peninsula and in Japan. Type 1 and type 2 are basically the same, with an identical restored diameter of the linked-arc design, and type 2 is found elsewhere in the bronze mirror, and type 1 are not. Type 3 features different diameters, and the linked-arc design does not form a complete circle. This shows that the manufacturer of the bronze mirror did not use several bumpy compasses, but rather a single one with a fixed center and protrusion, rather than one that can be easily adjusted, as it is today. That is why, of course, a pair of compasses must have been used several times. In this regard, those who produced bronze mirrors on the Korean Peninsula in the early days understood not only the Chinese techniques of the linked-arc design, but also the meaning contained within them. On the other hand, the makers of bronze mirrors in Japan did not understand the patterns and simply imitated them. From the late Yayoi period, Japan understood and produced works with the principle of drawing the linked-arc design. As a representative example, bronze mirrors excavated from the tomb of Hirabaru can be referenced. Perhaps it can be assumed that, behind these works, there was a direct transfer of technology, such as the migration of the makers of bronze mirror makers like the Do family (陶氏), whose names were found written on bronze mirrors excavated from the Hirabaru tomb.

• Journal of Conservation Science
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• v.20
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• pp.23-30
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• 2007

By analyzing the chemical compositions of bronze mirror presumably excavated from Mireuksaji temple site, Iksan, we have surveyed what alloy composition was used in casting the mirror, and also tried to estimate the manufacturing technique of the bronze mirror, through the observation of microstructure, as well as which region$^{\circ}{\emptyset}s$ galena the lead used in the mirror belonged to, by analyzing the ratio of the lead isotope. The content analysis result of bronze mirrors shows that it consists of 68.8 to 73.3wt% of Cu, 21.6 to 24.9wt% of Sn. In particular, the content of Pb of Mireuk 2 and 3 Samples are higher than those of Miruk 4. The observation result of microstructure demonstrates that Mireuk 2 and 3 consist of ${\alpha}$ and ${\alpha}+{\delta}$ eutectoide phase made through casting process. But Mireuk 4 show other process employed, such as quenching though martensite structure. In the analysis result of provenance though the lead isotope ratio, the origin of the used in bronze millers excavated from Mireuksaji temple site is presumed to be from galenas of Japen, like this those, the chemical competition, microstructure, and lead isotope ratio of bronze mirrors excavated from Mireuksaji can be utilized at fundamental data to compare mutually with other remains.

• Journal of Conservation Science
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• v.37 no.4
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• pp.362-369
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• 2021

In museums, exhibition content focuses mostly on cultural heritage's historical values and functions, but doing so tends to limit visitors' interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors' traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors' scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as "easy to understand and useful as the esoteric science exhibition was combined with media art" (16.7%), "wonderful and interesting" (11.7%), and "firsthand experience was good" (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors' active participation. This exhibition's content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.

• 한국문화재보존과학회:학술대회논문집
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• 2006.04a
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• pp.95-98
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• 2006