• 보존과학회지
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• 제35권5호
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• pp.508-517
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• 2019

본 연구는 청동 정문경 제작공정 재현과정에서 생산된 합금 및 부산물을 대상으로 자연과학적 분석을 실시하였다. 재현실험의 합금비율은 국보 제141호 정문경에 대한 분석결과(Cu 61.7%, Sn 32.3%, Pb 5.5%)를 바탕으로 하였다. 사용된 원료에 대한 X-선 형광분석 결과, 구리는 Cu 98.9 wt%, 주석은 Sn 99.0 wt%, 납은 Pb 70.2 wt%, Sn 21.8 wt%로 확인되었다. 합금 용융 시주석과 납의 기화량을 감안하여 Sn, Pb은 5 wt%씩 더 첨가하였다. 1차 재현실험 결과는 Cu 58.8 wt%, Sn 36.9 wt%, Pb 4.4 wt%, 2차 재현실험 결과는 Cu 58.7 wt%, Sn 35.9 wt%, Pb 5.5 wt%로 확인되었다. 성분조성은 Cu와 Sn에서 약 3 wt%씩 차이를 보였으며, 미세조직은 주로 δ상이 관찰되어 선행연구와 유사한 양상을 나타내었다. 본 연구를 통해 향후 고대 청동거울의 재료학적 특성 규명에 있어 기초자료로 활용되었으면 한다.

• 한국의상디자인학회지
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• 제21권4호
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• pp.81-96
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• 2019

The study intends to seek the creative ideas that can satisfy the needs of individual consumers by rediscovering the modern meaning and the artistic value of geometric ornaments engraved on the backside of Danyugyung, which is a traditional Korean pattern. In terms of the study method, the symbolic meaning and formative characteristics of Danyugyung were determined, and the form of its pattern and the geometric characteristics were analyzed. Based on this, Photoshop and illustrations were used to apply the shapes of Danyugyung and internal patterns to the textile designs, and the results are as follows. Firstly, it was found that Danyugyung was associated with the bronze mirror, which was used from the Bronze Age to the Early Iron Age, and was the product of artistic activities and an object and acted as a shamanistic and authoritative symbol of the ruling parties, which were responsible for the acts related to the spiritual world. Secondly, it was discovered that forms of Danyugyung were classified into Jomungyung and Semungyung in accordance with Forms of Danyugyung (造飾), and the formative features of the geometric ornaments that were engraved in great detail on the backside could be found in the images which change according to the form of the inner patterns. Thirdly, with regard to the development of the textile designs utilizing the shape and inner patterns of Danyugyung based on the formative features, it was could discover that the simple shape of Danyugyung presented a value which can be applied as a unique design factor delivering a visual rhythm by attempting to create various harmonies overlapping lines engraved on the inner patterns and the shapes of Danyugyung. Based on the above-mentioned outcomes, the possibility was confirmed that Danyugyung can be used as a novel motif and as a standard unit of patterns for textile design. With future studies, I would like to utilize the unique and diverse images as pattern motif for textile design.